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fandomsbyladymelodrama · 3 years ago

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How To Write Family Fluff (and other randomness)

So @youcancallme-ray recently reached out to ask for my advice on writing fluff, specifically family fluff, and I mentioned that I've been wanting to write a proper post on this subject for a while, since this isn’t the first time I’ve been asked and sometimes it's useful to have another writer describe their perspective/process. First thing's first, always remember the #1 rule of writing - throw out all the rules and advice and write whatever you want to write. Seriously. Not everything that works for me will work for everyone. There’s no wrong way to write fluff or angst or anything. You do you. But for me... I personally love stories with families. I just do. I love multiple generations interacting, I like big families, I like small families, broken families, powerful families, loving families, complicated families, babies, toddlers, small kids, teenage kids, parents, grandparents, fallings out, reconciliations, separations, reunions, birth scenes, deathbed scenes, and all the kitchen table scenes in between, love, love, love. All of it. Family, in all its wonderful, messy glory. So this is all to say that I always tend to gravitate towards creative works that have a family vibe, whether natural or found family. Game of Thrones was almost unusual for me except...oh wait, everyone's related 😂 (plus they had zombies too, but that’s beyond the scope of fluff. Vlad’s not coming to any baby showers, I don’t care how many times he asks 🤣🙈) Anyway, I'm a proud daughter of House Mormont with a major House Tully streak (which is fitting, considering my two main fanfic projects right now focus on Jorah/Daenerys and Brynden/Roslin 😍). I'm a Huffleclaw or Ravenpuff, or whatever we're called 😂, from way back and you can hear it the name, give me all the fluff, fluff, FLUFF ❤ But what even is fluff, right? Romance, hurt/comfort, warm feelings? Webster's Dictionary defines fluff as "something fluffy" - I'm not making this up, I just googled it 😂 Stellar job with the wordsmithing, Merriam-Webster 😂 (it’s like that Jim Gaffigan skit where he’s like “have you ever looked up potato in the dictionary?” Noun: “potato, you know...potato”). Okay, I’m scrolling down...hmm, all right, I found this under "kids definition" (ummm, we have different dictionaries for different age groups now? who knew?): Fluff - to make or become fuller, lighter or softer. Oh yes. THIS. THERE WILL BE ACTUAL ADVICE HERE SOMEWHERE I PROMISE 😂🙈 Maybe I should make a list? Yes, a list would be good. Let's consider this Lady M's Semi-Official (And Certainly Non-Exhaustive) List of Creative Choices To Consider While Writing Family Fluff: 1. Know your characters. This goes for all writing adventures. But in fanfic, it's honestly make or break with the characters. Most readers are searching via character or relationship tags. They really don’t care about the rest of it (at least not at first). You’ve got to know the characters inside and out. And use canon/source material, of course, but what I really mean by this is you should try to stay true to your specific characterization. For instance, not everyone is going to write Jorah Mormont the same way. His character (like all characters) falls on a spectrum, one that contains a lovely array of personality traits - stubbornness, strength of will, survival instincts, romanticism, deep regret, etc. Some writers will draw on book lore, others will stick to show canon, some mix it up, all with similar but slightly different characterizations. And that’s awesome! Imo, all interpretations are VALID. Even the OOC interpretations of a character are valid, if that's what you want to do with it (it doesn’t mean all readers will be on board or that I’ll agree with it 😂🤷‍♀️, but that’s okay too). But whatever the characterization, within each one of my fics, I pay a lot of attention to consistency of character. Like, a lot. If I’m forcing an action or reaction on one character and it just doesn't feel right, I’m likely giving the action/reaction/dialogue to the wrong character. In that case, I will choose a different POV or rewrite the scene to see if having someone else say the line works better.

2. Remember kids aren't just props. This is a HUGE one, friends. Kids aren't made in a mold. They have distinct personalities and quirks of manner that show up crazy early in development, in my experience (and I believe @salzrand agrees with me - and she has the credentials to back it up 😘❤). If you're going to have kids in a story, I suggest thinking about how that kid will be like as an adult. Not their whole life story or anything (unless you get lost in your daydreaming 🤷‍♀️😂) but I try to think about what their future life might be like. Sometimes I'll just scribble for a while and maybe have the child narrate a short future scene, even a paragraph, to discover more about them before I continue with the chapter. I did this recently with Kitty Tully for my Brynlin fic, which may in fact lead to yet another fic because oops that’s what happens to me sometimes (ahem, or ALL THE TIME 😂). "Winter's Child" was my very first Jorah/Dany fic way back when, and that was narrated by Jeorgianna 🐻🌻, so yeah, I've been using this trick for a while. Some fanfic writers don't like to lean too far into developing OCs and I totally get that (the ghost of Mary Sue will haunt fanfic realms forever 😂) but I always make an exception for the kids of my main pairings/OTPs because it's so interesting to explore how much of the father or mother (or other family members - see Daenielle/Grandpa Jeor for further details ❤) shows up (physically, personality-wise) in the child. This is also why I use the same children across fics. It gives legitimacy to their existence and leads to some exciting and fluffy cross-universe call-backs. 3. But also remember that babies can be the BEST props. This doesn’t work for older kids. But not gonna lie. Just from a scene-building perspective, if someone is holding a baby/toddler, so much can happen. The child can be picked up, handed off, tickled, lifted into the air, set down on the floor, crawling, cooing, crying, you get the idea. And that sort of action breaks up the “X" he said. "Y" she replied. really well sometimes :) 4. The magic of ordinary moments.

For me, personally, this is where I find the fluff (in all writing, not just fanfic) 😎 I like finding the joy and sparkle in everyday moments. It's slightly easier to find or create these moments in modern AUs, only because I don't have to research what it's like to go to the movies or a school play or whatever. Less easy to find family-friendly activities in the Red-Wedding/Twincest-Push-Bran-Out-A-Window/Ned-Stark-Gets-His-Head-Chopped-Off/Murder-Child-Arya-In-Action landscape of Game of Thrones. But there are still lots of things that transcend tragedy and medieval backdrops - food, nature, weather, festivals, putting a child to bed, reading stories together - and I'll typically choose something like this for setting the scene. And it really doesn't have to be much. After that, the characters do the heavy lifting. Daenerys and Jeorgianna observing a sleeping dragonfly in the garden. Jorah giving Aemon a piggy-back ride down to the harbor. Grandpa Jeor building a boat, Daenielle helping him sweep up his workshop. (i.e. Jade Sea Bears 😂🥰) 5. Don't forget the (minor) angst. Just because I’m writing a fluffy moment between characters, doesn't mean that there's no angst or sadness in it. A dash of past sadness or future wistfulness can be delicious in a fluff-heavy scene and save the whole scene from going too schmaltzy and sappy-sentimental. 6. Don't be afraid to end on the hug. Or the smile. Or the "I love you." Depends on what the scene calls for, obviously, but fluff is not about plot, it's about feeling. It's about taking words and images and character interactions and infusing them with something extra warm and soft. And just because the characters have said "I love you" to each other before doesn't mean they can't say it again. And again. It’s not very original but it is beautiful. Real life is cruel and hard sometimes. The world is filled-to-bursting with bitter, so I say add the sweet wherever possible <3 So this is not a comprehensive list (I'm not even sure what that list would look like 😂). But hopefully this inspires some of you who aren't natural fluff-writers to be less intimidated by the idea of trying it sometime or maybe just think about your own writing process and scene-crafting. Either way, hope this helps and happy writing! Xo

#writing #fanfic writing #fluff writing #family fluff #jorleesi #brynlin #jorah mormont #daenerys targaryen #game of thrones #a song of ice and fire #long post #writing advice #ladymelodrama rambles

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psyga315 · 5 years ago

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The problem of "I Watch RWBY For The Fight Scenes" and how to account for when that logic fails.

“I watch RWBY for the fight scenes.”

You heard these words before at some point in the RWBY community. Ever since the Red Trailer back in 2012, there was a huge emphasis on fights as shown with the titular “Red” doing nothing but battling proto-typical Beowolves. No huge emphasis was put on story bits like how she was visiting her mother’s grave or on the music (Red Like Roses pt. 1 has only 4 verses and most of it’s instrumental), and Ruby isn’t even voiced in the trailer. Hell, for a good chunk of RWBY’s pre-production stage, fans perceived Ruby as a stoic girl. RWBY’s core has been the fight scenes… Right?

Well, it doesn’t really take a rocket scientist to figure out that isn’t true. While an argument can be made of how RWBY’s fights are what makes the show, the case can’t be held true for its quantity and quality. Volume 3 is the only Volume in RWBY where there’s at least a fight scene per episode (the sole exception being Episode 8, Destiny), some even having two or three packed into one episode, making the Volume more of a roller coaster, especially in the last quarter. Conversely, Volumes 4 & 5 are the volumes with the fewest amount of fights, both totalling to 5 spread out across their 12 and 14 episode run, respectively, with Volume 5’s feature fight, the Battle of Haven, being the subject of massive ridicule to the point where a two-hour video was made to detail all the errors made, among them being that the core climax of that fight occurs off screen.

However, the reverse can be held true. Some criticisms for Volume 3 include that the fight scenes were either extraneous or had poor quality to them while the highlights of Volumes 4 & 5 were things that they made up for in spite of having the fewest amount of fight scenes. So, this begs quite a few questions towards RWBY.

Most of them, however, can be summed up into one: “What feature of RWBY can match or even rival its alleged selling point in case the viewer encounters a drought or lack of quality in fight scenes?” For these, we’ll break them down into some categories. I will try to be as fair as possible for this.

The first, obvious thing, would be:

Plot, Setting and Theme

Can a viewer enjoy RWBY for its plot when the fights prove lacking, evocative themes or even its rich environment? It depends. One of the biggest things that fans enjoyed about Volume 3 was its development of the plot. Suddenly, the world expanded and there’s tons of depth and lore to an otherwise standard “wake up, go to school, save the world” deal.

However, later complaints of RWBY involve the plot in some way. One of the biggest conflicts between fans in RWBY’s 7th Volume was the execution of its cliffhanger which involves the main villain flying in with her army of monsters, many arguing that at that point, the plot has entered a phase known as “only the author can save them now”, which causes some fans to even beg for an explanation as to why Salem never did something like what she did before.

While the setting in RWBY has been interesting, at times, they end up with the short end of the stick. No case is this more truer than when Mistral, reputed as a two-faced Kingdom which had both a cultured surface and a seedy underworld, was reduced to a few paintings and a couch and only now have the people at Rooster Teeth decided to shed more light on it as a setting for their Dungeons and Dragons campaign.

The themes are extremely interesting to dissect, especially since there’s a meta layer to some of them with the passing of Monty Oum leaking into some of the plot developments and even music decisions. This, too, however, is subjective to taste, though due to the nature of themes themselves and not because of execution. One person could have a completely different interpretation of what RWBY’s core theme is compared to another’s, and that leads to their opinions. For instance, a common theme that critics picked up on in RWBY is “Kids vs. Adults” as they end up reading the conflicts that occur in RWBY and Ruby’s wording in her speech to Qrow as “kids rule, adults drool”, something they took contention with.

While plot, setting, and theme are there, it isn’t enough to supplant fights should they fail too… So, what about…

Characters and Relationships

Can a viewer enjoy RWBY for its characters and relationships? I feel like this would be a strong case to make, but at the same time, this is also a bit of an oxymoron. While the characters can sometimes feel interesting and their relationships even more, the problem is that the characters sometimes lack the focus necessary to be fleshed out and their relationships even less.

You might heard these complaint before: “Bumblebee came out of nowhere”, “Black Sun/Fair Game was bait”, or even “RWBY has too many characters!” and that is, in of itself, a bit of a problem with RWBY. When it takes the time to do character arcs and relationship progression, it is pulled off masterfully, though whose arc it was is also subjective. A key contributor to the problem is how RWBY’s focus is spread too thin.

There’s, on average, 13 characters that make their first appearance in each Volume of RWBY, about half to three quarters of them go on to make reappearances in other Volumes and even a few of them become major characters. This becomes a balancing act for RWBY to juggle all the characters and developments, leading to two characters getting a massive shaft: Ruby, the main character of RWBY, and Oscar Pine, a plot important character.

Ruby has the criticism of being a flat character. While there’s no inherit problem in of itself, the fact that the plot has been shifting and stakes become raised while the most we got out of Ruby before Volume 6 is that, sometimes she expresses sadness, was concerning. Even after Volume 5, a common complaint is that her “character development” consists of her delivering speeches.

Oscar’s problem is that the most pivotal moments of his character are relegated to the background, to the point where his nickname is “Offscreen Pine”, as every Volume since his first in Volume 4, there has always been some moment of his story that happened off screen and, often, it was that moment that makes his character arcs of those Volumes incomplete.

That is also a bit of a problem with relationships as well. Sometimes they end up being complete without any actual set up or they do have set up, but it’s either a red herring for the actual ship or, most infamously, it was never intended to be a ship to begin with. Now, there are ships that have been well-developed, but, again, it’s subjective. One such example is Bumblebee, which, to this day, has been hotly debated as whether it’s the best ship RWBY’s done, a rushjob of a ship that was only made to appease the fans after a lackluster Volume, or, at worst, a ship so polarizing, that merely criticizing it would have you accused of being a homophobe.

In fact, some characters develop at different rates, to the point where it is almost whiplash and requires a fan to actively point out how the development was foreshadowed from the start of RWBY (which, itself, leads to a common criticism). Two infamous examples of this are Adam Taurus, who only appeared in a short trailer before making his full debut appearance three years later and showing a completely different side to him, and General Ironwood, whose status as an antagonist is still being debated to this day.

So, these two fields are also wild cards in terms of enjoying RWBY… So, what then? Perhaps we could turn to…

The Community

Watching RWBY is one thing, but talking about RWBY with other people might make it worth it, right? … Yeah, depends. RWBY has become a rather… interesting subject matter. Trawl around the internet enough and you’ll find people in a fight about whether RWBY was good or not… though it’s more often one side calling the other side names and insults nowadays.

No example is truer than Youtube, which if you ask a RWBY fan, is a minefield and that, if you watch just one video of a person saying how they dislike even one aspect of RWBY, you’re suddenly swarmed with videos on “RWBY sucks and here’s why” essays… Even though that’s not how the Youtube algorithm works.

Even RWBY’s Reddit isn’t safe from this. Since the end of Volume 6, it had fractured into a smaller subreddit, RWBY Critics, where people freely share their opinions of RWBY that they would otherwise be judged harshly on the main Reddit. It feels like, when you traverse through the RWBY community and interact with it, you either love it or hate it and your first impressions could mean the difference between getting welcomed or rejected.

It doesn’t help that, with every hiatus in RWBY, the fanbase becomes more and more unstable, to the point where a contest made in good fun with the purpose to help Rooster Teeth with designs for Grimm (a win-win) was eventually turned into a toxic environment simply because one of the artists chose to base a Grimm off something that people found culturally insensitive and made even worse when endorsements were made in favor of and against this aforementioned Grimm, eventually forcing Rooster Teeth’s hand in removing the public’s ability to vote and judging on the three remaining Grimm designs (two of them ended up being removed for different reasons).

I know that was a very specific example, but it highlights just how broken the community has become. It bears repeating: a fan contest where Rooster Teeth would use the winning design in RWBY ended up becoming a flame war because one of the designs was determined to be problematic and a couple of people promoted/denounced the design, effectively rigging the contest to be centered around this one design. I will not be surprised if, years down the line, when someone else chronicles the worst dramas in RWBY, this would at the very least get an honorable mention.

And then there are where you stand on certain characters or plots. Should you ever find that your opinion differs from the majority’s opinion on a certain matter, prepare for a world of hurt or even being asked “why do you even watch RWBY?” That said, I doubt the entire community is as dark as I put it. I think there’s parts of the fandom you can enjoy, like fanmade content or even just a simple conversation with a close-knit group, especially if you enjoy RWBY…. Which, I guess leads to…

So… What do you watch RWBY for?

The point of this article was to see what part of RWBY one can find enjoyable when fight scenes prove to not work and, given what I said, you might expect me to say that there’s nothing enjoyable… Though, surprisingly, my conclusion is a lot more optimistic than that.

If you watch RWBY solely for the fight scenes, then prepare for droughts or lack of quality, or even just watch fight compilations. However, if you watch RWBY solely for the plot, setting, themes, characters, relationships, or even the community itself, then you’ll need to be prepared for similar problems.

There’s two keys to enjoying RWBY: having tolerance or patience, and having more than one thing to watch RWBY for. I think a major reason why you usually have a bunch of people drop RWBY after a volume is because they were disappointed with how RWBY did something or how RWBY lacked in something and decided to quit while they were ahead. For the most part, it might be that they took all they could get from RWBY and decided they had enough.

That said, I’ve seen people sing praises for RWBY’s story, setting, theme, characters, relationships, and even community. It’s led me to think of this struggle to find enjoyment in RWBY to be similar to a theme found in the show: the theme of persevering in the face of despair. Several characters in the show have become bitter, cynical, or even evil because they had enough of the hardships that the world threw at them while the heroes are those who try desperately to keep moving forward in spite of that.

And it’s not easy, I will admit that. It’s not easy to come back to enjoying RWBY once you begin to feel contempt for it. After the finale of Volume 5, I felt confused. Before, I had wanted to enjoy every episode of the Volume, but this one felt so rushed and so incomplete that I found myself thinking “that’s it?”. While I started to become cynical about RWBY after Volume 4 and had temporarily dropped RWBY in between “The First Step Pt. 1”’s release and sometime after “Breach”’s premiere, it was Volume 5 that made me begin to lose enjoyment. Just knowing that Rooster Teeth could do something like Volume 5 again had me lose faith.

However, there are moments that made RWBY enjoyable for me. Certain episodes were hailed as being good watches, there were a few plots, characters, and relationships I enjoyed (even ones I normally wouldn’t got some delights), settings I wished would be better explored, and I’m always going to examine themes of RWBY since that’s one thing I enjoy about it.

And, true enough, RT has done stuff that even the more hardened of critics enjoy. It’s all about patience, tolerance, and perseverance.

I know this isn’t a straight and narrow answer, but there are no easy answers. The major takeaway from this is that “I watch RWBY for the fight scenes” has the potential to backfire and you need backup reasons to enjoy RWBY and a little bit of patience in order to appreciate RWBY.

#RWBY #RWDE

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artemis-entreri · 6 years ago

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[[ This post contains Part 2 of my review/analysis of the Forgotten Realms/Drizzt novel, Boundless, by R. A. Salvatore. As such, the entirety of this post’s content is OOC. ]]

Genre: Fantasy

Series: Generations: Book 2 | Legend of Drizzt #35 (#32 if not counting The Sellswords)

Publisher: Harper Collins (September 10, 2019)

My Rating: 2 out of 5 stars

Additional Information: Artwork for the cover of Boundless and used above is originally done by Aleks Melnik. This post CONTAINS SPOILERS. Furthermore, this discussion concerns topics that I am very passionate about, and as such, at times I do use strong language. Read and expand the cut at your own discretion.

Contents:

I. Introduction

II. Positives II.1 Pure Positives II.2 Muddled Positives

III. Mediocre Writing Style (you are here) III.1 Bad Descriptions III.2 Salvatorisms III.3 Laborious “Action”

IV. Poor Characterization IV.1 “Maestro” IV.2 Lieutenant IV.3 Barbarian IV.4 “Hero” IV.5 Mother

V. World Breaks V.1 Blinders Against the Greater World V.2 Befuddlement of Earth and Toril V.3 Self-Inconsistency V.4 Dungeon Amateur V.5 Utter Nonsense

VI. Ego Stroking VI.1 The Ineffable Companions of the Hall VI.2 Me, Myself, and I

VII. World Breaks VII.1 No Homo VII.2 Disrespect of Women VII.3 Social-normalization VII.4 Eugenics

VIII. What’s Next VIII.1 Drizzt Ascends to Godhood VIII.2 Profane Redemption VIII.3 Passing the Torch VIII.4 Don’t Notice Me Senpai

Mediocre Writing Style

I admire some authors for their lyrical phrases, some for their poignant imagery, some for their rapid-fire dialogues, and with so many others, for their ability to show a true mastery of language. I have never felt this way about Salvatore's literature, which will probably never win any awards for its diction if it remains consistent to its current level of quality. Salvatore has his moments, which I've described in the previous section, but sadly, they range from being vastly to overwhelmingly dwarfed by the rote and tedious writing practices he employs. It doesn't help that in addition to the employment of unimaginative diction, Salvatore writes a lot of long and laborious scenes full of words that serve little more than to fill up space. There is so much telling instead of showing, a problem further compounded by the exhausting amount of poorly-chosen anecdotes which he relates that, despite being a nonstop action book, Boundless is very hard to pick back up after putting it down. And, of course, there's the repetition of the same themes, of the same kind of things happening to the same characters, that certainly doesn't help the predictability.

Bad Descriptions

For every good turn of phrase I mentioned earlier, there exists a score of bad ones. If I were to give examples of all of them, with the other things I'd like to discuss, this article would end up being as long as the novel itself, so I'll simply point out the most cringe-worthy ones.

The metaphor that takes the cake for the worst of the book is, "The horde had come, and now it pounced upon them misshapen humanoid forms, the wretched lesser demons known as manes, shambling out of the brush like an army of humans risen from the dead." Basically, what is happening here is that Salvatore pretty much wrote, "those demons came shambling out like zombies". It doesn't matter how much one dresses up a turd, the most one gets from the effort is a fancier-looking but just as stinky piece of excrement. Furthermore, the dressings that Salvatore uses in this example are flimsy and unsatisfactory in substance, with the vague adjective "wretched" that's as descriptive here as his customary usages of "magnificent"/"fine" and the tedious repetition in "humanoid" and "human". Additionally, it begs the question of why Salvatore specified an army of humans in a world in which the undead of all races would shamble, or, better yet, why not simply say "zombie", for a zombie is a prevalent and known theme in both the Realms and our world. It would've been one of the few ways Salvatore uses a shared concept without incurring a world break like he normally does.

A close second in the diction mediocrity contest is, "as if Yvonnel's breath, blowing them out, was that of a magical dragon, one designed specifically against the life force of a demon." Why a "magical dragon"? Are there non-magical dragons that breathe magic? Not that there exists a type of dragon in Forgotten Realms lore with a breath weapon that is specifically designed against the life force of a demon. However, as is par for his course, to counteract lore not agreeing with his lazy constructions, Salvatore doesn't bother to research an appropriate in-universe analogy. He completely invents one but doesn't actually develop it, not that doing so would be appropriate in this context, but the creation of it is wholly unnecessary for the sake of a poor analogy.

Another awful passage is, "with horrid creatures -- half drow and half spider -- all around the drow women and filtering back through the many shadows of the forest. Scores of these horrid mutants milled about..." It's bad enough to use the adjective "horrid" in an empty and vague way, but to do it twice in quick succession makes it seem like Salvatore doesn't know how to describe driders. By itself, a half-drow half-spider creature isn't inherently abominable. There's an increasingly large number of art pieces featuring dark elf arachnid centaurs, with beautiful humanoid faces and torsos attached to streamlined spider bodies that would even give arachnaphobes pause. What makes driders menacing, which Salvatore has described himself in the past, is that they're not these romanticized images of spider centaurs. Their humanoid torsos, rather than looking like they should belong to supermodels, are bloated and misshapen such that they're more reminiscent of the flesh beasts of nightmares. They have vicious mandibles protruding from their cheeks, sometimes multiple insectoid eyes, making their faces look more decidedly non-elven even with pointed ears. Admittedly, the physical appearance of driders has fluctuated through the D&D editions, but it's as though Salvatore couldn't be bothered to look up what their current iteration is. Maybe he did try and couldn't find a definitive answer, in which case he could've approached the drider's description in a more evocative way, for example by describing how the tips of their arachnid legs were sharp like swords digging into the earth, or perhaps by mentioning their aura of menace as they regarded the dwarves whom they towered over with hungry anticipation, as though the shorter folk were their cocooned victims waiting to be devoured. Or, even referencing how the driders came to be, the excruciating transformation process and fall out of favor with their goddess, both of which would've rendered them at least slightly unhinged.

Some descriptions consist of fewer words, but are just as bad. For instance, Jarlaxle's bracers are at one point described as "magical wrist pouch". This evokes an imagery of literal pouches hanging from around his wrists, dangling like a pair of testicles in the wind, testicles that shoot out magical daggers into Jarlaxle's hands. Another similar example doesn't contain an analogy but is just as bad is, "a smallish man dressed in finery worthy of a noble house. His face was clean-shaven, his hair cut short and neatly trimmed." This description is so ambiguous and features adjectives that have been applied so frequently to other characters that it could have easily been Artemis Entreri, except it is someone quite different (Kimmuriel Oblodra). Putting aside how jarring it is to use "man" to describe male drow, there's a world break here in that drow shouldn't need to be clean-shaven, as they can't really grow facial hair, but at least there's the nice detail that Kimmuriel is apparently short-haired, contrary to what many assume of him to have long hair. Nonetheless, what happened to the usage of the word "short"? Furthermore, why not just state a height for Kimmuriel and put it into his character bible? To be fair, I've speculated that Salvatore doesn't use character bibles, but it's never too late to start.

Salvatorisms

Boundless sees a return of what I've dubbed “Salvatorisms”, which are clichés and poor sentence structures that Salvatore abuses frequently. In Boundless, there's more than just those Salvatorisms dragging the narrative down. It's disappointing to see a professional author, especially one who'd been working in the field for over three decades, fail to follow a rule taught to amateur writers. Making the New York Times' Bestsellers' list does not make the usage of clichés, such as "merry band of misfits", acceptable. Especially considering how it's not even appropriate in the context that it's used for, namely, describing Bregan D'aerthe. Even though it's a priestess of Lolth who is considering the mercenary band this way, it's so incredibly unlikely that she'd think they were jolly, which the meaning of that cliché specifically includes.

In Boundless, we also see a return of the “how [character] [action]ed!” sentence construction, after a refreshingly complete lack of any in Timeless. This is one of Salvatore's favorite ways to tell and not show, for stating how a certain thing performs a certain feat doesn't, ironically, actually ever convey how that thing is done. There's a new overused Salvatorism to add to his cliché stable, namely, the “up went”, “down went”, and other similar ways to open a sentence. There's nothing wrong with these kinds of phrases when used sparingly and with variety. As it is, the flavor of the text is quite intolerable, seasoned as it is with an excess of one type of additive. By the same token, in a fight scene between Arathis Hune and Zaknafein, Zaknafein's superior prowess is indicated by the sentence, "Except Zaknafein wasn't there". This sort of device can be effective to convey surprise and the unexpected, again, when used sparingly, but unfortunately, it is yet another one of Salvatore's favorite writing practices. The sentence is hardly even a proper sentence, but is used as its own paragraph.

The telling and not showing approach in Boundless extends beyond the diction. On numerous occasions, it's almost as if Salvatore couldn't be bothered to actually demonstrate how something is true, but instead, just tells us that it's the way it is. One way that he does this is through the usage of rhetorical questions, for instance, "Could anything be more invasive and traumatizing than having your body stolen from your control and turned against you?" I'm not sure if any of his readers can actually answer that question from personal experience. It's almost as though Salvatore did that purposely to minimize the possibility of someone realizing that different strokes exist for different folks and that the most traumatizing scenario for one person could be very different from that of another person. That aside however, a question like this leaves little room for imagination, and is even a bit bullying, for it corners the readers into having to answer "no" even while the scenario painted prior to it was not powerful enough to solidify that impression.

Another way that Salvatore tells rather than shows is to use empty comparisons that lack a frame of reference. For instance, the reader is to understand Athrogate's strength and resolve through, "A lesser fighter would have fallen away in terror. A less sturdy person would have simply melted before the reeking horror." The problem with these statements is that they don't serve any purpose. They state the obvious, and are a poor attempt at being evocative. They have the same effect as simply stating that Athrogate stood his ground and didn't falter, except being more verbose and less effective.

It's not just word usage that's repetitive. Boundless sees a continuation of the theme of having the same sort of things happen to the same characters. It's as though each character is a designated target for certain motifs, with those motifs not being applicable to other characters. For instance, Entreri appears to be the go-to target for torture, and after being made the one with the repeated childhood sexual assault, the sexual victimization in Menzoberranzan, the victim of rape by a succubus in Neverwinter and the over seven decades of enslavement, I'm getting very sick of seeing him the victim of yet another long-term grueling experience. Meanwhile, Drizzt is as holier-than-thou and full of sanctimony as he was in Timeless, and it's not a flattering look for him. I'm not sure if Salvatore thinks it is, but it isn't so much character consistency as stubborn obnoxiousness. In Drizzt's journal entry, he writes, "I fear that Zaknafein's transformation will not come in time to earn friendship, even familial love, from Catti-brie or from our child, and in that instance, it will not be in time to earn the love of Drizzt Do'Urden." Drizzt then goes on to state, "But he is my family by blood, and she is my family by choice. I have come to learn that the latter is a stronger bond." While the message that's attempted to be conveyed here is a very important one, the validity of it is harmed by the context. It's very unfair for Zaknafein to be presented as though he were more akin to the other Do'Urdens instead of the unconditionally loving father who didn't hesitate to put himself in harm's way, including dying in excruciating and humiliating ways so that his son could have a chance at freedom. This is yet another scenario in which Salvatore creates unnecessary drama while ignoring facets of his story that have genuine dramatic potential. Zaknafein is not the type of character with whom Drizzt should have to choose between family by blood and family by choice, as he's already shown that Zaknafein is trying his best to adapt to the new world. It is true that there are few opportunities for Drizzt to flaunt his moral beacon in Boundless, but there's nothing wrong with that, and should've just been left as it is, but it's as though Salvatore can't write a Drizzt novel without Drizzt having to be sanctimonious and preachy. It was wholly unnecessary to villainize a non-villainous character to repeat some of the same old tired writing practices.

Also in the category of repetitive and tired themes, albeit one that doesn't further butcher the characters, is the catching of projectiles in one's cloak. This is a phenomenon that happens so frequently in the Drizzt books that had a reader no knowledge of the purpose of cloaks, they might think that their main purpose is to act as an anti-missile system. Cloaks originally became common because they protected the wearer from inclement weather while allowing access to the wearer's worn possessions. In D&D and other games, it became an additional equipment slot and as such, gained an practical value as well. A cloak without enhancing properties would actually serve as a detriment in a fight, acting as a loose and difficult to control extension of one's body that can be easily grabbed by the opponent, something that's accurately made a point of in The Incredibles. I suppose that there could exist a magical item like a Cloak of Missile Catching, but this isn't what any of Salvatore's characters ever wear. It's difficult to give Salvatore points for coming up with a creative use for what's basically an aesthetic item because it's just so impractical and unrealistic. It doesn't help that he repeats this motif so much that it approaches ego-stroking levels.

The second most major contributing factor to Boundless' tediousness is the obscenely large amount of recollections strewn throughout the book, making them overall more unsightly than the plastic polluting our modern day oceans. In the scenes set during the current timeline, almost at every turn we're given a history of what so-and-so is, or who so-and-so have associations with. These reviews, although brief, make up for their concision with their frequency. I can understand why Salvatore does this, for Timeless wasn't as standalone as he'd hoped, but his attempted method to rectify this fact in Boundless is more distracting than enlightening. Especially considering that much of the reviewed content is along the lines of, "Drizzt, trained in the ways of the monk by Grandmaster Kane", ergo, telling us how awesome Salvatore's protagonists are rather than shedding light into the significant events that shaped what is happening in the current book. When a significant event is mentioned, it is done so in such a cursory way that all a new reader would know is that something happened in the past that relates to what is happening presently, but otherwise it's like explaining different colors to someone who's never had vision before. For instance, "this was a trick Kimmuriel had used before, and very recently with Drizzt in Menzoberranzan, creating a telekinetic barrier that absorbed the power of every strike, magical or physical, holding it in stasis, ready for the magically armored person to release it back." This recap does manage to explain the relevant mechanic, however it also alludes to a very significant event, yet it's unclear what the purpose of it doing so is. The reference to what Drizzt did in Menzoberranzan doesn't say enough to allow anyone who hasn't read Hero to understand, but someone who's read Hero should remember the details of the climax of the book. So much of what Boundless presents is like this, retreads that make the novel tedious to read for those who have been reading, and probably only serve to further confuse those who haven't. Who is Salvatore writing for, then? Those who continue to throw money his way but never pay enough attention to what happens in his books to remember the climaxes? Are these the kinds of people that any author should point to as "proof" of their literary excellence?

Laborious "Action"

The one aspect that drives most of Boundless' tediousness is the sheer amount of long and boring action sequences that are wordy and not much of anything else. Salvatore's action scenes are more reminiscent of IKEA furniture assembly instructions than descriptive imagery, except that IKEA instructions are actually visual enough for one to use in constructing a pragmatic (and sturdy) physical object. Salvatore's action scenes are reminiscent of the type of smut in fanfiction that gives fanfiction a bad name, namely, cut and dried descriptions that are more like making a grocery list than painting a picture. At the very least, Salvatore's action scenes are not too anatomically ridiculous (yet), which makes them slightly better than the kind of fanfiction referenced.

An example of a grocery list action scene is as follows:

There's so much going wrong in this passage. The inconsistent specificity of each element makes the whole feel like an incongruous collection of parts. Jarlaxle hooking his fingers on a jag in the stone is clear enough, as is flipping over, and rolling his feet can be understood even if vague, but how all of that ties together is as clear as a chunk of obsidian. How Jarlaxle pulled himself around the base of a mound isn't articulated, other than that he did it while keeping his momentum, which is superfluous because any acrobatic maneuver would keep its momentum because momentum is what makes those maneuvers possible. It's like the only basic physics concept that Salvatore understands is gravity, because "he fell with gravity" is one of the few things he doesn't spell out in his action scenes. In any case, specifics like if Jarlaxle went left or right aren't what's needed, but rather, how about some evocative imagery like, "he snapped like a whip around the sharp turn"? I'm not saying that's the correct analogy to use, I honestly don't know, because I have no idea what's supposed to be going on in this passage. The same is true of what's said of Zaknafein, which while a bit better, is still painfully dry. Some of the stuff doesn't make sense, for instance, how did Zaknafein leap on the wide base of the stalagmite? The base of a stalagmite is that which the stone formation grows out of, inside the rock itself, does Salvatore mean that Zaknafein propelled himself off of the side of the stalagmite near its base? The rest of the sequence, it's unclear what Zaknafein is flipping over and running along. Is it still the same stalagmite, or a different stalagmite? All of that is just words words words, except, of course, the one thing that's clear enough: that Drizzt is awesome and so is his dad.

Another grocery list action scene is, "A glance left, a glance right, and off he sprinted, up the side of a stalagmite mound, leaping, spinning, somersaulting, to hit the ground in perfect balance and at a full run." What this scene brings to mind is more along the lines of a Driver's Ed course followed by the Sky Dancer toy from the 90s rather than the agile moves of an acrobat. Again, an excess number of words are used to little effect, and all that's conveyed is, "Zaknafein is awesome". I almost feel like he should be clad in skin-tight black leather and be wearing high-tech sunglasses.

Yet another example of writing that only conveys how awesome Salvatore's characters are is, "the barbarian came to realize that this foe was far more akin to Drizzt or Entreri than to what he'd expect from a pampered Waterdhavian lord. The man's sword worked in a blur, every movement sending it at Wulfgar in a different angle, sometimes a slash, sometimes a stab, sometimes a punch from the hilt." The first sentence in this passage, although not describing any action, tells us a lot more about Wulfgar's opponent than the second sentence, which does actively describe the man's actions, even to a new reader whom wouldn't know about Entreri's history and what makes him what he is. Furthermore, there's a stuttered nature to the second sentence, with the "blur" description disagreeing with the choppy rhythm of the specified attacks. Rather than a blur, the noble's attacks feel more like a predictable pattern of programmed thrusts from an automated training dummy.

Boundless wouldn't be the first Salvatore book in which I'd wondered if he'd confused himself with his writing. One example of what leads me to think so from this novel is:

What is even going on here? Did Salvatore switch Zaknafein and Jarlaxle's names by accident, intending for Zaknafein to be the one caught by surprise? Zaknafein's "don't wait for us!" suggests that he knows what's going on and has some level of confidence in the circumstances, yet as is demonstrated later in the passage, this is not the case. Indeed, later in the sequence (not shown), Jarlaxle is the one in control, deploying a back-up plan to guarantee their safety amidst the chaos. Yet, it's unlikely for Jarlaxle to scream, and Zaknafein to gasp, so perhaps Salvatore meant what he wrote. It's all too convoluted to tell, however. Further, while its a trifle nit-picky, wouldn't the command to "Let 'em fly, boys!" come before the quarrels were discharged? I mean, these are quarrels that do make things like stalactites explode, both powerfully AND beautifully, but dwarves have a lot of discipline.

Perhaps the most tedious action sequences are Zaknafein's extensive training montages, like the one in chapter four. It takes up literally forty percent of the chapter and proceeds in excruciatingly dry detail. The entirety of it is too long to quote here, but there are a lot of statements like, "hands across his belly to grab the hilts of his swords at his hips, right forearm over left", "he turned his right wrist as that sword came across bringing it vertical in its sweep, then shortening the cut, while the left went across perfectly horizontally, with full follow-through and even a step with the left foot in that direction", "he went to a series of same-hand, same-hip draws, where he brought forth the sword on his left hip with his left hand, right hand for the right", and so on. It's like Salvatore is writing The Dummy's Guide to Drow Swordfighting, as these sentences are more like step by step guide points than flowing combat moves. It's actually worse than that, because more than likely, these moves are more theatrical than actually practical, such that anyone who followed such a guide would indeed be a dummy, and quite a dead one at that if they expected to survive in drow society like that. And there's just so much of it, such that it begs the question of if Salvatore had a word count quota that he had to fill.

Finally, after a refreshing break away from it in Timeless, the standard Salvatore C-rated Hollywood stop motion fight scenes are back. Speaking to many members of the SCA and historical combat re-enacters and fencers, including ones who have read Salvatore's books, have taught me that most of the combat scenes, specifically concerning the usage of swords, are totally wrong. A consensus among the actual martial artists is that there's a lot of slashing when there should be stabbing, and the way that the characters conduct themselves in combat is more akin to sports than martial arts, being particularly evocative of hockey. It isn't surprising that Salvatore's inspiration comes from hockey, that is what he knows after all (more than swordsmanship and D&D anyway), but it seems that rather than improving his knowledge with research, he supplements it with popular themes in movies. Something like, "slowly they closed, though, until they were but a few strides away, when both, as if some silent understanding had passed between them, leaped into the air and roared" feels more like a transcription from a live action sequence, for in reality no purpose is served for two combatants to leap at each other roaring. It's a waste of energy, especially as the two have been aware of each other's prowess for a while and are not easily intimidated. If this scene was something that we were watching rather than reading, the sound effects might enhance the the drama, and while imagined sound effects can do the same for a written scene, something as bland as simply "roaring", just makes the whole scene banal.

#ooc #Boundless #legend of drizzt #Forgotten realms #R A Salvatore #book review #Generations Trilogy #Artemis Entreri #Jarlaxle Baenre #Kimmuriel Oblodra #Yvonnel Baenre #Arathis Hune #Drizzt Do'Urden #Catti-brie #Athrogate #drow #drider

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Lore Episode 24: A Stranger Among Us (Transcript) - 28th December 2015

tw: death, gore, death of children, disease

Disclaimer: This transcript is entirely non-profit and fan-made. All credit for this content goes to Aaron Mahnke, creator of Lore podcast. It is by a fan, for fans, and meant to make the content of the podcast more accessible to all. Also, there may be mistakes, despite rigorous re-reading on my part. Feel free to point them out, but please be nice!

Folklore is a living thing. In many ways, the stories we tell and the lessons we pass on are like a tree - the branches reach out into generations and cultures, sometimes in obvious ways, and other times reaching surprising new places. One good example of this would be of the folklore surrounding small fairy people that we’ve discussed here before. Pukwudgies, trolls, goblins, puka and dozens of similar variations are scattered across the world with amazing consistency and reach. How or why is something we’ll probably never fully understand, but it shows us how folklore can spread, how it can migrate, and how it can build upon the past. At the same time, though, folklore has roots, and they run deeper than we might expect. Some stories that we still whisper about in the dark today have crossed the lips of people for centuries, and in some cases, millennia. When I hear a story for the first time or discover a new collection of tales that have been widely distributed, I often stop and ask myself the same questions: where did it come from? What lies at the bottom of the narrative? What are its roots? Outside of Halloween, there is no other time of the year (at least for European cultures, that is) where folklore rushes to the forefront of everyone’s lives with such significance, such power, and such ease as the Christmas season, and rightly so. There is so much there to unpack and explore: the tree, the gifts, the food, and the nocturnal visit from a stranger, one who has seemingly stalked our lives all year long, and yet we blindly welcome into our home. And if there’s one lesson that folklore has taught us over the centuries, it’s to beware of strangers – they aren’t always who they seem to be. I’m Aaron Mahnke and this is Lore.

When we think of coal in our stockings and food and drink left out for a visitor, we rarely pair those ideas with the image of a woman flying through the air on a broomstick, but in Italy there are those who still tell the story of La Befana. Befana’s story has been told since at least the 13th century, originally connected with the Christian feast of the Epiphany. But while many people have never heard of her, the details of her story are eerily familiar. During her visit, Befana was said to enter homes through the chimney. She’s typically depicted carrying a basket or bag full of gifts, but is also known to leave behind a lump of coal or a single stick for children who fail to behave during the year. Before leaving each home, Befana would sweep the floor with her broom, something scholars see as a metaphor for sweeping away the deeds of the previous year, and then she would eat the food left out for her – oftentimes sausage and broccoli. Side note: cookies and milk sound so much better, don’t they? Interestingly enough, Befana is not the only Christmas legend with a passing resemblance to a witch. In the German Alps, there have been stories of another female figure dating back to the 10th century. Some call her Perchta or Berchta, or later Bertha. Jacob Grimm, while researching his Deutsche Mythologie, theorised that she was one of the ancient Germanic mother goddesses. She and her sisters were said to have taught humanity the arts of agriculture, spinning wool and cooking. Over time, though, her legend began to integrate with parts of the Christmas season. Because of her role in teaching humanity the basics of home management, Perchta’s meaning began to shift over the centuries, turning her into the punisher of those who worked during the holidays, failed to feast properly and, much later, hunting down the lazy, and what better time for her to conduct an end of year review, so to speak, than Christmas? Just how did Perchta dish out her punishment on the people of Germany? Well, a hint can be found in her other popular title: the belly-slitter. During the 12 days of Christmas, she would travel through the towns and inspect the people’s behaviour. If they had followed the rules and done right in her eyes, they were rewarded. If they had not been good, though, she was known to have a very nasty side. Anyone disobedient enough to warrant punishment, adult or child alike, would have their stomachs ripped open. Perchta would scoop out whatever might still be inside, pull out the full length of their intestines, and then stuff the victim’s belly with garbage, straw and rocks. While a stomach full of refuse might seem… a little over the top, that distinction actually goes to another ancient female in folklore.

While stories of Grýla, the mythical giant goddess, are far outside the common narrative of Christmas for many of us, for the people of Iceland she is still a whispered source of dread among children. One of the earliest mentions of Grýla dates back to the 13th century collection of Icelandic mythology known as the Edda, written by Snorri Sturluson. According to the many stories told about her over the centuries, Grýla possesses the ability to locate disobedient children. She can do this year-round, so they say, and because of that she was often used as a parental tool to coerce children into doing what they were told. It was in the Christmas season, though, that Grýla became even more monstrous. That was when she was said to climb out of her home in the mountain and make her way toward the towns. She would hunt far and wide for all the naughty children and then take them back to her cave. Once there, she would cut them up, place them in her stew, and devour them. And, according to the legend, she never ran out of food.

There have been other stories of strangers told throughout the centuries, but not all have happy endings. In fact, there is often more loss than gain when it comes to the visits of some of those legends. In the northern Alps, stories have been told for generations about the travelling stranger known as Belsnickel. Considered to be one of the helpers of Saint Nicholas, Belsnickel travels ahead of the big, red man and dispenses his own form of Christmas cheer – with physical abuse. Descriptions of Belsnickel liken him to the wild men of old, with torn and dirty clothes fashioned from animal skins and furs, and a face that is covered in a snarled, filthy beard. Some stories report that he wears a mask with a long tongue protruding from the mouth. According to the legend, which spans centuries in both Germany and the American state of Pennsylvania, Belsnickel would enter the home of a family and scatter nuts and sweets on the floor for the children to collect. And then, with their backs to him, he would lash out with a switch made of hazel or birch, whipping their backs and leaving red marks. And Belsnickel isn’t alone – another travelling stranger from the same region, one who has seen a rise in popularity around the globe, is a creature known as Krampus. At first blush, Krampus sounds similar in many ways to the other strangers in European folklore, but what sets him apart is truly frightening. It is said that Krampus visits the homes of children during the Christmas season, but he doesn’t have a dual nature – there is no reward or special treat when he comes to town. No, his sole purpose and passion in life is to dole out punishment on children who have failed to obey and do their work. Like Belsnickel, he too carries a switch, but in most stories there are more than one. Apparently, he beats so many children that he needs a few spare branches, so he carries them in a bundle. In addition, he is often depicted wearing chains and some form of large sack or cart because ultimately, Krampus isn’t as interested in beating children as he is in taking them. When he arrives in each legend, we are greeted by the appearance of a wild, demonic creature with long horns, cloven feet and a twisted face. After beating the disobedient children, Krampus chains them up and tosses them into his sack before vanishing as quickly as he came, taking the children with him back to hell.

The origins of Krampus are still unclear, but some scholars think that the legend predates Christianity. Instead, they believe that the story has roots in an ancient alpine myth of a horned god of the witches. Even the switch, his weapon of choice, might have been a carry-over from the initiation rites of witches, where the novices were beaten. Far from forgotten, festivals are held throughout Europe to this day that feature many of these legends; events like Krampusnacht in Germany and the Befana festival in Urbania attract tens of thousands, who dress in masks and dance and celebrate. Like Halloween, these are instances where monsters and strangers have been embraced and elevated to something of a children’s story, which is ironic when you understand the roots. Stripping away the detail, Krampus has (from a 30-thousand-foot view) more than a passing resemblance to Pan, the Greek horned god of nature, shepherds, flocks, and mountains. Along with his musical flute, Pan is often known for robbing the innocence from people, usually through sexual means. In a culture that saw the threshold between childhood and adulthood as the loss of virginity, Pan figuratively stole people’s children, and when you think of it that way, it’s more than easy to see similarities, not only between Krampus and Pan, but also between Pan and a character that Disney has helped us all fall in love with: Peter Pan. While he might be able to fly, has no horns and is missing the cloven feet that Pan sports in every image and statue, Peter Pan fulfils the role perfectly. He arrives at night, he carries a flute and lures our children away to another place. It’s a modern story with a familiar ending, but it was far from the first of its kind. That honour, according to some, falls to a small German village in 1284. You might already know the story, but the truth beneath it is far worse than you’d ever expect. In 1284, the German village of Hamlin was struggling with an infestation of rats. Now, I’ve only seen a few rats myself over years, but I also don’t live in a densely populated urban area like New York City or London. But in medieval Europe, from what I can gather, rats were as abundant as squirrels, only bigger and more disease-ridden. It’s hard to imagine the impact that an infestation of rats could have on a town today. If we found a half-eaten bag of flour in the cupboard, there’s a grocery store down the street where we could get more, year-round. But in the Middle Ages, food was grown locally and used throughout the year. If rats ate and ruined the food supplies, there was little a town could do - rats meant death in many instances. According to the story that has been passed down through the centuries since then, a stranger entered Hamelin in the Spring of 1284. He was dressed in colourful clothing, possessed what we might call today as a “silver tongue”, and claimed to have a very unusual, although also very timely, skill – he was a rat catcher. As a profession, rat catching dates back centuries, but it’s rarely seen as a safe and sanitary job. The risk of being bitten or contracting some disease carried by the rats has always been a hazard of the job, and while the exact nature of their involvement has been up for debate for decades, most scholars agree that rats have been key players in the spread of plague - particularly the Black Death of the 14th century, and there were few truly effective tools at their disposal, which made the job that much more difficult. Some rat catchers used a special breed of terrier while others made use of traps, but the most effective tool for centuries was also the most minimal and inexpensive of them all, bare hands - and seeing as how most rats prefer to stay hidden inside dark places, this was a risky technique. The motivation for it all, though, was the meritocracy of it; the more you caught, the more you earned, and while there’s no documented proof of this rumour, it’s been whispered for centuries that rat catchers would sometimes raise their own rats in captivity and then turn them in as part of the job, inflating their numbers and then their pay. This allowed them to pad their pay checks when business was slow, and it also earned them a shady reputation. As a side note, one of the most famous rat catchers in London’s history was a man named Jack Black, who claimed that his black-tan terrier was the father of all the black-tan terriers in London, and who pioneered the art of breeding rats and keeping them as pets. He even wore an outfit made entirely of scarlet cloth, with a big, wide sash across his chest that had two cast iron rats on it. He was probably also a riot at parties, but I can’t confirm that – just a hunch.

The man who walked into Hamelin that June wasn’t any less of a character, if the legends are to be believed. He wore an outrageous outfit, although his was reportedly one of multicoloured fabric that was known back then as “pied” (which was typically a sort of blotchy pattern), and he carried a tool that no other rat catcher claimed to use - a flute - and the mayor of Hamelin trusted the man. Maybe it was the not-so-subtle allusion his appearance made to the ancient stories of the god Pan, a deity who tended flocks of animals and played a flute; maybe it was the man’s marketing ability, that silver tongue and outrageous outfit; perhaps he overpromised and won the mayor’s approval - whatever the reason, this stranger was said to have struck a deal. He would catch all the rats in town, he told the mayor. He would lead them out of the town and away from their lives and he would do this, he said, with his musical instrument, a pipe that he claimed would lure them away. Now, I don’t know about you, but I would have been sceptical. The mayor, though, was desperate. Sure, they haggled over the price, but in the end the stranger won. The exact amount of money differs from version to version of the story, but in all of them it’s an exorbitant sum, and that’s the point. Hamelin was so desperate that they were willing to overpay for a solution, and then he got to work. According to all the stories, and even the children’s tales we were raised on, the piper picked up his flute and began to play. As if driven by some magical force, all of the rats in Hamelin scuttled out of their hiding places and began to crowd around him; streams of them, thousands of them, all writhing in a mass at his feet. Then, when it seemed like they had all come out, he marched out of town and down to the Vesser river. The stories say that he was beyond successful. Most accounts say that all but one of the rats drowned in the river that day. Hamelin’s troubles were over, for a while. You see, the piper returned later to collect his money - he had done the job they had hired him to perform, the rats were gone, but for some unknown reason, the mayor refused to pay him. Now, the stories don’t say why, but we can speculate. Maybe it was because the stranger didn’t return with any bodies to show for his work, as was the custom for a rat catcher. How could the town pay him per head when there were no heads to count? At any rate, the mayor turned the stranger away and the man, clearly taken advantage of, stormed out of the village, but not before turning to face the people of Hamelin and proclaim a curse on them. He would return one day, he said, and when he did, he would have his revenge. Remember, this is a story that has been passed down for 800 years - most of what we know about the real events is pure legend, based loosely on scattered reports of a stained-glass window in the church there, in Hamelin. The window itself was lost in 1660, but there a drawings of it that predate the destruction as far back as the 14th century, and the earliest mention of these events is a 1384 entry in the Hamelin town records. The events were recorded, of course, because the stranger did return. According to the story, though, he changed clothing, trading in his colourful robes for the uniform of a hunter. Gone was the salesman; the stranger was returning for vengeance. While the adults were in church on June 26th, the stranger strode into town and began to play his flute again. This time, rather than crowds of writhing rats, it was the children who clambered out of the houses. They flooded the streets, gathering around the strange visitor, and then, when they were all present, he marched them out of town, never to be seen again. There are, of course, a number of morals to this story, but the one that has stuck with us for centuries remains ever-true: never trust a stranger.

Folklore is full of strangers. In many stories, it’s flat-out amazing just how much freedom we have given them in our lives. Even stories of someone as benign as Santa Claus have an element of danger when you view them from outside cultural fishbowl. Here’s the story of a strange man who stalks our children year-round, noting their behaviour and secret desires, who then breaks into our homes, eats our food, and leaves a few presents to prove that he was there. For the people of Hamelin, though, that stranger cost them far more than a plate of cookies. Their ill treatment of the man who came to town led to the loss of their children, and as difficult as it is to believe, the story of Hamelin is true – part of it, at least. Scholars are in agreement that the rats were a later addition to the tale, showing up about 300 years after the events were said to have taken place. But as far back as the records go, there has always been a stranger, a visitor from the outside, who leaves with the children, and although it’s taken a very long time to figure out why, some historians think they have the answer. To understand the truth, they say, we first have to understand the political culture that Hamelin found itself in. In 1227, about 50 years prior to the events of Hamelin, a battle took place on the border between what was then the Holy Roman Empire and Denmark, pushing the Danish border north of modern-day Germany. As a result, a whole new territory opened up that needed colonists. Men called “locators” were assigned to travel the land and find volunteers to populate this new territory, who often wore colourful clothing. They were eloquent speakers. They were, in a sense, a lot like today’s door-to-door salesmen. The empire needed farmers and craftsmen and soldiers to protect these new lands, but it was hard to find people willing to uproot their lives and travel north, especially when that new land was alongside a contested, military-heavy border. It was a hard sell, and so when the locators came knocking, rather than shipping off a handful of adult volunteers, townsfolk would sometimes get creative. Instead of paying with their own lives, they would sell their children to these men. The proof, it turns out, is in the phonebook, and on Google maps. Many town names along a line between Hamelin and Poland bear a striking resemblance to town names from medieval Germany, oftentimes even showing up more than once. Even more compelling, surnames from the 1284 Hamelin town records still show up in phonebooks in Pomerania, a region of Poland along the Baltic sea. The folklore, you see, tells a colourful story, one that’s as easy for children to swallow as a spoonful of honey, but the truth that the story hides turns out to be far less palatable. An entire town, desperate for a solution to their economic and social challenges, actually sold their children off to recruiters hoping to colonise new lands. It’s a plot reminiscent of M. Night Shyamalan’s The Village, in that these people constructed a fantasy around certain events, and then passed that lie on to later generations in order to justify their actions and avoid questions. In the end, an outsider did indeed come to Hamelin that day, but he wasn’t the one who took the children. No, it turns out that the true monsters were already there, living in the house next door, shopping in the market, farming the fields. The most dangerous stranger, it seems, isn’t the outsider – it’s the one that hides among us.

[Closing statements]

#lore podcast #podcast transcripts #aaron mahnke #christmas #krampus #pied piper of hamelin #folklore #italy #iceland #germany #transcripts #24

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davidmann95 · 7 years ago

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What's your Marvel Starter Pack?

My Marvel knowledge isn’t nearly as extensive as what I have for DC, so this’ll be scaled back to 12 books from the 15 I had there (nevermind Superman and Batman’s own personal lists). Additionally, since Marvel’s even more about Right Now than DC, nothing here is earlier than the turn of the century; a lot of my older recommended reading is by my dad’s suggestion since he had plenty of firsthand experience with the Silver and Bronze ages. Also worth noting that my Marvel tastes don’t exactly fall in line with the general sensibilities of Tumblr or fandom at large - I’m not a big X-Men guy, for instance - so your results may vary. But anyway, again, if you’re following me but new to actually collecting comics and wondering what to look into to gauge your interests, I’ve got plenty for you.

1. Daredevil by Mark Waid

What it’s about: Blinded as a child pushing an old man out of the path of an oncoming truck transporting radioactive waste, Matt Murdock grew up to become a lawyer, encouraged by his pugilist father Battlin’ Jack Murdock not to rely on his fists as he had throughout life. But when Jack was murdered for refusing to throw a fight, Matt was forced to rely on the talents he had developed in secret under his sensei Stick - the same isotopes that took away his sight boosted his remaining four to superhuman levels, as well as granting him a 360° awareness of his surroundings he termed his ‘radar sense’ - to find justice for his father and those like him, becoming the vigilante Daredevil. Now, after a crimefighting career marked by agony, loss, and an increasingly deteriorating psyche, his identity has been unofficially exposed by the tabloid press…but attempting to turn around both his life and his mental health, Matt’s chosen to try and re-embrace the good in both his daytime career and in the thrill of his adventures as the Man Without Fear.

Why you should read it: Aside from being in my opinion the most influential superhero comic of the decade, Mark Waid’s tenure on Daredevil is the complete package of superhero comics. Energizing, gorgeous, accessible, character-driven, innovative, and bold, it’s a platonic ideal of Good Superhero Comics, and most especially Good Marvel Superhero Comics, and as such there’s little better place to start.

Further recommendations if you liked it: Shockingly, few modern Marvel titles seem to operate on a similar frequency to this run, even among those that clearly wouldn’t have existed without it; of those I don’t mention in one capacity or another below, the only modern books that leap out to me as being of a similar breed are Roger Langridge and Chris Samnee’s (the latter ending up the primary artist on Waid’s Daredevil) tragically cut short Thor: The Mighty Avenger, Dan Slott and Mike Allred’s Silver Surfer, and Al Ewing’s Contest of Champions. Given the classic mood it evokes, you might also be interested in some of Marvel’s older stuff in general - as probably most conveniently packaged in the Essential volumes - as well as the more recent Marvel Adventures line of all-ages titles. For hornhead himself, most of his classic work tends to operate in a pitch-black noir mood that much of Waid’s run is meant to contrast; if you want to delve into it, go to Frank Miller’s run (primarily Born Again), then Brian Bendis’s followed by Ed Brubaker’s and, following Waid, Chip Zdarsky’s (the Charles Soule run in the middle seems largely forgettable).

2. Marvels

What: Following the career of photojournalist Phil Sheldon - beginning in World War II with the rise of the likes of the Human Torch, Namor, and Captain America, and forward into the reemergence of superheroes with the Fantastic Four - Marvels shows what the battles that define a world look like to the helpless spectators, from the controversy surrounding mysterious vigilantes such as Spider-Man, the fear of the “mutant menace” represented by the X-Men, and the terror when the planet is first truly threatened at the hands of Galactus.

Why: As well as being one of Marvel’s best and most defining works period - this is Kurt Busiek and Alex Ross’s coming out party as two of the most significant names in the genre, and it articulates Marvel’s avowed “it’s the world outside your window!” philosophy better than perhaps any other title - Marvel is ruled by history and continuity in a way DC isn’t. The latter may have reboots to contend with, but Marvel has a much more upfront and consistently significant timeline of what happened when and what’s important, and if you’re going to have to immerse yourself in that ridiculous lore, there’s no more fulfilling way of getting an injection of pure backstory than this.

Recommendations: There’s a follow-up by Busiek, Roger Stern and Jay Anacleto titled Marvels: Eye of the Camera; I haven’t read it yet myself, but given the pedigree involved I can’t imagine it’s anything less than entirely solid. For other Major Marvel Events, the defining one of the 21st century is Mark Millar and Steve McNiven’s Civil War, which set a tone that still reverberates through the line; also worth checking out the recent Marvel Legacy oneshot, which seems to be laying the groundwork for things to come. Speaking of setting a tone, while it’s not directly ‘relevant’ continuity-wise, Millar also worked with Bryan Hitch on Ultimates 1 & 2, which proved to be the aesthetic model for the current wave of Marvel movies and added plenty of ideas that have been extensively mined since. History of the Marvel Universe by Mark Waid and Javier Rodriguez fits its title and is absolutely worth a library checkout, but is mainly a rote checklist elevated by all-timer artwork.

3. Kieron Gillen and Jamie McKelvie’s Young Avengers

What: The heroes of the group once known as the ‘Young Avengers’ have gone their separate ways, each trying to figure things out on the cusp of adulthood. But when Wiccan’s attempt at helping his boyfriend goes horribly wrong - mixed in with a pint-sized god of mischief’s machinations, an interdimensional bruiser’s attempts at routing him, and non-Hawkguy Hawkeye’s extraterrestrial hookup - the gang’s forced back together again and on the run before old age literally swallows them whole.

Why: Here’s the bummer truth, daddy-o: I am not, in the common parlance, down with the hep cats, at least as far as gateway young-readers Marvel books go. I flipped through Runaways and wasn’t compelled to pick it up; I kept on with Ms. Marvel for a couple years but always on the edge of falling out of my monthly pile. Unless it’s truly next-level spectacular or heart-pouring-out sincere, gimme superfolks routing fiendish plots and going on trippy adventures any day over a bunch of sad kids in tights figuring out adolescence all over again: Spidey already did it first and better, and when emotionally-down-to-Earth superhero comics do get me fired up it’s usually set a little later on in life (even when I was the target audience for this sort of thing). But fire it through Gillen/McKelvie laser neon sexytime pop, and suddenly you’re in business. Slick, smart, raw, and wild, this was the best comic of 2013, and’ll certainly go down as one of the best superhero titles of this decade, Marvel as the Cool Kids of superherodom dialed up to 11.

Recommendations: Nothing else quite like this out there - the closest in feeling is Grant Morrison and J.G. Jones’ excellent original Marvel Boy miniseries, though that’s more about becoming a 20-something out in the world in the sense of wanting to burn it all down to the ground - but as I said, Runaways and Ms. Marvel do generally appeal to the same audience (and to be clear, I did like the latter just fine), as do the original Young Avengers run and Avengers Academy. Personally, I checked out and liked Avengers Arena, where all the fun teen heroes got forced into Hunger Gamsing each other on a murder island run by Arcade, followed up by them breaking bad in Avengers Undercover - please note that I’m like one of the three people on Earth who liked this book as opposed to ravenously despising it, which probably has in part do to with my lack of prior attachment to the characters involved. Also, important to note that this book is in the middle of a thematic Loki trilogy, preceded by Gillen’s Journey Into Mystery (which I haven’t read but don’t for a second doubt the quality of), and completed by Al Ewing and Lee Garbett’s truly magnificent Loki: Agent of Asgard; also worth noting that these books, and really modern Loki as a whole, are deeply rooted in Robert Rodi and Esad Ribic’s Thor & Loki: Blood Brothers. And for perfect entry books, I don’t think there’s much of anything better out there, especially for young readers, than Ryan North and Erica Henderson’s The Unbeatable Squirrel Girl, one of Marvel’s most consistently high-quality ongoings of the last several years.

4. Hawkeye: My Life As A Weapon

What: Clint Barton, aka Hawkeye, aka Hawkguy, is the Avenger who’s Just A Dude. No super-steroids and vita-rays, no magic hammer or Pym particles, a distinct lack of multi-billion dollar armor or immortality serum. Dude has a bow and arrow, and while he is very, very good with that bow and arrow, he still gets his ass kicked a frankly disproportionate amount relative to his teammates. Between meeting a dog, buying a car, and hanging out with friends - even if each incident goes significantly more wrong that they would for anyone other than Clint Barton, with non-Hawkguy Hawkeye Kate Bishop typically along for the ride - this is what he gets up to when he’s not helping save the world.

Why: Gonna show my heresy again: I’m not actually over the moon about Fraction/Aja’s Hawkeye past the first arc. But that first arc? Man oh man oh man, are they about as good as Marvel gets. This is absolute next-level storytelling on every front, with Aja and Pulido pulling out all the stops and Fraction - who by all accounts thinks more about the process of how comics work than anyone else in the field - just pouring heart and style all over the thing. It’s as tight and energetic as comics get, and the perfect introduction to Marvel’s street-level corner.

Recommendations: Aside from the rest of this run, there’s the recent Hawkeye (starring the non-Hawkguy Hawkeye Kate Bishop) by Kelly Thompson and Leonardo Romero, and there’s a generous helping of Hawkguy in Ales Kot and Michael Walsh’s Secret Avengers, a book as tight and out-of-the-box and oddly joyous in its own way as this. If you’re looking for other Marvel material that gets this explicitly experimental and afield of the house style, go for Jim Steranko’s much-loved work with Nick Fury. And for the other, considerably grimmer side of the street, aside from the Daredevil stuff I mentioned above, check out anything and everything you can get your hands on from Garth Ennis’s work with the Punisher, along with Greg Rucka’s and Jason Aaron’s.

5. Moon Knight: From The Dead

EDIT: This list was written prior to allegations made against Warren Ellis. It’s your money, but while I’d still recommend checking the book out of the library - the quality of the work isn’t going to change now that it’s out there in the universe - if you’re looking to pad your bookshelf I might recommend skipping to some of the books suggested below in its place.

What: Marc Spector was a mercenary until the day he died, betrayed in the desert before an Egyptian temple by his comrades…and then he kept going. No one knows for sure whether the truth is what his doctors have to say - that sharing his head with the likes of Steven Grant and Jake Lockley is a manifestation of DID, and he’s a profoundly sick man - or his own interpretation - that his fragile human personality buckled and shattered before the immensity when dying by its temple, he bowed his head at death’s door to the moon god Khonshu and let it seize his soul. Whatever the truth, he now knows his purpose: to defend travelers by night from whatever horrors would cross their path.

Why: There’s no story as such to be told here; Ellis and Shalvey simply show six adventures over six issues that establish Moon Knight and the scope of what he’s capable of when handled properly, ranging from straightforward detective work to psychedelic journeys through a rotting dream to a jaw-dropping issue-long fight scene. Marvel has a proud history of material skewing slightly to the left of the rest of their output, tonally and conceptually, and this is your ideal gateway to Weird Marvel.

Recommendations: For the further adventures of Moon Knight, by recommendation would be Max Bemis and Jacen Burrows’ current volume, which is following up on the seeds Ellis and Shalvey laid down quite satisfactorily, with a few twists of their own on top. Ellis himself used Moon Knight before this in his run on Secret Avengers with a number of different artists, which was very much a precursor to his work above in its high-concept done-in-one style; also check out his book Nextwave with Stuart Immonen, which is as out there as it gets for Marvel and also the best comic ever. Delving into Marvel’s spooky side, if this did anything at all for you absolutely get all of Al Ewing and Joe Bennett’s massively and rightfully acclaimed The Immortal Hulk (and if you’re looking for more something more traditional with the Green Goliath, Mark Waid’s The Indestructible Hulk is a hoot). If you really want to go to ground zero of Weird Marvel, you’re in the market for Steve Gerber’s work, primarily Defenders and his own creation Howard the Duck (who had another very entertaining via Chip Zdarsky and Joe Quinones recently worth checking out). Another notably out-there character worth checking out is She-Hulk, particularly in Dan Slott’s run and Charles Soule/Javier Pulido’s. Two more figures existing on Marvel’s weirder end are Doctor Strange - whose ‘classic’ work would as I understand it be Steve Englehart and Frank Brunner’s run, and who’s worth checking out more recently in Brian K. Vaughan and Marcos Martin’s miniseries The Oath, Jason Aaron and Chris Bachalo’s run, and Donny Cates and Gabriel Hernandez Walta’s - and the Inhumans - while contemporary attempts to push them have been a failure, there have been excellent individual successes in Ellis, Gerardo Zaffino, and Roland Boschi’s Karnak, Al Ewing and company’s Royals, and Saladin Ahmed and Christian Ward’s Black Bolt. And I’d be remiss in the extreme not to bring up Gabriel Walta and Tom King’s Vision, which I don’t want to give anything away of, but has a serious claim to being the best thing Marvel’s ever published.

6. Ultimate Spider-Man by Bendis & Bagley

What: When bitten by a genetically mutated spider Peter Parker thought he could use his newfound powers to make a quick buck, and come on, you already know this.

Why: This is the foundational modern Spider-Man. The first arc’s aged a little wonky in bits as Bendis was trying to make late-90s/early-00s Teen Slang work, but by and large, Brian Bendis and Mark Bagley’s original 111-issue tenure on Ultimate Spider-Man reimagining his early years was pound-for-pound one of Marvel’s all-time most engaging, exciting, dramatic, and authentic long-term runs. This is the template for every movie (especially Homecoming) and TV show he’s had in the last decade, a sizable part of what got me into comics in the first place, and one of the company’s most reliable perennials. You want to get onboard with maybe the most popular superhero in the world, you do it here.

Recommendations: With the remainder of the list I’m getting into more character/concept-specific reccs, and for other great Spider-Man, your best bet truly is the classic early material by Stan Lee, Steve Ditko, and John Romita as collected in the Essential volumes, which has aged unbelievably well compared to its contemporaries; Bendis’s post-Bagley material just doesn’t hold up, even with the introduction of fan-favorite Miles Morales. For other ‘classics’, your best bests are Spider-Man: Blue, and by my understanding the runs of Roger Stern and J.M. DeMatteis, particularly the latters’ Kraven’s Last Hunt. For the modern stuff, Chip Zdarksy’s current Peter Parker: The Spectacular Spider-Man is just getting better and better, I’ve heard very good things about Spider-Man Loves Mary Jane, I personally enjoyed Mark Millar and (at his peak) JMS’s runs, and while most agree Dan Slott’s soon-concluding decade-long tenure on the character has outstayed its welcome, he’s also turned in some stone-cold classics like No One Dies and Spider-Man/Human Torch, as well as other entertaining work such as the original Renew Your Vows and Superior Spider-Man. Most recently, Chip Zdarsky’s work with the character in The Spectacular Spider-Man and the high-concept out-of-continuity miniseries Spider-Man: Life Story are some of Mr. Parker’s all-time best, while Tom Taylor’s Friendly Neighborhood Spider-Man is a charming relatively small-scale superhero adventure book, and Saladin Ahmed and Javier Garron’s Miles Morales: Spider-Man is easily the best possible introduction to that guy.

7. Thor: God of Thunder Vol. 1

What: Though Thor, the god of thunder and mighty Avenger, has faced limitless threats to even divine life and limb over his many millennia, only one figure has ever truly frightened him. Now, as he discovers a serial killer of deities is loose in the cosmos, he must turn to his past and future alike in order to survive the coming of the God-Butcher.

Why: The pick on this list most directly relevant to those coming in from the movies right now, I’m afraid that while a bit of this was plucked for Ragnarok, this isn’t remotely on the same wavelength. This is black metal death opera screamed through the megaphone of wild space-spanning superheroics, and not only is it the best Thor comic, it’s the perfect introduction to Marvel’s cosmic side.

Recommendations: Along with the Loki books I namechecked above, the defining run on Thor (though the rest of his continuing work there is also very much worth checking out) is Walter Simonson, which laid down a lot of the fundamentals of the character as he exists today; along with that and the rest of Aaron’s run, my understanding is that Lee/Kirby’s original run holds up very well. For more satisfying fight comics, I’d also suggest World War Hulk, and I hear Marvel’s early Conan comics were standouts. On the cosmic end, I know the Guardians of the Galaxy are where it’s at these days; they sprang to life in their current incarnation in the much-loved Annihilation, and while I haven’t been reading their current Gerry Duggan/Aaron Kuder run, it’s well-liked and probably a good place to drop on, as would be the recent Chip Zdarsky/Kris Anka Starlord, and I’d personally recommend Al Ewing and Adam Gorhan’s Rocket. Beyond them, Jonathan Hickman’s comics are where it’s really at, from his Fantastic Four to S.H.I.E.L.D. to Ultimates to Avengers/New Avengers to the big finale to his overarching story in Secret Wars; it’s a complicated reading order to figure out, but oh-so-worth it.

8. Iron Man: Extremis

What: Faced with the horrors of his amoral past and the questions of a future coming quicker than he can manage, Tony Stark faces his most dangerous enemy yet when experimental post-human body modification tech is let loose into the world and lands in the hands of a white supremacist terrorist cell.

Why: More than anything other than Robert Downey Jr. smirking and quipping, this story is the definitive model for the modern Iron Man, taking a C-lister most notable for dealing with alcoholism decades earlier and hanging out on the B-list team in the Avengers (at least until 2012), and redefining his personality, aesthetic, and role in the 21st century as a man who might be smart enough to save the world if he can ever pull together enough to somehow save himself from his own compromises and weaknesses. The road to this guy becoming a household name is paved here.

Recommendations: Prior to this, his biggest stories were Demon in a Bottle, showing his first reckoning with his alcohol abuse, and Denny O’Neil’s 40-issue run introducing Obadiah Stane and showing Stark’s darkest hour as he sinks completely into his illness. Post-Ellis, the big run is Matt Fraction and Salvador Larroca, which seizes both on the ideas here and the momentum granted by his Hollywood debut to cement his status as an A-lister; after that check out Kieron Gillen’s, which is not only a fun big-idea series in its own right but paves the way for Al Ewing’s spinoff Fatal Frontier, easily one of Iron Man’s best and most overlooked titles. Finally, while it was derided in its own time (that it was a spinoff of an event that turned him evil but the comic never especially explained the circumstances didn’t help), Superior Iron Man is also worth a look as a horrifying contrast to the rest of these.

9. Captain America: Man Out Of Time

What: A sickly young man who volunteered to participate in an experimental super-soldier program to serve his country in World War II, Steve Rogers became Captain America and protected the world from the Nazis with unimaginable courage and distinction, until the day he died disarming a drone plane rigged to blow aimed at America’s shores. He was honored throughout history…until the day he was found alive by the Avengers, frozen in the Atlantic and ready to emerge into the lights of the 21st century when needed most. Most people know that story. This is the story of what happened next.

Why: The search for the definitive statement on Captain America is one that’s driven his character for decades: after all, handling him doesn’t just mean talking about one man’s character, but the character of a nation. Successes are typically qualified, but one of the more successful creators in the pool is Mark Waid, who’s up to his fourth time at bat with Steve right now on the main book. His own most notable effort however is here, showing Rogers’ earliest days post-iceberg as he adjusts to living in what is to him the far-flung future, seeing the ways the nation has both surpassed his wildest dreams and fallen short of his humblest expectations, leaving him in the end to make the choice of whether this is truly the world he wants to defend.

Recommendations: As I mentioned, Waid’s had a few times up at bat with Captain America, and while he initial 90s stints might not be ideal for new readers for a number of reasons, his current run with frequent partner Chris Samnee is a solid crowdpleaser and a perfect place to jump onboard. Prior to that, worth checking out are Jim Steranko’s bizarre and transformative 3-issue run, Steve Englehart’s legendary Secret Empire (not the recent contentious Marvel event comic, to be clear), Ed Brubaker’s turn of the character towards grounded espionage, and his co-creator Jack Kirby’s bombastic, passionate 1970s tenure on the Captain. Currently, Ta-Nehisi Coates’ run is quite solid. Regarding related characters, for the Winter Soldier I’d suggest Ales Kot and Marco Rudy’s unconventional cosmic thriller Bucky Barnes: Winter Soldier; Black Widow had her own recent and excellent Mark Waid/Chris Samnee run, and I’d also recommend the one-shot Avengers Assemble 14AU by Al Ewing and Butch Guice, and issue #20 from Warren Ellis’s previously mentioned time on Secret Avengers; for Black Panther, his definitive runs are under Don McGregor and Christopher Priest, and I’d also note Jason Aaron and Jefte Palo’s Secret Invasion arc as showing T’Challa at his best.

10. Fantastic Four By Waid & Wieringo

What: Bathed in cosmic radiation on an ill-fated journey to the stars, Reed Richards, Sue and Johnny Storm, and Ben Grimm were transformed, and became the Fantastic Four, first family of an age of heroes! Now, years into their careers and with Reed and Sue’s young children in tow, they continue to explore new frontiers, whether battling a sentient equation gone mad, contending with an extradimensional roach infestation, or perhaps most perilous of all, Johnny trying to deal with getting a real job.

Why: Plenty consider the Fantastic Four one of Marvel’s most difficult groups to get right, but Waid and Wieringo nail the formula here as well as anyone ever has, just the right mix of high adventure and family dynamics to draw just about anyone in; this is as crowdpleasing as comics get and the perfect introduction to the best superhero team out there.

Recommendations: The FF’s another group where it’s worth going back to their earliest days of Lee and Kirby; while much of the writing’s aged awkwardly at best, they’re the absolute foundational comics of the entire universe and lay down concepts that are still getting use today throughout that universe. Past that initial run, John Byrne and Walter Simonson’s are among the best by reputation, as well as Jonathan Hickman’s as I discussed before (Mark Millar and Bryan Hitch’s is worth tracking down as well, especially since concepts there end up feeding directly into Hickman). For more outside-the-box material, Joe Casey and Chris Weston’s First Family is worth a look, as is Grant Morrison and Jae Lee’s 1234. And for the all-time best showing of bashful Benjamin J. Grimm, the ever-lovin’ blue-eyed Thing, find Marvel Two-In-One Annual #7 to see him defend the entire planet in a boxing match at Madison Square Garden. And while the team’s sadly off the table at the moment, Thing and the Torch are returning in Chip Zdarsky and Jim Cheung’s new volume of Marvel Two-In-One as they set out to find their missing family.

11. Mighty Avengers by Al Ewing

What: When Thanos takes to the skies as Earth’s Mightiest Heroes are off-planet, it’s a day unlike any other, as those left standing are forced to band together as the Mighty Avengers. And as the danger passes, the team remains, looking to truly work alongside those they protect rather than above them to make things better, even as forces conspire in the background to enslave them all.

Why: This title is something of a limitus test, in that it’s one where you’ll have to deal with it being constantly, infuriatingly forced to deal with crossover nonsense. It’s one of the big prices to pay for engaging with a larger universe, but the trade-off is that this is where Al Ewing gets set loose on the Marvel universe, drawing on every weird corner to pull together a run of genuine moral intent, note-perfect character work, and all-out adventure. This may be the ‘secondary’ team, but it’s as perfect as the Avengers have ever gotten.

Recommendations: The title itself is relaunched as Captain America and the Mighty Avengers, and as that ends but Ewing continues his time at Marvel, the characters and concepts end up divided among a number of titles: Contest of Champions, where a number of heroes are plucked from the timestream to duel for the power and amusement of the Grandmaster, New Avengers (later turned U.S.Avengers), where former X-Man Sunspot assembles a new team to act as a James Bond-ified international strike force, and Ultimates (later turned Ultimates2), where some of Earth’s most powerful and brilliant heroes band together to proactively defend against unimaginable cosmic threats; also try his mini-event Ultron Forever with Alan Davis sometime. Based on your response to numerous aspects of those titles, there’s a good chance you might be in the market for David Walker’s Luke Cage titles, Matt Fraction’s Defenders, and Jim Starlin’s cosmic 70s books such as Captain Marvel and Warlock (and make sure to read Nextwave at some point, Ewing actually follows up on that gonzo delight in some surprising ways here). For the ‘main’ team, aside from Hickman’s previously mentioned run - which while spectacular is pretty far afield of the usual tone - some suggestions might be Kurt Busiek and George Perez’s much-loved run, Roger Stern’s Under Siege, I have to imagine given the pedigree of the creators Earth’s Mightiest Heroes by Joe Casey and Scott Kolins, Brian Bendis’s extended ownership of the Avengers books, and The Kree-Skrull War.

12. Wolverine & The X-Men by Jason Aaron

What: Dwindled down to a few in a world that hates and fears them as much as ever, mutantkind has been split in two, with by-the-books Cyclops taking a hardline approach against oppression and feeling that the youth in the X-Men’s charge must be made ready to fight, while Wolverine has grown tired of throwing children into battle and has left to find a new way. Founding the Jean Gray School For Higher Learning, Logan’s found himself in the most unexpected role of all as a professor, fighting just has hard to keep the unimaginable high-tech academy and the hormonal super-powered student body in check as to fend off the supervillains inevitably sent their way.

Why: The X-Men aren’t exactly my forte, with a wobbly batting average at best over the years as the books devote at least as much effort to trying to juggle the continuity and soap opera demands as the actual sci-fi premise. There have been successes though, and few so geared towards new reader engagement as Wolverine & The X-Men, where Aaron strips the franchise down to the base essentials of a team living in a school for super-kids. It’s poppy, it’s weird, it’s touching, and it’s accessible. It’s the X-Men at its best.

Recommendations: The most direct predecessor to this run (aside from its actual lead-in miniseries X-Men: Schism, which is actually worth checking out) is Grant Morrison’s New X-Men, which takes the sci-fi aspects of the concept to the very limit in what I’m inclined to consider the best X-Men run, though it’s proven controversial over the years among longtime fans. The base of the team as it exists today is in Chris Clarmemont’s work, which I’m not wild about myself but has a few hits such as God Loves, Man Kills; if you’re looking for a modern update on the formula developed there, Astonishing X-Men by Joss Whedon and John Cassaday is probably your ticket (and the follow-up run by Warren Ellis is a great weird paramilitary sci-fi book for a bit). Jonathan Hickman’s relaunch is a radicaly and brilliant departure paving a new way forward; it’s perhaps best experienced after a bit of ‘traditional’ X-Men to understand the scale of the contrast, but check that out as soon as possible. For classic material, I understand the Roy Thomas/Neal Adams run was an early success, and Jeff Parker’s X-Men: First Class is by all accounts a charming look at the team’s earliest days. Jason Aaron’s work elsewhere on the X-Men proper was limited to the first 6 issues of the short-lived Amazing X-Men, but he had a very extended and successful tenure on Wolverine which would be my go-to recommendation for him; past that, Death of Wolverine actually satisfies, and All-New Wolverine starring his successor Laura Kinney was the best X-Men book on the stands for some time (writer Tom Taylor is also had a short-lived ‘proper’ X-book in X-Men: Red). As for the group’s many spin-offs, I’d suggest Rick Remender’s X-Force, Peter Milligan and Mike Allred’s X-Factor/X-Statix, and Joe Kelly and Ed McGuiness’s Spider-Man/Deadpool, which should serve as a decent introduction to the latter dude’s own oddball territory in the franchise along with the truly mad and utterly delightful You Are Deadpool.

#Marvel #Opinion

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clarke-griffin-did-nothing-wrong · 8 years ago

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Netflix’s Death Note

About to beat this dead horse till it explodes.

First things first, so you know what you’re getting into: I loathed this movie. My very soul burned while watching it. It zipped past The Lightning Thief and The Last Airbender in terms of bad and now rests solely at the bottom with Riverdale.

Next, I’ll start with what I liked about the movie.

Ryuk’s design was phenomenal. I could understand why Light wanted to piss himself after seeing him. Top notch work.

Also, the first scene where Little Bit-- I mean, Light Turner tried to threaten a bully by claiming child abuse and gets punched in the face. Kenny was a dick but that made him my favorite character.

I’m going to judge the movie objectively though I will throw in references to the anime just as an example of how a thing could have been handled better.

The characters were all terrible. I don’ t care about the casting, that’s no excuse for how unlikeable I found everyone. Light was whiny and so SO annoying. He was also so SO stupid. He didn’t just leave breadcrumbs right to his doorstep, he left entire loaves! Mia was an obvious sociopath. I don’t think I was supposed to like her so that’s fine; just putting it out there. Also, can we agree how weird it was that they literally got off on using the notebook. Death Note and chill should not be a thing.

L was... different. I wanted to like him but I didn’t understand how he was supposed to be the world’s greatest detective. He was an emotional wreck. He felt more like if Near was merged with Mello, smart, yes, but to on edge to be of any professional use. Watari had no real presence. He felt like a prop that was just lying around waiting for his cue with Light. I really did not buy L’ s breakdown over him. They didn’t feel as close as the movie wanted me to think they were.

The movie had zero interest in keeping its rules consistent. I pretty much have all the anime rules memorized but I decided that the movie could make up its own, I didn't care. They did, but they failed to enforce them properly.

For example, it’s clear that when a name is written in the note, the person dies, no ifs, buts or what ifs. Light himself goes through great pains to avoid writing his own name when describing an action using words like “her boyfriend” and “the Kira suspect”. Fine. But then it pulls conditional deaths out of its butthole and just plops it in the finale. No one said anything about that being possible, how are you going to hinge your entire finale on new rules?

We also have the note’s ability to control people being really arbitrary. Light wrote that Watari would be obsessed with finding out L’s true name and tell Light everything he knew, but this somehow translates into Light being able to dictate his every move down to telling him not to sleep.

Ryuk’s motivations, abilities and connection to the note are also really weird. At first you get the sense that he’s just a crazy sonuvabitch that wants to watch the world burn but you’re never really told why. The movie establishes him as an ancient being that’s been lurking around since ancient Japan but has no interest in explaining why he’s in America or why he suddenly has the need to watch humans mess with each other. The anime establishes him as a god that’s just bored so he drops his book and hopes for something fun. The movie purports that he has been passing the book around for a while. It also tries to have me believe that he is an agent of chaos (at one point he chides Light for worrying about rules) but then he was the one that wrote the rules in the book (he clearly states this when Light tries to use the rules against him: “. It just seems easier, to me, to control someone into using the book how you want to if they only know what you tell them. Seems stupid to write out all the rules in the book and then get upset when they read them.Who do you think wrote the rules”)

The book also seems to affect him... allegedly. It's never stated outright but when Light threatens to write his name, Ryuk threatens right back that no one has been able to write more than two letters of his name suggesting that he killed them before they could finish. This is weird on two fronts:

1: Ryuk’s name is already in the book. The only reason Light knew his name was because someone wrote a warning about him.

2: If Ryuk can kill the owner of the book, then why is it that he spent 90% of the movie trying to get Light to give the book to Mia?

And it isn’t clear if Ryuk can use the note himself! He wrote the rules himself, that is stated but he also said to Light that he would influence the next person to receive the note to write Light’s name. Why not do it himself?

It felt like Ryuk was just the genie to this oddly shaped lamp.

The ending was the worst part. It’s clever if you don’t think about it at all.

The idea was that Light thought up a clever plot in which he would escape his death that was plotted by Mia. This involves creating a conditional death for her as a bargaining chip so that she would only die IF she took the notebook. They would both fall and he would land safely in the water (physics disagrees but okay) and she would land on the shoreline. She would rip out the page that his name was written in out of the book while falling and this page would float into an open fire (physics still disagrees but okay). Light would be rescued by a paramedic that was also a criminal and the Death Note would be rescued by a pedophilic mailman and kept for two days before giving it back to Light and committing suicide.

It’s the first instance we see of Light being anything like the anime Light; cold, calculating and meticulously planning every detail so that he always survives and the Death Note is always returned to him. In fact, this might have been an origin story on how the whiny little teen became the god known as Kira.

But.

Analyzing his entire plan, it hinges on coincidences and rules that he probably just made up. Number one, he lucked out big time that there was a criminal paramedic in the police database and a mailman that would be around that area at that time to be in his plan. This whole thing wasn’t planned over the course of two days (the movie explains that the Death Note can control someone’s actions up to two days before the death) it was done in the span of about ten minutes maximum and had MAYBE half an hour to be carried out. The anime made time a huge factor with the note and so we were always on edge that Light’s plan would be carried out in time or what would happen if something happened too soon and he was caught and we were almost always in on the joke so we knew what would happen in how long. The movie has no presence of time and so we are just there to be strung along. In fact, Mia wrote that Light’s heart would stop at midnight but we have no idea when midnight is! Back to the plot, Light planned something based on new information in ten minutes and had thirty to have in come true, fine, whatever. L caught up with Light and chased him for a good while. It was a huge coincidence that he managed to get away and get to where he needed to go in the right amount of time. If he had done something smart then I’d give him points, but the only reason he managed to get away from L was because, a guy that just so happened to be a Kira follower, wandered out back. It wasn’t preordained, it was plot armor. Light wrote that all the shit would go down in Mia took the Death Note but what if their weak ass love story was real and she didn’t take the Note? would they just get caught by the police? Would they still fall? And Light’s name is still in the book and the conditions were carried out a few minutes after so would ha have died anyway? Finally, the movie never explained that the Note was able to control physics. He could control people and put them in the right place at the right time if possible (that’s what the anime handled much better too. It really hit home Light’s moral gray area because he couldn’t just find criminals lying around in a shed somewhere ready to be used, he had to kill innocent people to get what he wanted sometimes) but the fact that he wrote that the page with his name would fall into a fire and burn... for context, he was at the top of a Ferris Wheel in a park filled with people with a few open flames, on of which was near him. He didn’t say Mia fell with the page and it fell out of her hand into a fire, he said she rips it out and it fell from the top of the Ferris Wheel all the way down into a fire... and it works! With that kind of power, I fail to see why he hadn’t already won.

This movie was miserable from start to finish. One thing I will say is that it TRIED to make it on its own. It didn’t intentionally leave out explanations that only fans of the anime would get, it rebuilt the lore... somewhat and used that instead. Seriously, what is Ryuk’s purpose. We don’t even know if there are more death gods!)

You know, it really could have quenched half the hate against itself by being a sequel and not an adaptation. There were more Shinigami that could drop notebooks in America and there were more orphans at Whammy House to replace L. They could have just made it a sequel and, it would still be bad, but no one would be complaining that they butchered Light.

This movie was bullshit and I have more problems, particularly with L but I’ll put it in another post.

#Deathnote #netflix #soooo bad #light yagami #light turner #misa amane #mia sutton #l lawliet #not my l lawliet #unecessary #bad movie review #i'm good at complaining #not so much as explaining

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unit85and86hollymountcastle · 6 years ago

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Pitches

Rather than creating three different pitches and only developing one I decided to choose three different themes and combine them into one pitch.

Character/Species Design

Species design

Character design

Environmental design

Character sheet/player profile

This is the base list of my to-do’s. As there’s more than three and I can easily expand one much further than the others I wasn’t too concerned about following it exactly. Especially as my time is limited so I changed my overall pitch:

World Building

I chose world building as it allows me to create something from scratch with no limitations other than my own mind. I’m not restricted by any rules other than the ones I implement. The audience could be anyone, from people looking to create their own character to go into a world or someone who has interest in the species and their own lore but can expand on it individually. The purpose of this pitch is to persuade my tutors that my idea has potential to develop my skills further and produce a strong piece of specialist design.

Species Design

Appearance

The first step was deciding what sort of theme I wanted based around this species. I have a fondness for nature (floral and animals) and space as well as the natural elements like water, fire, air and earth (again, nature). Something I haven’t explored much compared to the others is space. Space is big and still very unknown and undiscovered so I decided ‘why not’. Due to how much of the universe is unknown it allows for me to experiment and still - to a degree- stay realistic. I decided to keep this species human-looking but with its own features. They have the same body shape as humans but a lot of details are very different.

Breathing Space is exciting as we humans know it now, but imagine if we could explore it much more and the other planets out there. I decided to incorporate this thought into this species. A way to breathe in space perhaps? Or survive in many different environments? This made me think about adding gills, providing a way for their bodies to push out oxygen-poor air. Another idea is to replace their organs with something different or replace what they might be made of.

I thought about glass lungs. This wouldn’t allow them to breathe exactly like humans do but could still be a form of filtration within them - their own form of breathing. This idea further lead me onto adding an object on the outside of their bodies made of glass which acts as a filtration system, holding their own chemical element from their own environment which helps them breathe. I used glass orbs inside the ears. I thought ears of creatures other than humans would help in this instant, creating a form of protection and holder for these orbs. This would mean a broken glass orb results in death due to no longer being able to filter the air, giving them no way to breathe. Glass in our world seems like a very fragile material so it is likely the glass these species use is something special, born with them and provided from their own planet.

Features/Traits At that point the species looked pretty bland. Human with different organs and ears - not very exciting. So, I looked at my interests some more.

Wings are always a go-to for me. I like the way they look, what they unlock and the type of image it can give a person, animal or species. Often wings are associated with birds but there’s also the religious aspect with angels and demons (positive and negative/good and bad). I started thinking that maybe this isn’t a good species and are usually the bad guys. War ‘angels’ perhaps?

By allowing different wings placements means some could be born with what may be considered useless, unable to be used for flight but still capable of communication. Maybe wings are a rarity? Or the higher up the hierarchy you are the more wings one may have? I decided to make wings a mutation although fairly common. Around 60% of the population having wings but only 30% big enough and in the correct place to use for flight.

They still looked like they were missing something, just slightly too bland and human-like to really claim themselves as their own species. I looked into them a bit more and liked the glass idea, being a special material they are born with and is unique to them but without it they can’t survive. Horns made of the same glass as the orbs but rather than used for breathing they are more a form of identification. Impossible to be born without horns but cracked or broken and they are cast out of society, classed as ‘tainted’. The glass is incredibly strong and very unlikely to crack making it such a big deal when it does happen.

As an addition I added tails! A fun addition which is there mostly for communication and help during flight. These are a very quiet species, preferring to communicate via wings, ears and tail language.

World Building

Lifestyle - What are they and how do they work?

Okay, so they have an appearance but what exactly are they? After some thought I realised a good comparison would be similar to bees and how they work within the hive.

Queen

She is the centre of the ‘hive’ (planet, city, empire).

Gives commands and orders

Makes all the decisions

Controls everyone else

Major punishment (isolation) for breaking rules and opposing the Queen and other Royalty.

Workers

Has a place in life

Produces something valuable (food, clothing, homing, etc.)

Produces offspring

‘Commanders’ and other leading officers in the military

Drones

Work for the military

Everything is under strict rule

Usually young

Easily sacrificed

However, instead of working like bees and helping the planet they take and consume all the natural resources until the planet is completely destroyed, a little similar to humans only at a much quicker pace that they can move from one planet to another within one generation.

Each of these species has their own element. They have to discover it later in life as it’s developed by training and practice but each is born with a minimum of one. The planet’s resources fuel their powers/elements.

Examples:

Water from the seas and ground

Earth from the ground and structure

Plants from their nature

Time messes up the planets sense of time

Nightmares drain from the species inhabiting the planet

Their powers are destructive meaning they cannot stay on one planet for long. Eventually planets turn into wastelands and the species drain the core until it is entirely destroyed before moving on. Their home planet is long gone and as much as they miss it they refuse to stop. Due to the requirements of their elements they’re very fond of planets with strong magic, usually indicated by floating planets and other magical creatures. Overall, they’re looking for a home. Unfortunately, they’re a destructive species so whilst their intentions are good their methods are messed up. So far they have not found a planet that can hold them. They understand the risks of using their elements but still refuse to stop using them, even limited.

Are they the good guys? Bad guys? Really it depends on the situation and point of perspective.

Their perspective:

Good guys

Want a home

Nothing can handle them

Don’t want to die

Others perspective:

Bad guys

Slaughter anyone/thing to benefit themselves

Killed for their own living

Selfish

Name I had some issues coming up with a name and left it until I had finished my final pitch. Due to their involvement with glass and how important it is to them I tried to base something around that with the second word including something else about them. I tried ‘orb’ in a few different languages but it didn’t fit right. Further in the designing process I add ‘veils’ which are part of the military uniform. I again looked at other languages until, eventually, I came across ‘schleier’. Meaning: veil in German.

This finalised my decision and the species name became Glasschleier.

Clothing

Due to the many worlds they discover (and usually eventually destroy) Glasschleiers clothing is very diverse. The hierarchy does have an effect on their clothing. Those higher on the hierarchy tend to wear light colours with a very expensive looking style. They tend to always look ‘formal’. Casual clothing can be as simple as jeans and a shirt from Earth or something much more complex and usual, it really depends on the individual and what style they prefer.

There are limitless possibilities for clothing!

The military has a uniform which is different for each role (soldier, commander, etc.). Colours are different and indicate what element the individual uses as they are separated by their elements.

It was at this point veils came to mind. Glasschleier are overall a very advanced species but this can depend on how long they are settled on one planet. This means they have some technology unknown to others. In this instance the veil is a protective shield which when activated hardens to protect their faces and has an interactive interface that is used for communication during battles. However, as they are a very regal and elegant species some decide to wear these veils at all times and is not only limited to the military.

Some quick chibi drawings to plan and decide on the outfit with some different, small varieties (short sleeves, different boots, etc.). No armour is included in the military uniform as it’s very rare the Glasschleier get near enough to their enemy as all elements are long range. This makes them very vulnerable if an enemy gets near enough.

Where the red is on the long ‘scarf’ that goes around their shoulders and down their back would be different colours depending on the element the individual uses.

Military and Weapons

For most of a Glasschleier’s life it may consist of war and battle. From invading planets for their own gain or simply travelling in small teams to find and collect a resource from another planet. More often than not it ends in bloodshed as they do not hold back if another species shows a sign of aggression. Due to this the majority of the population is part of the military and you’re only allowed to leave once you have served a minimum of 30 years unless they are born into a family that runs a business and can contribute via that.

The element/s an individual may have determines their role within the military.

1 element - soldier

2 elements - unit leader

3 elements - strategist

The more elements one has the higher up the hierarchy they go. This is because Glasschleier with more than one element have to be experienced to even be able to manipulate more than one element. It also means they are much more powerful.

However, even within the soldiers there is a form of hierarchy depending what element the individual wields.

Common - fire, water, wind

Uncommon - lightning, ice, plants

Rare - metal, light

Ultra Rare - time, nightmares

It’s very rare to find a Glasschleier that is able to manipulate time and nightmares. These are very valued members of the military due to the fact they can change the fate of an entire battle in one instant. Whilst they don’t have any control they are often involved in meetings.

Transport

Although they can survive on strange planets due to their ‘filtration’ systems in the glass orbs this doesn’t mean they can survive in space.

Main Ship: There is one main ship. It’s bigger than any city you might find on Earth which makes it their central hub. It plants itself into the ground once a planet has been found and merges with the terrain. The ship will instantly start to suck up the resources to fuel itself. This ship is mostly used to transport civilians that live in the central hub (shop keepers, etc.) and royalty.

Battle Ship: Much smaller than the main ship and used for transporting military to planets and other animals/supplies not located in the main ship when relocating.

Transport Ship (Pod): Small, pod-like ships. Expensive but affordable to anyone. Similar to the main ship they fuse with the ground and become a home available for up to a family of six, sometimes more depending on the size of transport ship.

In an attempt to create these different ships I looked at other space ships from films and tv shows. I looked into Marvel, Star Wars, Star Trek, The Orville and FTL: Faster Than Light. I was having trouble coming up with an idea despite my research but as this is not so important to my assignment I decided to not progress.

#task 3

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for-peace-war · 6 years ago

Note

I have already indicated what would have counted as a war crime and I have no idea why you mentioned the Art of War. In fact, no offense but most of this post seems to be you speaking to yourself about things that have either not come up or you’re discrediting to increase your own point.

As for the orcs after the second war I assume you’re being glib? The alliance of Lordaeron took on the burden of housing the captives at the expense of both its resources and its alliances. Gilneas left the alliance as a result – not because they felt it was inhumane but because they wanted to kill them all.

Those were the options: kill them all or imprison them. The dark portal was closed so you couldn’t send them home and this alien force had nearly eradicated all life on Azeroth. So clearly freeing them wasn’t an option. There’s also no real evidence of widespread slavery. We know that Blackmore was raising an army to overthrow Terenas, but that’s not alliance policy. The alliance was specifically holding the orcs because there was nothing else to do with them and that’s supported by lore.

We have never in the real world faced this instance of an alien, invasive force failing in its genocide campaign and having no actual place to be sent. Furthermore, we know that even before the orcs had blood they were already massacring the Draenei. We also know from WoD that even in a world where they don’t use the blood they still attack. I guess it would be like if the Mongols had invaded China, failed, and then because the way to Mongolia was sealed were placed in camps? I don’t know. It’s absurd to really consider.

Ultimately, we know orcs are warmongers by nature. This is a problem with the writing but it is a consistent rule that blizzard has followed. A large issue with this game is that geopolitical entities are racially based. It isn’t like in the real world where humans are in both sides of a conflict. In this, save for Great Exceptions (Nathanos, Eitrigg) whole races conform to one ideology. With that said the orcs and horde are written as aggressive war criminals. That’s really bad from an Othering perspective but again? That’s the lore.

I’m going to leave your rape allegory where it is because as I said it’s not pertinent. The orcs weren’t body jacked. The orcs were already making war before they were fighting. Now if you want to touch in forsaken/scourge even that is flawed. Garithos worked with Sylvanas and she betrayed him.

Sylvanas also is the one that found all the good forsaken and killed them because they wanted to see their loved ones. Really, how can you defend this as morally grey at all? She killed her own civilians because they wanted to see their families.

I just don’t get what you’re trying to do here. Hate the writing, but false equivalence is boring. It’s why we have an orange president, because people go “both sides are bad!” And refuse to think critically. Ask yourself where the issue begins and follow the thread.

Also there’s a problem with your dragon age comparison. If you read the Calling you know that though people feel the urge they can choose to go off and die rather than harm those they care for. Orcs didn’t do this, so why even bring them up? Why bring up dragon age at all? Did you think I’ve never read or played it...?

The only “war crimes” the Alliance commits are from the idiots who roleplay the marshals and generals of the military. Executing surrendering prisoners, corrupting moonwells with the void, saying there’s no such thing as a war crime against the Horde? I don’t think you people have any sense of self-awareness nor realize that there’s no way in hell the actual canon leaders would allow that stuff, but hey, whatever helps all of you enact your own childish power fantasies.

The Alliance lights Vulpera caravans on fire in Vol’dun under the orders of the 7th Legion. You can see they’ve also put them in nets and some of them are dead and burning which means they’ve been killed by fire as well. This is ostensibly ordered by Genn Greymane / Mathias Shaw who give the world quests. The vulpera aren’t even aligned with them officially, they were just trading. And while yes, there’s an NPC who shows remorse about it, that doesn’t change the fact they’re doing it / there’s vulpera running around on fire screaming.They use the void to necromatically raise sacred dinosaurs to run rampant on the Horde in Zuldazar, after having used the void to throw goblin workers into the void wholesale. This is ordered by Shaw / Magister Umbric.The Alliance infiltrated a dinner party and killed a bunch of diplomats who were playing golf. This is ordered by Halford Wyrmbane, Mathias Shaw and Magister Umbric.Kul Tiras rounded up prisoners from Warfang Hold and executed them all. They’re under the Storm’s Wake faction.Grand Lector Enaara talks about how she’s bored and would be happy to torture Horde Prisoners the same way she did to the demons in the name of the alliance using the Light. She’s a Lightforged leader and is sitting in the boat in Boralus.What the hell are you even talking about?

Have you paid attention at all to the War Campaign? The void is used liberally, on orders by a paladin who is supposed to be a lawful character. People are executed and killed all the time who are, essentially, civilian personel. You just don’t really mind it because there’s the mental disconnection that the Alliance is the ‘good faction’, so even though you’re killing civilian targets it’s for the ‘greater good’. That or the ‘eye for an eye’ fallacy, which doesn’t excuse that you’re doing heinous things, it just makes it easier to justify. And keep in mind, Anduin signs off on whatever Halford is doing since he shows up at the start of the expansion to tell him that much. The Alliance might not be overtly as ‘bad’ as the Horde, but to act like they’re entirely innocent is ignoring things for the sake of convenience. War crimes are still war crimes. It’s not a contest that suddenly invalidates the ones being done because the other side has more of them. If people are playing to the narrative then whatever, it’s working with what Blizzard is giving us.

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entergamingxp · 5 years ago

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DualShockers’ Favorite Games of 2019 — Laddie’s Top 10

January 1, 2020 5:00 PM EST

2019 was truly a wealth of gaming experiences that I loved, from Control, to Star Wars Jedi: Fallen Order, and more. Here are my top 10.

As 2019 comes to a close, DualShockers and our staff are reflecting on this year’s batch of games and what were their personal highlights within the last year. Unlike the official Game of the Year 2019 awards for DualShockers, there are little-to-no-rules on our individual Top 10 posts. For instance, any game — not just 2019 releases — can be considered.

As we entered 2019, my ever growing backlog of neglected or unfinished games had grown to epic proportions. I vowed to be better in 2019, so I made a New Year’s resolution that I would play and finish every game I acquired in 2019 before moving on to another. Well, it was a nice thought, but resolutions are meant to be broken and with only a few days left in the year, I have yet to play the very first game I purchased in 2019, Resident Evil 2.

Unfortunately this pattern continued as I found myself in a bit of a gaming funk, and for most of the beginning half of the year, gaming felt different, like I was doing it more out of habit rather than passion. Had I truly lost interest in the one hobby that has been my comfort zone for as long as I can remember?

Don’t get me wrong, there were a few bright spots throughout my despondency, but it wasn’t until August that I finally got my gaming groove back. On a whim, I bought Remnant: From the Ashes, and that old familiar feeling was back, baby! Now, that game wasn’t previously on my radar and it’s not perfect, but sometimes you just need a little unforeseen inspiration to get you going again.

After Remnant, it seemed the hits just kept coming, and it was looking unlikely I’d get to finish the previous months’ games that I skipped. With that being said, I feel my top ten would look a lot different than its current state considering I have yet to finish Devil May Cry 5, The Outer Worlds, A Plague Tale: Innocence, as well as a few other titles that went unplayed. Never the less, top 10 lists must go on, and here are my favorite games of 2019.

10. Anthem

Anthem: it’s not only one of my favorites of 2019, it’s also one of the games that broke my heart with bitter disappointment. Early impressions of Anthem gave me the hope that BioWare was on track to release a game that would not only counter Destiny, but show Bungie how a looter shooter, live service game was to be done straight out of the release gate. Well, as you know, Anthem did not deliver any of this and released a glitchy game in a skeletal state that felt like an unfinished symphony. EA had perpetrated a betrayal that was of Aliens: Colonial Marines level and within weeks after Anthem released, the game was a ghost town as gamers went running back to Destiny.

Despite all of this, the game with the longest loading screens known to man still managed to give me a few moments of fun. First off, the game is graphically stunning, and is easily one of the best looking games from this generation. While the execution of the story was a bit bland and the characters were mostly forgettable, there was an underlying lore that could still be the impetus of a great game or even sequel. Anthem’s greatest strength was making you feel like Iron Man once you entered your Javelin, the powered exosuit that comes in three flavors to appeal to different gameplay styles. Donning the Javelin suit gives you a super fluid movement both in flight and underwater that was almost as enjoyable as Titanfall’s parkour and jet packs. This also made for super-fun gameplay that unfortunately was lost due to lack of content.

EA and BioWare have made some improvements and promise to continue making Anthem a better game, and I really hope they can turn it around, but with new games always on the horizon, even the biggest Anthem supporters like myself might be reluctant to come back.

Check out DualShockers‘ review for Anthem.

9. Remnant: From the Ashes

The term “Soulslike” tends to inspire rage in me, and I refuse to accept it as a genre. Now, my experience with Souls games is very limited and consists mostly of Bloodborne. It’s not the punishing gameplay that sent me running from Yharnam, but rather the lack of checkpoints in the beginning. I grew up in a time where games were often difficult and had bad checkpoints that didn’t save automatically, I appreciated the challenge back then as I didn’t have my own money to purchase every game that caught my fancy, so anything that prolonged my interest in a game was welcome. However, as an adult who wants to play all of the games but has limited time, I prefer games with overactive checkpoints and generally steer clear of anything described as Soulslike. On a whim, I purchased Remnant: From the Ashes and fell in love.

I think the thing that appealed to me most with Remnant was the combat, which like all good Souls-inspired games has a rhythm that depends on dodging as much as it does attacking. While most Souls games are hack and slashes, Remnant: From the Ashes is a third person shooter. As you get to know me, you will learn, I like to shoot things in video games. Early on I died a lot but instead of becoming frustrated, I actually enjoyed the challenge of getting better. The game also features procedurally-generated levels where the enemies differ each time you play. Combine that with the unique look and feel of the four main areas of Remnant: From the Ashes, the game never gets boring.

Check out DualShockers‘ review for Remnant: From the Ashes.

8. Borderlands 3

Borderlands 3 for the most part sticks to the creed, “if it ain’t broke, don’t fix it.” While there’s a few slight improvements in gameplay and graphics, the game is still the irreverent, looter shooter packed with a “bazillion” guns that we have come to expect from the series.

Featuring an all new cast of Vault Hunters, along with a few familiar friends, the most notable improvement in Borderlands 3 is the ability to leave Pandora and visit other planets. Not only does this make the game more expansive, each planet has its own look and personality which is a nice break from the somewhat drab Pandora. Borderlands 3 isn’t rocket science; it’s hours of mindless fun, and at the end of the day, that’s all I really want from a Borderlands game.

Check out DualShockers‘ review for Borderlands 3.

7. Destiny 2: Shadowkeep

I’ve had a love/hate relationship with Destiny since the first game’s alpha. I always go back to Destiny but I have to admit that the constant changing of rules and its grindy disposition makes me a little crazy. I love Bungie’s dedication to the game and with Shadowkeep I feel that they finally nailed Destiny’s potential, even if it took them five years to do it.

While parts of Destiny 2 went free to play, Shadowkeep seemed to be a love letter to their dedicated community and proved Bungie can sustain this massive game even without Activision’s backing. Destiny 2 is one of the most frustrating and riveting gaming experiences I’ve had this generation, and while I’ll stray from it for weeks, even months, coming back to it always feels right.

6. Call of Duty: Modern Warfare

There’s not a Call of Duty game that I haven’t played, but the epitome of the series for me were the first two Modern Warfare games. Since Modern Warfare 2, I’ll admit that the series has had its shares of hits and misses, but each year I wait unapologetically for the newest iteration and hope it will be great again. Since Infinity Ward welcomed back several key members who had left for Respawn after Modern Warfare 2 and created a new engine for the aging beauty, there was hope this was the year that the series would return to its former glory.

I have to say, I wasn’t disappointed. Finally gone was the Treyarch imprint of the Pick 10 system in multiplayer that I hated; in its place was a more streamlined and highly customizable system which gave average players like myself a chance to actually compete. Some of the larger maps took some getting used to, but for the first time in Call of Duty there is no paid DLC, and the new maps have been correcting some of the shortcomings of the launch maps.

After last year’s Black Ops 4 decided to focus on Battle Royale instead of a campaign, Modern Warfare was back with one of the best and most poignant campaigns to date. While it never reaches the level of guilt that Spec Ops: The Line left me with, Modern Warfare does a good job of showing the horrors of war by making you question the morally grey area of who is good and who is evil. This hits you the most when you play as Farah Karim. Her backstory is heartbreaking, but necessary to show how she became the kick-ass rebel commander of the Urzikstan Liberation Force.

Modern Warfare is one of the most engaging games of the year and has offered Call of Duty a new lease on life. I’m still regularly playing (and enjoying) Modern Warfare and looking forward to what it has in store for the future.

Check out DualShockers‘ review for Call of Duty: Modern Warfare.

5. MediEvil

MediEvil was a real turning point for me in gaming. Not only did it thwart my gaming habit to obsession, it also paved the way to my PlayStation fangirl-ism. For the record, my heart might belong to Sony, but I’ll play on anything you set in front of me. Up until last year’s God of War, I always credited MediEvil as being my all-time favorite game. In fact, my love of the game runs so deep, I’ve always said that if I ever won the lottery, I’d singlehandedly fund a Kickstarter for MediEvil 3.

The game looked like a scene out of Tim Burton’s A Nightmare Before Christmas and featured elements of action-adventure, hack and slash, puzzle, and platforming games. The end result ended up being an irreverent story of an unlikely hero that attracted a cult following who were very vocal in getting Sir Dan Fortesque resurrected from the dead and obscurity in a newly remastered version of the beloved game. I always felt MediEvil was ahead of its time, so it’s no surprise that it still feels like a fresh concept in 2019 that I still have a ton of fun playing.

4. Concrete Genie

Sometimes a game can still be fun and entertaining while raising awareness. Concrete Genie from Pixelopus tackles the subject of bullying as experienced through the game’s protagonist, Ash. Through Ash’s eyes and paintbrush, you will escape the wrath of the bullies through a visionary narrative where your art and imagination come to life.

At first it appears as if Concrete Genie is just a glorified graffiti simulator, but as the story unfolds and Ash gains different powers and abilities, the game soon turns into something that feels like inFamous Lite. It’s a unique and charming game that I won’t soon forget. It also contains an optional VR mode that really exemplifies the concept of art coming to life. I absolutely adore Concrete Genie.

3. Darksiders Genesis

The last new game of the year I played quickly earned a spot high on my top ten of 2019. I’m a big fan of the Darksiders games, and when I heard that a prequel dungeon crawler would release so soon after Darksiders 3, I was giddy with excitement.

Darksiders Genesis lets you play as Strife for the first time, but you can also play as War, who was the star of the first game. Despite its isometric view, Genesis still looks and plays like a Darksiders game. The ability to switch between Strife and War is like getting to play your two favorite Diablo classes at once. It makes for great combat situations as well, as opens up the challenge of figuring out when to use Strife and when to use War in various situations. Surprisingly, it might be my favorite Darksiders game yet.

2. Star Wars Jedi: Fallen Order

From the moment I heard Respawn Entertainment hired Stig Asmussen and that he was going to be lead on a Star Wars game, I was over the moon. However, once I remembered EA was involved and that there hasn’t been a good Star Wars game in so many years, I started to worry that I was just setting myself up for disappointment.

You should always go with your first instinct, because Jedi: Fallen Order is so good. Everything about it just speaks to me. It feels like it’s an amalgamation of every game I have ever loved from Uncharted to God of War set in one of my favorite cinematic universes. Wielding a light saber in this game is the closest I’ll get to being a Jedi; well, I prefer the Dark Side, so we’ll go with Sith. For someone who has loved Star Wars for their entire life, I’ll be forever thankful for this game and Respawn Entertainment.

Check out DualShockers‘ review for Star Wars Jedi: Fallen Order.

1. Control

I fell in love with Control back in March when I played an early build of it at GDC; I knew then this game was something special. Remedy rarely disappoints and their games are all unique experiences, but Control is definitely Remedy at their best. I love the look of the game: it’s dark and eerie, which immediately sets the perfect mood and tone for what is to come.

What really attracted me was the gameplay. Sure, you have a service weapon that takes on various forms which is cool in itself, but once I started unlocking Jesse Faden’s psychic powers and learned how to use them all together, it was next level gaming. On consoles the game suffers from a few performance issues, but it didn’t diminish my love of Control.

The best way I can describe Control and the reason it is my favorite game of 2019 is that it made me feel like I was starring in an episode of The X-Files that was directed by David Lynch. Trust me: that’s the ultimate compliment in my world.

Check out DualShockers‘ review for Control.

Check out the rest of the DualShockers staff Top 10 lists and our official Game of the Year Awards:

December 23: DualShockers Game of the Year Awards 2019 December 25: Lou Contaldi, Editor-in-Chief // Logan Moore, Managing Editor December 26: Tomas Franzese, News Editor // Ryan Meitzler, Features Editor December 27: Mike Long, Community Manager // Scott White, Staff Writer December 28: Chris Compendio, Contributor // Mario Rivera, Video Manager // Kris Cornelisse, Staff Writer December 29: Scott Meaney, Community Director // Allisa James, Senior Staff Writer // Ben Bayliss, Senior Staff Writer December 30: Cameron Hawkins, Staff Writer // David Gill, Senior Staff Writer // Portia Lightfoot, Contributor December 31: Iyane Agossah, Senior Staff Writer // Michael Ruiz, Senior Staff Writer // Rachael Fiddis, Contributor January 1: Ricky Frech, Senior Staff Writer // Tanner Pierce, Staff Writer // Laddie Simco, Staff Writer

January 1, 2020 5:00 PM EST

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