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agir1ukn0w · 5 years

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My favorite parts from the SFX Good Omens issue:

“Perhaps surprisingly, our destination is the Garden of Eden...Here in the midst of the spectacular Atlantis Dunes and the worst drought in Cape Town’s history, is a little oasis of green that will be expanded later by the magic of CGI. This is where Adam and Eve eat (possibly) the most important apple in human civilization, and where angel Aziraphale (Michael Sheen) and serpent/demon Crowley (David Tennant) begin an unlikely millennia-spanning friendship as the representatives of their respective factions on Earth.” - Richard Edwards, SFX

“23 September 2010 was a red letter day in the history of Good Omens...After many years of trying to get the book made into a movie - most notably with Terry Gilliam at the helm - it was on this day, in a Cardiff restaurant, that Pratchett and Gaiman agreed that TV might have a better home for their story. ‘The Terry Gilliam one should have happened,’ recalls Gaiman...‘They had a really good script. Johnny Depp was going to play Crowley and Robin Williams was going to play Aziraphale, Madame Tracy and Hastur...[But] this was February 2002 - 9/11 had only just happened. He went around and said that it’s a funny film about the end of the world, and people said, “Go away,” and it died.’” - Richard Edwards, SFX

“Indeed, when streaming giants are throwing seemingly infinite quantities of cash at TV shows, we’re at a point where the only limitations to what goes up on screen is imagination. That’s exciting in many ways, but when you’re adapting a novel as beloved as Good Omens, it brings its own unique set of challenges. Just think about all those fans who feel like they know stuffy bookshop owner Aziraphale and his not-quite-as-cool-as-he-thinks BFF Crowley better than anyone else - and feel any deviation from the pictures in their mind is an aberration.” - Richard Edwards, SFX

“‘Good Omens absolutely belongs to the world,’ admits Gaiman. ‘Terry and I wrote a book that was 100,000 words, and that’s probably not more than 1% of the wordage of the total fan-fiction generated about these characters - even excluding the pornography. And I think that’s great. I love that. I’m pretty proud. When we started shooting, I did a post on Tumblr, and said, “Look, your head canon is your head canon. Nobody’s trying to fuck with that. We’re not coming in and saying ‘Our Crowley and Aziraphale is your Crowley and Aziraphale.’ You can still have a platonic Hamlet in your head after seeing five different Hamlets, with thin Hamlets and fat Hamlets and black Hamlets and white Hamlets and old Hamlets and young Hamlets. Your Hamlet can still be your Hamlet.” And that’s how I feel about Crowley and Aziraphale. We are lucky to have Michael Sheen and David Tennant,’ Gaiman adds, ‘the finest Welsh actor of his generation, and the finest Scottish actor of his generation. Watching them acting is like a fucking masterclass. I write something that I think is pretty good dialogue. I hand it to Michael and David, and it becomes better.’” - Richard Edwards, SFX

“Gaiman explains, ‘When I write a scene, the first thing I’m going to do is go to the book, and go, “Okay, what did we do? What are the great lines I need to keep in here? What’s key? What matters?” That’s occasionally been really weird - there’s at least one place where I found a huge goof in the book that I’m planning to quietly correct on future editions, without ever pointing it out to anybody, including you in this interview! You find that kind of thing when you get that deep into it. So there are a few jokes that I lost, where I went, “This is a thing of its time.” Or there were some lines that I looked at and went, “You wouldn’t let this line go through now. Therefore I feel no compunction in losing it.” And then there are other places where you go, “The book is our bible!”’” - Richard Edwards, SFX

“Neil Gaiman had never been a show runner before Good Omens and he says he’s unlikely to be one again. ‘I’m very much looking forward to retiring from show running,’ he admits. ‘I have promised my wife that I will go back to being the novelist that she married. And I look forward to that.’...‘I’m incredibly proud of what we’ve made,’ Gaiman adds. ‘Some bits are better than I could ever have dreamed. So it’s probably been worth it. On the other hand, I also look back at 20 months of not writing, no family life and all these ridiculously long work days, and I go, “Would I have done this for anything other than a promise to Terry to make it?” I don’t know. I might not have done this. It’s been work, you know? I occasionally remind myself that one reason I love being a writer was that you don’t have to get up too early in the morning!’” - Richard Edwards, SFX

“On paper Crowley’s the bad guy because he’s a demon. Do you see him that way? I don’t really see him as a villain. He would very much identify as a villain because that’s the team that he works for, and that’s what he’s supposed to be doing. And yet he keeps confounding that, because actually I think what’s the great charm of Crowley and Aziraphale is that they are not very binary. And that’s their great tragedy: over the thousands of years they’ve lived on Earth, they’ve sort of slipped from their primary mission. That’s, of course, what makes them such good friends. Although they wouldn’t even admit to being friends, and that’s what makes them the yin and yang for each other. Aziraphale is actually a bit of a bastard, and Crowley is quite kind-hearted at the end of the day. There are bigger villains in the piece than Crowley, and some of them are supposed to be the good guys!” - Richard Edwards Q&A with David Tennant, SFX

“What’s it like playing in a world of very personal beliefs and philosophies while also looking at these characters from a human point of view? Crowley’s very much within the infrastructure of Hell. Part of what I think is glorious about the way Neil sets these characters is, it’s supernatural but at the same time, it’s like an episode of The Office with the politics and the mundanities and the small-mindedness of the characters. From an acting point of view, that’s very easy to key into. Crowley is very much about his corner of existence, and protecting it.” - Richard Edwards Q&A with David Tennant, SFX

“How did you tap into Aziraphale’s personality? I decided that he’s someone who has an appreciation of craft and quality. Because he’s been around for so long, that’s something that he really responds to. Whereas Crowley just manifests his clothes, and is very much of the moment. Aziraphale has worn items of clothing over the centuries that he likes. And then if he’s an angel, and therefore a being of love, how does that affect his relationship with Crowley, someone who supposedly on the opposite team, but who he can’t do anything but love? What are the specifics of that in terms of how he relates to Crowley? You start to develop a very real person with very real qualities.” - Richard Edwards Q&A with Michael Sheen, SFX

“Did you approach playing Aziraphale and Crowley as if they were a kind of odd couple? I can’t imagine Aziraphale without Crowley. More than anything I’ve ever done, I can’t think about this character on his own - he only exists with Crowley. So from the very beginning, when we sat down at the table read, my Aziraphale was totally shaped by what David was doing as Crowley, and vice versa.” - Richard Edwards Q&A with Michael Sheen, SFX

“Does Aziraphale want to be Crowley a little bit? I think there are things about Crowley that he really admires and covets, but I don’t think that he wants to be Crowley. I think he just loves Crowley. He would never admit that, and Crowley would never admit that about Aziraphale. He admires certain qualities about him - he would like to be a bit more rock ’n’ roll, but he knows that it doesn’t really suit him. He also really enjoys being Aziraphale, I think.” - Richard Edwards Q&A with Michael Sheen, SFX

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popculturebuffet · 4 years

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New X-Men Xtrospective Part 1: E is For Extinction “They Will Need Us”

I am SO fucking excited for this one. As might not be obvious to ALL of my readers but should be obvious to some, I fucking love the X-Men. They are one of my favorite superhero teams period as are several of their spinoffs such as X-Factor (All versions), New Mutants, and Marauders. I love the wide cast, the hugely vast universe within the already vast and wonderful marvel universe, and the sheer amount of GREAT stories. I own all 11 movies, have several action figures, and two posters from Jonathan Hickman’s current and utterly dynamite run right above me right now as I work, as well as a marvel 80′s themed poster behind me that’s at least half x-men for good reason. I love this gang of mutants and I have not talked about them enough.

I”ve done some X-Men stuff sure: I’ve talked about hickman’s time as head writer of the books a year in earlier this year, I did a few scattered reviews back when I did single issues of comics, and then we get to the one I beefed big time: covering ALL of X-Men evolution. While it’s a noble endeavor I freely admit to overexerting myself: I recapped the episodes way too closely, gave myself no real schedule and did so while I was already covering two shows a week at the time. My point is it was a good idea, but the timing was REALLY fucking bad and if I do it again, I intend to do it right and iwth a proper place in my now properly paced schedule. I also planned to do the movies which, unlike evolution, I have solid plans to do once I clear out some of my projects. Point is I burned bright and then exploded and took a whole projecet with me phoenix style.

I had until this moment yet to do a really big x-men project, something digging into the comics, something that could help fans both of the comics and not get familiar with something really good, and help me dig into both the good and bad of something. I jsut needed the right start.

Then Christmas gave me that spark, that project that gave me the idea for a butload more x-men content on here and was the perfect starting point for some. See my friend Marco lives in Honduras, and so since i couldn’t afford to send him anything for christmas in the mail, as i’m not exactly rich, I instead offered him three reviews of anything.l He still hasn’t taken up two of them, nor one I gave him for graduating college, but the first one was a doozy, something he hadn’t read due to not liking the art, which is fine as I have some art in comics I don’t like everyone has diffrent tastes, at least for the first arc, and something VITALLY important to x-men as a whole and that’s the backbone of hickman’s current run: the first arc of new x-men, e is for extinction. And given New X-Men is one of my faviorite comics of all time I not only lept on it.. but decided fuck it I’m covering the whole thing. So every so often on here from now until I finish, i’m going to be covering Grant Morrisons ground breaking, mind shattering, status quo destroying run on the children of the atom. This.. is going to be fucking awesome. Buckle up.

New X-Men came about in 2001. Stop me if you heard this one: The X-Men, once marvel’s best selling title and one of i’ts most beloved, had been set adrift in a seal of editorial bullshit, bad writing, bad storylines and a stale continuity where not much could change or grow and things always reset to about the same place it was last week. If this sounds familiar it’s because it somehow happened AGAIN thanks to Ike Perlmutter’s bullshit, hence the current hickman run, but we’ll get into all of tha tsome other time. Point is as it was in 2018, so it was in 2001: The x-men were in bad straits and marvel reached out to a host of various creators to swing for the fences and find a new direction, something to bring sales and life back to the book. To my shock they actually took a LOT of diffrent pitches in before Morrisons won and from huge names: Geoff Johns, who had not yet returned to DC never to leave, Alex Ross, Keith Giffen.. all huge creative types. but in the end the best man won.

For those unfamiliar with him, Grant Morrison is a gloriously batshit scotsman with a long, storied and delightfully insane history in comics, mostly at DC before and after this comic. This is for good reason: DC scouted Morrison specifically because of his early work at 2000ad. See at the time Alan Moore had hit it really big with Swamp Thing, taking a d list, so so book and making it into an utter masterpiece and giving it thoroughly interesting mythology. Given it was a blockbuster hit that’s still widely loved and discussed, as it should be today, DC decided to repeat the strategy of asking British indie comics creators to come do the same to another property. This same experiment is why Neil Gaiman’s The Sandman exists, so.. yeah it was actually a great strategy and naturally Grant had their first big hit with Animal Man, a metafictional take on a b-list hero that made him a loveable family man, while also putting him through hell and playing with the medium and dc’s vast history, the last two being Morrison’s trademark from then on out.

They’d next go on to reinvent one of my other faviorite teams: THE DOOM PATROL! The patrol are a bunch of victims of strange accidents who got powers out of them that are basically curses... and Morrison solidified that concept, taking over after a weak run that ironically enough was trying to imitate the x-men’s success at the time. Instead Morrison just went all out with his weird shit for the first time and made them a team of broken but likeable people with weird powers fighting just the weirdest most incomprehensible shit, a run i’ll likely be digging into eventually along with the team as a whole. It’s also, along with Gerard Way’s recent run, the bedroock for the current and utterly masterful doom patrol series I need to catch up on. They also apparently once wrote a satrical comic starring and lik mocking hitler... a fact I somehow JUST learned but naturally doesn’t surprise me at all.

Morrison’s career at dc, after doing some creator owned stuff there when Vertigo opened up, hit it’s peak in the late 90′s as they were given the go ahead to reinvent the Justice League, with the wildly successful and awesome JLA, another book I probably need to take a look at that put the big 7 back into the team. And by now your probably getting the point of me covering his career pattern.. besides giving morrison the praise they deserve, and they’d have some really great runs after this.. and some terrible ones but no one’s perfect. My point is that at this point in their career Morrison’s greatest skill was taking something that had grown stagnant or been forgotten, blowing it up and reworking it into something glorious and new. Taking what worked, scraping away what didn’t and on the whole making something fucking glorious out of it. So here we are. The X-Men needed a new coat of paint and uncle grant had their lcd laced psycadelic paint bucket and brush shaped like a pidgeon at the ready. And for better, way better and admitely sometimes here and there worse,they changed the x-men for good. Some changes were rolled back out of spite, others finally got their chance after said rollback recently, and some were just outright thrown on the grown and smashed with a hammer. But for the most part Grant left a huge impact on the x-men and i’m here to show you why, warts and all. To me my x-men, this is new x-men. Now naturally there’s even more exposition but i’ts more in what COULD’VE been. Originally while Wolverine, Cyclops, Jean Grey and Professor X were all part of the team the other two members of the slim roster for this run, Beast and Emma Frost.. weren’t. Originally Morrison was going to have Colossus and Moira Mactaggert, long time team ally, token human until very recently, and now thanks to hickman one of the most important x characters peirod and long before that a fan favorite of mine, on the team, with Moira taking over for beast.

This.. didn’t pan out since Marvel apparently either didn’t give a shit about their plans or already had things in motion as the climax of the longtime legacy virus storyline killed both off. Colossus until Joss Whedon, bastard he may be, brought him back for his terrific Astonishing X-Men, and Moira SOMEHOW stayed dead until House/Powers of X. See this speaks to one of the big roadblocks morrison faced: Jonathan HIckman currently has absolute power and all his writers working in concert, a new way of doing things comic companies shold honestly copy en masse as it’s really working wonders. Grant.. was just one of many writers and one of three main x books the others being Chris Claremont’s XTREME X-MEN, basically “let the legend do what he wants since he can’t get freedom on the main book” and another writer on uncanny... before eventually chuck austen took over and I will tackle that horrible mess some other time. Point is while Morrison was setting the tone, costume style and making the big waves, they still didn’t have full power and thus had to play nice with eveyrone else. So their next idea was Rogue, making mer more like her x-men evolution version.. except Chris wanted her, so that was out, though being a decent enough guy he willingly gave up Beast since the moira thing meant Morrison needed a science person. As for Colossus replacement, as it turned out a fan had suggested Grant do something with Emma Frost since Gen X was canceled and while Morrison had zero intention for it clearly Emma clicked with hthem and she was soon both a main part of the cast and one of their biggest contributions to X-Men as a whole.

As for what I think of the needed changes.. they ended up being for the best. I do like Moira... but Hank ended up being a much better fit for the team dynamic wise and power set wise, while Emma was the same. While Colossus, Rogue and Moira are all fantastic characters, I think what we ended up with was just a better mix overall. I DO think the team is incredibly white, but that’s a general x-men problem, even with having an assload of diverse and intresting characters, so it’s not entirely his fault. All in all it’s a fantastic roster: four of the x-men’s best, their leader in the field for the first time in forever, and a new and intresting wild card. IT’s a nice ballance of characters and we’ll get more into it as we go. Now all the expositions done, we can finally dive head first into new x-men. I hope you survivie the experince under the cut.

After an utterly gorgeous and striking cover, the one used up top, we get one solid page to introduce us to Morrison’s mission statment, how they feel and how good Frank Quitely’s art looks

I cropped it best i could for tumblr but this one image immidetly says a lot. Our heroes are just.. easily taking down this sentinel, an old model... the same one we’ve seen a dozen times. What were once the grim, possible destroyers of an entire race of beings in days of future past and devistating killing machines in the present.. had become stale easily defeated murder bots There had been noble attempts to really make the sentiinels work again like the horrifying omega sentinels, humans forcibly converted into sleeper agent killing machines, during operation: zero tolerance, but otherwise they were mostly just a prop for the x-men to knock down. And that.. really is morrison’s whole point. Lampshading and mocking the fact the x-men had grown stale, things hadn’t really progressed.. and that it was time to move on. But to Uncle Grant’s credit, they not only uses this as a mission statment but it’s plot relevant: this mission will both be explained soon and explains why Logan and Scott are out and about enough to end up where the plot will soon need them. It also helps, via the sight of the syndey opera house establish something Morrison made a staple of their run: the X-Men going global. While the x-men were never really NOT global post claremont, Morrisons run has them handling rescue missions and what not worldwide far more often than most runs before it sans Claremont, and really made it feel like they weren’t just another super team but a global force of good with a specific goal and mission. More on the global aspect next time, as that’s where it really comes in but I felt it was important to show it was there for minute one.

So yeah before we move onto the first full scene of the run, let’s talk about the costumes.

We’ll talk about Emma’s later since she’s not introduced to the story for a while but yeah. There’s a sharp, obvious and immediate change just in the outfits, which take after the movie’s more military look, having the x-men not only look more like a unit but more like a professional orginization. Someone to come and help when needed. While this would take on more siginifigance in a bit, we’ll get to it, it also fits Morrisions own views that the x-men were less of a traditional superhero team and more something different on the edges that fought things out there, sorta what like he did with doom patrol. And it’s honestly a valid interpretation as the x-men are often seen as outlaws and misfits by society for beingn well.. mutants. Not as trusted as the avengers. So having them adopt this look played into that: Having them look more professional and focused as The X-Men have a less blanket mission statement than the avenger.. but also mildly threatning. Something to alarm the humans. It’s an utterly brilliant look thrown best together by the big yellow x’s, still giving it a nice flash of color to show off and show this is still a comic and this is still damn colorful.. this just isn’t your AVERAGE supherhero comic or the x-men your used to. IT’s a real shame the only fox x-men movie to use it was fucking dark phoenix.. a film where it didn’t even fit as xavier was getting flashier and more reckless so why wouldn’t he have more garish and colorful and more traditional superhero outfits. They did look good in their variants in first class though. Props there. Point is this is a classic, utterly stunning look, and tha’ts coming from someone whose fine with goofy superhero outfits and perpetually bitter hawkeye is almost never allowed to wear his actual comic outift and is instead stuck with shades instead of you know.. a mask. Or anything resembling an actual good looking costume. This though this is how you do a less superheroy costume: practical and realistic, but still cool looking and comic book friendly.

We cut to a mysterious lady, we’ll come to know her as Cassandra Nova and while I know her origin... i’m saving it for later as the comics themselves explain it eventually, and a simpering dolt she brought with her, Donald Trask, a distant relative of the creators of the sentinels who, via holograms she’s showing cro magnons slaughtring the neanderthal. Her point is that Mutants are going to do this and she’s clearly fearmongering him and trying to talk him into genocide: to wipe them out before they wipe out humanity. And it’s here we get one of hte most important plot points of Morrisons run and one of the most intresting: according to cassandra’s research Humanity will be no more in 4 generations. Mutankind is on it’s way to overtaking them at last.. i’ts still a few decades off.. but it’s coming. It’s sometihing that the whole decimation nonsense sadly snuffed.. and John Hickman has thankfully brought back. I’ll get to his run once i’ts complete in a few years, but point is it’s an utterly marvelous plot hook: Humanity, whose already attempted genocide a few times, is now in real danger of what their petty, racist, fearful attacks have been about: being replaced. It’s one of the central themes of the work the other two being “Just what IS mutantkind and what will it be”. WHat are they as a people? We’ll dig into these as we go but the threat of exctincion is the backbone of this arc... and will lead to something truly ghastly.

It’s then we get our title page.. which nothing really to add it just looks really good and helps show off who are cast is and what they can do with striking simple art.

And since we’re already talking the art of the book, let’s take a moment to discuss an intresting detail of this run: despite it’s short length there’s quite a few diffrent artist, who we’ll talk about of course as we get to each one. The most common and notable though is Frank Quitely. Frank Quitely is one of Morrison’s closest and best creative partners, having a unique, squishy art style.. i.e. the one my friend didn’t like which is why i’m covering this. And while I like the art style quite a bit, I do get why it’s not everyone’s cup of tea: His art is squashed, weird, and admitely some faces can be good god no incaranate. But it’s also why I like it: his characters feel unique, each body and figure feels like it was custom made and thus feels.. real. Like this is a person before you. And given comics can often surrender to having everybody look the damn same, this is nice. His faces may sometimes look similar but his bodies are where the action is. But while having a realistic feel his work also has a weird alien quality that perfectly fits Morrison, and thus his run on x-men. I will say while I love All-Star Superman, his art fits less there in the more hopeful silver agey story, so he’s not an artist for EVERY STORY OF EVERY TYPE.. but when it comes to sci fi weridness, he fits it like a glove so i’ts unsuprising he and morrison are practicaley soul mates, nor that his art sets the tone perfectly for the run: this is something new, diffrent and strange.. and what says x-men at it’s best more than that?

So after our opening titles we cut to the mansion where Hank is showing off his latest and greatest invention: Cerebra. Cerbebra is a massively upgraded version of Cerebro, aka Professor Xavier’s iconic helmet that allows him to track mutants to help them out.. and covertly backup their conconousness for his long game plan, but shhhh, don’t tell anyone yet that’s not going to be retconned in for a few decades. Though i’m damn certain if Morrison has heard about the current era of x-men and how it both builds on what he built, shatters the status quo and is incredibly weird, he’d be damn proud. As for how it’s diffrent Cerebra not only has a large dome around it but said dome allows the machine to amply Charles powers to a global reach. He can now see mutants all over the world anywhere in the world, something I didn’t realize wasn’t ALWAYS a thing because it seems so simple. It’s also likely to bring it more in line with the movies. And while marvel has done TERRIBLE with bringing things in from the movies or in line with them in recent years, i.e. making star lord more like his movie self while forgetting that’s how he already used to be in canon before later writers thankfully did hte better step of merging the two, Hawkeye’s outfit, Cap’s outfit or Nick Fury Jr. But for every mistep there’s also been tons of times it’s worked out really well such as here, as well as bringing hulk into the avengers for the first time since the founding, making tony stark more like the mcu version and less like a nightmarish self righetous dicktator who rightfully gets beat up and called out a lot, making Scott Lang prominent since he became prominent in the MCU, Wakanda being a major force in the marvel universe as it always should have been and various titles that have popped up to tie into movies, often bringing back a team or property that hadn’t had a book in some time like Ant-Man, Black Panther, and Shang Chi just to name a few. It’s not always hawkeye looking all jeremy renner is what i’m saying.. though thankfully comics clint isn’t that uninteresting. Hopefully the series will change that.

So yeah along with a bigger shinier cerebro we’re also introduced to a big change in Hank whose taken on his lion form rather than his classic gorilla with a weird haircut or his return to that except bald. Here he’s more like aslan in a human body and I.. love it. It looks great, helps sell hanks delima of being brilliant while looking like a beast and makes sense: he kickstarted what was likely his own secondary evolution by drinking the potion that made him bestial, so it only makes sense his body wouldn’t be all that stable even if it took years to change again. And even that makes sense as hank was breifly turned back to his original hairless ape mutation during x-factor, easily one of the books.. worse decisions honestly and one that louise simonson thankfully later undid. That probably bought him some time hence why it’s only mutating further now. It also adds an intresting wrinkle which the run will explore further: how far does this go? Will he regress? and how much hank will be left? And how will society treat his new form?

For now he’s actually extatic. While he’s going through hormonal changes, and giving out some excellent banter with Jean

Which also includes one of the greatest lines in comic book history, one that’s been in my head for decades and made me absolutely love henry mccoy.

He’s just great is what i’m saying. As you can tell it’s stuff like this why i’m glad Moira fell through. While I love her.. Morrison’s hank is just a delight and one really questionable subplot aside, we’ll get to that, he’s one of the highlights of this run with an intresting internal struggle, and great chemistry with EVERYONE. And that is the main reason i’m glad Moira fell through as his history with everyone but Emma, who he still has a great raport with, means each interaction has weight. He’s close friends with both scott and jean and thus serves as their needed confidant, while still being able to buddy and banter iwth good old weapon x, and speak with his mentor charles as an equal. While I love moira... Beast just fits into the cast too perfectly and I 100% suspect Morrison was only using her because, while she’s awesome, Claremont wanted her and thus gladly snapped her up when he no longer had a science person. I’ll get into his Jean soon enough but she’s likewise fantastic and easily my faviorite version of the character.. not that until very recently there was much honest competition.

So Cerebra fires up showing a massive cloud of mutants, showing just how much of a huge spike theirs been with Xavier wondering what it all means.. and Hank seeing a weird flare on the mointor for just a second with his special eyes. But since Xavier isn’t stupid and isn’t the kind of idiot who just dismisses it as a fulke, and since Scott and Logan are in the field, he decides to confrence call them in to see if they can go take a look.

And naturally we get to see what their up to and get context for what the hell happened in the first page. Our heroes were on a rescue mission to save Ugly John, tha’ts what people called him, a three faced mutant who ends up passing out as they head out of the atmosphere for a second. Wolverine is regenerating and smoking out of his neck becaue he could still smoke back then before marvel decided “he’s setting a bad example”.. in a comic meant for teens and adults.

I mean I get it on some level as the x-men cartoon was a huge thing in the 90′s and Ben Grimm is basically a giant children’s toy with the mind of a surly 40 year old jewish man from yancy street, but stilll it’s just.. why. I may not like smoking but it’s not like it was SPIDER-MAN saying

It’s a grown man.. whose not a sterling roll model and who Claremont went out of his way to have Logan point out his healing factor means it really dosen’t hurt him in the long run and when Kitty, an actual teenager, tried one of his cigars she choked. I know it’s a weird thing to get hung up on but while i’m all for keeping kids from smoking, this was a really clumsy way to try and hehlp that that made no sense and will never make any sense.

One tangent later we find out that Cassandra was showing Trask a simulation on a flight to, unsuprisingly, south america, to a sentinel blacksite. Between covertly funding civil wars as they do, the US Goverment naturally founded an experimental sentinal project, and a second master mold during the production of the first line... when larry trask asks where it could possibly be well...

Subtly was not the trasks strong point.. or common sense... or.. not realizing their creations would dominate humanity too or not dying.

Anyways we then cut back to the x-men, as their having a psychic zoom meeting with Charlie giving one of his patnted big speeches.. and like a lot of this comic it’s too damn good not to use

The reason I couldn’t should be obvious: This one speech sums up the x-men, why their great and why their necessary in a nutshell: in a world full of prejucided morons.. there’s plenty of scared kids who NEED the x-men to protect and guide them, and with a surge in the mutant population, their needed now more than ever. We also get a good explanation in universe for the uniform change: Charles had them in the superhero outfits hoping humanity would accept them if they were packaged as something they know. Since that clearly hasn’t worked he’s trying new ways to reach out and thus going with a diffrent more rescue team approach to the uniforms. He assigns Wolvie and Cyke to go check out the flair as you’d expect and the meetings over. On the blackbird we get our first hint at a subplot as Logan noticed Cyclops couldn’t wait to get out of there, and is being a tad distant to his wife. He actually has reasons for being kind of cold for once instead of just bad writing as he just came back from being possed by apocalypse. Yeah that happened. So the experience has rattled our boy some what. More on that as we go. But Jean ducks the subject with hank but does breach the fact that Charles has been going kind of crazy with the spending, new uniforms and ambition lately. Hank explains it perfectly: After all the death, suffering and misery the x-men have endured lately, the aforementioned deaths I talked about that took Colossus and Moira off the roster, have lionzed Charles to make sure it was all worth something and look towards the future.

But enough hope time for horror as Cassandra makes her first direct move, trying to take over Charles brain , make his body her own and use cerebra to kill lots and lots of mutants. We then get one of the best moments of Morrisons run with Charles response to a horrifying monster trying to take his brain

While it is shocking to find out Charles has a gun..it’s a grim but kind of understandable precaution. The guy once got fully taken over by a brood, assembling the New Mutants in part because the brood wanted to create more of i’ts kind with more super powers. You’d be paranoid too if some of your beloved students were brought together partly due to your good intentions and partly because a space monster wanted to make more space montsters out of helpless teens, and even horribly gaslighted one of them. We’ll get to that some day. Point is Charles brain is one of the greatest weapons on earth and if the wrong person got a hold of it, it’d be the end of said earth. Thankfully Charles does not need plan gun, as Jean yanks Cerebra off him but the sheer HATE Charles felt from Cassandra, the sheer power has rattled him.. and also told him she’s in Ecuador and his X-Men need to be warned NOW. It’s a great way to set up just HOW powerful Cassandra is. Speaking of which as our first issue of the arc ends, we find out two things: Cass faked being int he government but really just used dead soldiers as prop.. and just what kind of sentinels are out there.. wild sentinels. Easily my faviorite variant of the old killing machines and one that’s barely used despite being really damn awesome. Their adaptive killing machines, designed to mutated just like their pray and take tech from around them, as a result they look like a jumble of guns and parts.. but not only does it give them a unique, cool look.. but it makes them ten times deadlier as instead of being big bricks of robots that while intimidating, the x-men know how to kill... their unpredictable variable killing machines. You can figure out how to kill one sure.. btu the next might be entirely diffrent. They are one of morrisons best creations and I hope someone uses the idea again.. aka hickman. Please use it jonathan I know your focused on nimrod but come on.

And we end on one of the best lines of the entiire run as we close out the issue

Yeah it goes without saying but i’ll say it anyway; Morrison is really damn good with dialouge and being damn quotable.

So we open with another great quote “When I got up today I didn’t expect to kill 20 million people”... and Cassandra being aware Wolverine and Cyclops are on their way and sending the Wild Sentinels to dispatch them. Also our heroes brought Ugly John along while while a dumb move, Wolvie does point out how dumb it was to divert to Ecuador with a civlian in tow.. after the plane crash of course. As for “wait what plane crash’, the sentinels attack and start picking it apart... and since letting them have such good tech is a terrible idea, Scotty blows up the damn plane. So to recap our heroes are stuck in ecuador, surrounded by murder machines, and oh look their there and knock off cyclops viser. Fantastic. So yeah our heroes are fucked. And naturally captured by the enemy.

The rest of the x-men are doing SLIGHTLY better. While beast makes a note for his girlfriend, more on that later on, Charles is in bed, half alive, explaning the rationale I gave for why he has the gun with Jean refusing to let him get back out of bed and you know.. put on the device that just nearly killed him. But when beast announces they lost contact with our boys.. yeah that ceased being an option.

Back in the Ecuadorian Genocide Factory, Cassandra does the obvious and kills donald trask as his real purpose..was to stick around and be stupid for a bit while she copied his dna so she could have full control of her new murder toys.She soon uses them, having a horrifying death chamber slaughter john.. or at least flash fry him. Wolverine takes it how you’d expect and since the sentinels need to “perserve trask dna”.. they can’t fire on him without killing her. Scott escapes.. and in a heart wrenching scene mercy kills john.. before getting badass.

To anyone who says Scott Summers is boring, unintersting, or a stupid asshole idiot head I present exhbit shut the fuck up. Morrison gets scott just right, deconstructing his emotional suppression, while showing him off as a dedicated, companionate man who gets the job done and who seconds after tearfully having to mercy kill an innocent mutant whose death was partially his fault, wastes no time making it painfully clear to the person responsible she WILL die if she tries that again. Logan however realizes she’s already won in some fashion as she’s grinning.. and yeah never a good sign when a genocidal madwoman is grinning like a loon.. and when we find out why.. it’s even less good> We cut to Genosha. A lot of you probably know what happned to Genosha but in case you don’t know what it is it was once a horribly racist country that genetically enslaved mutants and used them for slave labor. It was freed, but still struggled to truly move on.. till Magneto showed up, took the country for himself and made it a home for all mutants. When we last saw him he once again tried to take over the world leading to Logan seemingly killing him. Right now though Emma Frost finally enters the scene teaching some mutants.. when a young one named Negasonic Teenage Warhead.. yes that one and yes she was entirely chosen for deadpool for her name, reveals, via precognition, that their all going to die.. right as the sentinels attack.

Genosha.. is gone. In an eyeblink 16 million mutants are dead, a possible future gone, and one of their greatest leaders is no more. Yeah Magneto WAS alive.. but paralyzed so he could do nothing when his island was utterly slaughtered. Only a handful of mutants will be revealed to survive. Humanity had done a lot to mutants before .. but for once.. they’d succeeded in wiping a massive chunk out. What was an x-men location for DECADES at this point.. was now a smoldering crater. A what could of been that would hant the x-men ever after, even now into utopia it remains the darkest day in mutant history outside of hte decimation. It is a truly horrific moment.. and if the changes already hadn’t made it clear this is morrison saying “NO character is safe, nothing is safe, and nothing will be the same and I damn well mean that”. In one act of hate the world has changed. And it hasn’t finished changing yet.

Issue Three opens hammering in things, as Jean and Beast are in the ruins of genosha, with Xavier having found ONE surivor among the rubble, and our heroes sturggling to find even them, though Jean eventually picks them up and uses her TK to sift through the rubble.

They find Emma who emerges from a bunker in shock, clutching NTW... and not realizing she’s dead until later and revealing she now has diamond skin, her own secondary mutation. Secondary Mutation was a birlliant idea, new powers sprouting up within established mutants.. it’s just morrison barely used this great idea as did hardly anyone else. Only X-Men Blue ever really dug into it and those were artifical at that. IT’s a great idea..it’s just barely used and at most heavily implied to explain changes in powers like Jamie Madrox Multiple Personalities later on or Doug Ramsey’s vast increase in power. Disapointing.

While Charles takes in the tragedy and the fact his old frienmie is dead, the x-men wonder what the fuck Cassandra is and what to do with her.. why did she kill 16 million people, and what the fuck is she. I mean I know, but as I said i’ll explain that when the story does. IN the other room Beast tends to Emma who wants none of not fucking killing Cassandra.. and is utterly right. Bitchy, because i’ts Emma, but right: she killed 16 million people. Say what you want but while it may not be up to the x-men to kill her.. she shoudln’t be living much longer. She commited genocide. Emma decides fuck that and prepares to leave summoning a cab and making peace with being a glorious living fabrige egg. Emma did apparelty change in generation x.. but Morrison is responsible for returning her not only to being a bitch, but a gloriously delightful one And really I don’t think they reset her character entirely: she’s not the heartless monster she started out as: she has empathy, grace, and caring.. she just buries it under a lair of absolute bitch and after you know, surviving a fucking genocide who can blame her? And honestly.. I love their verison of her. She provides a nice contrast to the more idealistic, even logan, x-men and a nice contrarian voice in the room without being obnoxious and her style and sacrastic swagger makes her endlessly entertaning. Thanks to morrison she’s stuck around to this day and went from a pretty good character.. to a great one. And what makes her this way, or as jean puts it “such a bitch?”

With that settled, Hank explains what Cassandra is: a competing species. As he puts it sometimes evolution takes a quantum leap forward.. and Cassandra is the result. Thus she wants to wipe out the compettition and is so far above humanity, she dosen’t need them... especially since she knows what Hank now knows: humanity is at an end. As hank puts it we have an E Gene, one that basically shuts off a race.. and thus the x-men now know what we learned earlier and that cassandra wasn’t lying: in 4 generations there are no more humans and something has to repalce htem. And Cassandra wants it to be her.

Before Logan can do what he does best, and asks why she looks like charles, Cassandra escapes, and Scott briliantly urges them to fight only on instict as she’s a telepath. A damn awesome fight insues including Cassandra donning Charles Psoonic battle armor, Scott being put in his black bug room and the general good looking chaos you’d expect from a superhero fight. While this goes on Emma has an ephinany and realizes she likes to teach, the x-men have a school.. and she shoudln’t give up on helping kids just because of what happened and turns around.

Cassandra is near victory, slipping her way to Cerebra.. and planning to kill only one mind before getting to the millions she wnats, a horrifying slug manifesting around her.. only...

So the x-men accept this and cassandra rises.. seemingly saying “I am charles” Huh... and then charles uncaracteristiacally shoots her saying things must change

We’ll get to what all of that means next time as we close on Jean and Scott in bed. Scott explains why he’s been so distant as what I said earlier: fighting off apocalypse stripped away a lot of illusions about himself and he’s having a hard time walking back from that but Jean is willing to help.. but before they can resolve their issues.. charles has an annoucnment to make and grant has one last whopper of a suprise to end his opening arc on, and just like genosha...it’s a game changer of titanic proportions

No longer is Xavier’s School hidden. Their walking into the light now and so is charles. Hope they surivive the experince. Obviously this move is brilliant: while it removes the veil of saftey the x-men had it also brings on tons of new possiblities and unlike secondary mutation, this one not only stuck but would impact the x-men for good: no longer would they hide and cower.. their mutant and proud.. and their here to stay. E For Extinction is one of the best x-men stories period. Blisteringly paced, full of great character, great concepts and utterly terrifying and terrific moments that would impact the x-men all the way to present day. It’s beautifully drawn, well paced, and a masterwork. I highly recommend it and it’s a great kickoff to a great run. Shame the run couldn’t of ended on this kind of high but.. we’ll get to that. For now this is a masterclass in how to start a run and if you haven’t read it do so NEXT TIME ON NEW X-MEN: A bunch of weirdos try to harvest mutant organs, the x-men get a brain in a jar and a new teamate, and Scott maybe cheats on his wife. Until then, goodbye goodbye goodbye.

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divinerulerluvr · 4 years

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Creature of the Night V

Installment 5 of ‘Creature of the Night’, a short series where i write about each Cody character with the central theme of Halloween for spooky season :)

Pairing - Richard x Reader

I was new to this mental hospital. I had been to a few but never this one. It’s in a new area from where i used to live so new home, new mental hospital my mom feels the need to admit me to.

I sit in the common room. The usual weirdos doing their usual odd things while i read my book. The only belonging of mine that i still have other than clothes in here. ‘Coraline’ by Neil Gaiman. I’ve read it maybe a hundred times over and it never gets old.

Maybe it was the fact that tomorrow was Halloween that made my day better. I had always loved Halloween. It was the one day of the year where you could hide who you really were behind some clothes and makeup.

Halloween in mental hospitals sucked.

If you were lucky, the nurses put on a good Halloween movie and not some crappy cartoon made in the seventies. But this place was different. The nurses were nice and they didn’t ignore what Halloween was.

I now sit on the blacktop with my knees pulled to my chest and a cigarette in between my lips like i do everyday during outside time. The air was cold and crisp like it always was in autumn. I haven’t had a real Halloween in seven years. Five of those years was spent in hospitals and two of those i wasn’t allowed to do anything.

The usual boy who played basketball here had gone away. Lucky bastard. So now it was deserted on the blacktop and kind of creepy. I finish off my cigarette and tuck the remnants in a hole in the ground i had dug to keep them hidden. I place the dirt back over top the hole and stand up from the ground.

I turn to go back in the building and see a boy standing by the door. After jumping from his sudden appearance, i sigh in relief at who it was. “God, you are really quiet sometimes,” i say as i walk past him and back into the hospital.

As i’m walking through the doors, he grabs my arm, stopping me in my tracks. He hands me a book and i look down and notice i had left my book behind in the common room. “Thanks,” i say softly, taking the Coraline book from his hands before walking inside and up to my room.

I open up my book to my last marked page and see a post it note in the middle of the page with writing on it. ‘The nurses do a movie thing for Halloween if you were wondering’ it reads. At the bottom of the post it note was signed ‘Richard’.

“Huh,” i mutter to myself, pulling the note from the page and stuffing it into my pillowcase.

`````````````

The next day i sit down on the black top as usual, smoking the cigarette that Buster, a failed suicide attempt, had smuggled in to supply to me. I play with the leaves beside me to occupy me as i enjoyed my single daily smoke.

“You know you aren’t supposed to smoke in here,” a voice says from beside me, making me jump. I look over and see Richard standing by the gates of the blacktop, his eyes stuck on my burning smoke. “Ah, he talks. I was starting to think you didn’t know words,” i joke dryly, puffing at my smoke.

He shrugs, sitting down next to me on the ground. “You like Halloween?” he asks me, glancing at me. “Used to. Starts to lose its fun after a while,” i answer him, my eyes meeting his. God he had the prettiest eyes. “You?”

“I do. I always liked it better than other holidays,” he says, giving me a weak smile. I notice he has a pencil tucked behind his ear, hidden in his dark hair. “What do you draw all the time?” i ask him, throwing him off guard.

“Nothing. Why?” he replies, his eyebrows furrowed. “Just an observation,” i shrug, putting out my cigarette and putting it in the hole. “Anyways, Happy Halloween,” i say, standing from the ground and brushing the leaves from my legs.

He watches me in silence, his eyes calculating as he watches. I walk off into the hospital, feeling his eyes on me the whole time.

```````

That evening after what they called dinner but it was just sad sandwiches and apple slices, one of the nurses said they’d be playing a movie for Halloween.

I sit down at my usual spot on the couch and pull my sleeves over my hands since it was the definition of freezing in here. As the nurse waits for everybody to get here, i see Richard walk into the room. And instead of going to the chair by the window like usual, he sits by me on the couch.

Neither of us say anything, him trying to keep up his reputation of constantly quiet and possibly mute kid around here and me trying to ignore him.

The nurse turns on the TV and i see the intro of the animated movie ‘Coraline’ playing. I smile softly to myself as i see the familiar names of the voice actors and the familiar music in the background.

I feel Richard’s eyes on me as i watch the intro intently, thanking whatever god their is they chose this movie. “I knew Coraline would be your favorite,” he whispers to me. I just smile in response, not needing to verbally say ‘thank you’.

As the movie moves on, i set my hand down in the small space between he and i to see if he does anything. To see if i read the cards right. And i did. He takes the hint and reaches down, holding my hand in his.

His thumb rubs over my knuckles absentmindedly as we watch the movie. As it comes to an end at the garden party, the people around us start getting up and moving to go back to their rooms. I look over at the boy beside me and smile.

“Happy Halloween,”

///

last installment :) i wanted to finish this before Halloween so here is the finale for Richard featuring my all time favorite book

taglist -

@jimmason @sexwon131 @theneverendinghunger @thewarriorprincessxo @daddy-antichrist @vulgarprayer @angelicmichael

#Halloween fic #creature of the night #the last time i saw richard #happy spooky season

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emmabirb8 · 4 years

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Regarding Lucifer

I have a dumb, random question for the Megamind fandom. Have you guys ever watched Lucifer? If not, I think you'd really enjoy it. I just recently finished the available seasons and immediately regretted not having watched it sooner. It's insanely good!!

Lucifer is based on a character from the DC/Vertigo comic series The Sandman, which is written by Neil Gaiman who ALSO happens to have co-written (with Terry Pratchett of course) the novel on which Good Omens is based, and I KNOW some of you Megamind fans are into Good Omens. (I personally haven’t watched it quite yet, but I plan to, and I know I’ll enjoy it.) Gaiman is not the showrunner or writer of Lucifer like he is with Good Omens, but from what I’ve seen, both are similar shows in terms of themes, subject matter, characters, etc.

Before I get into the Megamind-related bit, I gotta take a minute to plug Lucifer. :P

So, being named Lucifer, the main character of the show is, logically, the Devil. Now, I know that might sound off-putting, especially if you're religious, but I promise the way the show goes about storytelling makes it just the opposite.

It's very much a fantasy story that takes ideas from Abrahamic religions and shapes them into a mythological mishmash that totally challenges any previous ideas you might've had about the subject matter. It's fascinating! Lucifer himself comes off more like a Hades figure rather than… well, Satan lol.

It's mostly... cop drama meets comedy meets mythology/religious ideas and characters and it's just overall a really fun time. Oh, and there are a lot of fantastic female characters and characters of color, so that's an added bonus as well. It’s kind of unexpected coming from a show about Satan, but it's such a welcome breath of fresh air.

The reason I'm bringing it to the attention of Megamind fans in particular (besides the fact that it’s similar to Good Omens and has its origins in Neil Gaiman) is because there are SO MANY similarities between the main character, Lucifer, and Megamind. I totally wasn't expecting that when I went into it, but I was delightfully pleased when I made the connection.

Just off the top of my head, both Megamind and Lucifer:

are not human

are bisexual

were forced into the designated roles of "villains" or "bad guys" of their stories, though neither of them is actually evil (quite the contrary - both of them care about right and wrong more than most)

put on elaborate facades in public to hide their true selves and because they love the Presentation™️

struggle with finding their purpose in life and who they truly are/who they’re truly meant to be

tend to be judged harshly by the people around them

struggle with self-worth issues and deal with strong senses of self-hatred (believe themselves to be no good monsters)

fall in love with headstrong, passionate women with strong moral values who are able to see who they truly are on the inside and who love them back for who they truly are

call the women they're in love with by titles rather than first names ("Miss Ritchi" and "Detective" respectfully)

constantly banter back and forth with said women

have risked their lives to protect said women

act as though these women would automatically be attracted to them because they're just so handsome but in reality, they don't think of themselves as remotely genuinely desirable (in Lucifer’s case, anything on a deeper emotional level beyond the quick sex flings he has), and are honestly flabbergasted at the idea that they deserve to be loved authentically

And that's the other main reason I've grown so fond of the show. Lucifer and Chloe are practically a mirror image of Megamind and Roxanne. It's uncanny, really. Take a look at this scene from season 1 of Lucifer and tell me it's not eerily similar to the "Temptress" scene from Megamind.

Also this:

I mean… right?!

Besides that, it's just an incredibly entertaining, complex, and emotionally intense show, and I highly recommend it to anyone looking for something wild and different to watch.

Something I personally love about it is the fact that it places the blame for humanity’s sins solely on the humans themselves. This really struck a chord with me because in real life, people scapegoat far too often. Blaming “The Devil” or any other entity for your own wrongdoings is just an excuse to absolve yourself of your sins without having to face the reality that you have the free will to choose your actions, and you are choosing to do evil things. It’s certain people, NOT the Devil, who cause suffering in others, and those people need to own up to their actions and face consequences accordingly. This show fully embraces that ideology.

Oh, and I almost forgot to mention the soundtrack! This show has hands down the BEST soundtrack of any show I've ever seen. It adds a whole extra layer of awesome to it. :D

It originally aired on Fox, but the bastards cancelled it (of course). It would've stayed dead if it weren't for all the avid, determined fans who campaigned for its return, and it was (thank God! or perhaps Satan? ;P) picked up by Netflix who produced a fourth season. A fifth (and supposed final) season will be released later this year.

Seriously y'all, give it a chance if you haven't yet. It's so worth it.

(And Lucifer fans, give Megamind a watch. It does not disappoint. ^^)

#lucifer #lucifer on netflix #megamind fandom #megamind #lucifans #neil gaiman #lucifer and megamind #the bad guy characters #my posts #i'm so sorry this post is so long i always write essays when i post shit

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morpheuslikestodream · 3 years

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PUCKER: a Sandman Universe fanfic

*The following is extended and lifted from the Sandman: Seasons of Mist storyline. This is a mere writing exercise and honorary gesture to play within the confines of the world created by Neil Gaiman and all creators, with honor and respect. :)

There was a woman who achieved glory upon a vent of gushing air. Of course, she had already gained fame, and fortune, but it was the image, the stance – legs slightly bent, knees inverted, arms locked and hands clasping her dress – that cemented itself in the collective. Poor, tragic Marilyn, her fists securing that white ivory cocktail dress as it danced in the wind, like a skinned swan or a hungry lily attempting to devour its host.

Go on. Visualize it. The dress and the damsel wed together over that gushing vent. She would always be tattooed in the eye of your mind, a girl symbol, caught in a flirtatious up-shoot of tragedy. You’ll see her, the image, in commercials and magazines and the chronicles of filmography. She’ll be immortalized in wax. You’ll smile at her as if she were an intimate friend or fond crush from a bygone youth or a pretty face you wish you had, all fulfilled vicariously in that bombshell visage.

And if you could envision her, so could they.

“The gods have come for you,” Susano O-No-Mikoto addressed her coldly, like an art collector attaining their next commission. His hair was black, pulled back into a bun, and he possessed a thin, wispy beard that sharpened into a point. He wore a scarlet robe, delicate and silky, and his eyes, which scrutinized her with an impersonal fondness, appeared to be of some Asian nationality. “As a private individual for the pantheon of my mother, the Queen Izanami, it is a grace, Miss Monroe, to be welcomed into our collection. There is a special wing that exclusively houses Americana and Western iconography.”

Marilyn didn’t understand any of this.

And she couldn’t speak, her mouth failed to beg for clarity. It was the lips, frozen, puckered lips. And the wind, blowing perpetually beneath her, danced her dress like a rabid beast. While the robed man continued, Marilyn’s focus was consumed by the dress, and here she had to convince herself she was more than this accoutrement.

“Come. Follow,” said the god. And while he spoke, she strived to recall who she was. She had entered the world as a woman, yes, and she had taken her grand exit as a star, in the same City of Angels. She had been an actress, the wife of a playwright and a baseball legend and maybe mistress to dead presidents. She was a person, goddammit, of flesh and blood, of rumor and glamor.

None of that mattered at the moment, not in her current situation.

Because Marilyn couldn’t move. She had tried. She really had, but her body refused to budge. She was alive, or she was dead. She was on-stage, or off. There were cameras in the shadows and spotlights from oblivion. Eyes in the flashes of light. And she couldn’t move because, again, her legs were bent, the knobs of her knees pressed together, arms rigid, hands taming the white bastard dress, and that cold, cold air licking her from underneath.

And lips, puckered.

Marilyn felt no trace of self here – wherever here was. Had she died? Was she being punished, because your savior was revoked if you did that act, even if that wasn’t for certain? Whatever had happened had stolen her humanity. Marilyn might have been a wax statue, a fixed caricature, someone’s midnight wank. And perhaps all those were true; after all, she was an icon now, and icons could be many things. Despite that, whoever they were now cared nothing of the personal touches, no, the gods regarded her as a pretty face in the American collective. That’s what mattered.

Puckered lips.

Susano O-No-Mikoto escorted her through his mother’s underworld, strange halls cluttered with armors and museum props. She spotted a display of a toilet that perhaps once sat the rear of a king. In his rambling, he used words like eclectic and hybridization and efficiency. His words were bloated with pride, like an uppity hunter who sought and attained the rarest treasures. But those words meant nothing to Marilyn. She still hadn’t forgotten the kind visage of the woman with raven black hair with the shadow filled with the flapping of wings in flight.

“…we hope to continue down this line,” continued the god, “acquiring you, we can acquire others. John F. Kennedy is in Hell. But his effigy is strong in the artifacts of his demise. Lee Harvey Oswald could be ours. The grassy knoll itself harbors a sentience all its own as well. The prospects of our ambitions are limitless. It is said…”

And when Marilyn refocused, Susano had stopped to inspect her, his breath – scented with the promise of storms – was cold and brutal, and a pointy finger tapped his lips, the vaguest hint of a smile on his arrogant face. She felt no love from him, no real love. Not like the love Jesus and the Lord promised her as she grew. And she had been a good person; she deserved better than to not have love. And yet the man, who might’ve been a god, cared nothing for her as the person. He only desired the spirit of what she was. But a transcendence within a certain collective didn’t change her stature. It wasn’t her. All the little details of who she was were sprinklings upon a personal mythology that only bred the impersonal. The world, cultures come and gone, could only see her in the stars.

And as for the little details, did those matter?

No, not to him.

And then he was gone.

When Marilyn was alone, “They have you too,” rumbled a deep and heavy voice from the room. “You are beautiful, as I was, although you are not as beautiful as the one I carried to the top of the world.”

Marilyn winced, startled.

“Be still, woman. We are family now, and I will protect you if I must. If I can.”

“Where am I?” Marilyn piped.

“The assimilation of the American Pantheon. The Underworld. Hell. Who can know for sure?”

“Who are you?” Her voice trembled. “Who’s there?”

“You remind me of her,” said the deep voice.

“Of her? Who?”

“You look like her, in your fashion, a pair of eyes and pretty hair. The one I carried to the top of the world. I was king there, before I fell, before I was forced to fall, although I confess I attained immortality in that moment, I think. At least, I’d like to look at it that way. The tragedy, the descent.”

“Are…are you…the devil?” Marilyn stammered.

Ignoring her, “They can fear you and love you and cry for you. When the tears are shed is when we become idols.”

She needed to see the face. She had to. “Oh, Mister,” she pleaded, “please come forward.”

And the beast revealed itself.

Marilyn would’ve screamed if her lips were puckered, if they could ever alter. Her frozen stance did not permit. Instead the dress blew more frantically. * “I must take my absence. Opportunities abroad bless us. The gods of Nippon and her highest majesty, the Queen, my mother Izanami, must not squander the chance in attaining most fruitful grace. If the key belongs to our kingdom…” the Asian man in his fancy gowns who smelled like a thunderstorm or a coming rain shower departed from the room through an entrance that didn’t really exist. In the silence of an attic filled with antiques from Atlantis or Wall Street or Hollywood, the white-haired star with her puckered lips kept her gaze down, until sheepishly she dared to lock eyes with the gorilla. And the gorilla rested his black hands upon his massive ape pecs and exhaled forcefully from nostrils that flared out in angst and boredom.

“I would have found the stars,” King Kong said after some time.

Marilyn raised an eyebrow, oh?

“I could have climbed forever.” Kong drummed his fingers on his chest. “It wasn’t me who was limited; it was only the ladder in which I ascended. Just me and her, the one that wasn’t you. I would’ve reached for the moon, then the stars themselves, and whatever is above that. I was limited by them, because a monster could only ascend so far and then they fall, and then they love you. In death you gain humanity; a posthumous flavor of idolatry and what you represented. You become your fall because that’s how people remember you. Not the details. It’s all what you could have been; all the what-ifs. And that’s how a star is born. That’s how idols rise.”

And the gorilla was done then, crossing its arms, and saying no more. In the silence, Marilyn felt a quiver in her lip, a tear in the corner of her eye. If she could unpucker her lips she would’ve smiled fondly at the beast and his words. After some time she glided towards him, her hungry frilly dress shooting up around her, and she moved next to him and the two touched, so slightly. Time faded then. It came in and out in waves and blurs. And sometime a hole opened in the world and a vast shadow filled the space for a moment. The sound of wings beat around them.

“Hey, down there!” called a perky voice that was kind, yet filled with urgency. “Things are a mess around here. It’s a Hell thing. Anyway,” the girl trailed, “I’ve got lots of work, you know, and, well, if you wanted to perhaps transition in a sense, I’m here. I’ll always be here, even if I’m not. Ok? But the doors open. Mister O-No-Mikoto’s dreams of attaining Hell are dead. I took them when the fiery torch was passed on to another pair of angels. And besides the mighty storm god of Nippon is in a bit of a predicament. Sorry. Talking too much.” Like that she was gone.

After a moment, hesitantly, King Kong moved to his feet. He climbed the walls and reached towards the ceiling exit. And before he departed, he looked towards her. “Come. You are not her but I can carry you to the top of the world, again.” And he took Marilyn in his grip and they ascended together towards the stars. “The winds are on your side,” said the King, “and he was a god of storms. Perhaps there’s irony in that. Or perhaps we shall rise as high as the gods allow.”

#neil gaiman #Sandman #sandman universe #vertigo #fiction #creative writing #mythology #books #fanfic #fantasy #fables #Fable Unbound

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politicalprof · 5 years

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2019 in books:

David McCullough, 1776: A highly accessible, if somewhat naive, depiction of the year that defined the prospects for American independence. I wouldn’t go there for deep, critical analysis. But for a story of a year, it is well done.

Michael Palin, Erebus: HMS Erebus was a British naval vessel that spent much of its career in Arctic and Antarctic exploration. If you are interested in Victorian era explorations of hard places, a fascinating read.

Emilio Corsetti III, 35 Miles from Shore: The story of an airline crash in the early 1970s in the Caribbean. What happened, why, how, who survived and what we learned. Interesting if not brilliant.

Raymond Thorp, Crow Killer: Old-fashioned tale of the inspiration behind the Robert Redford movie Jeremiah Johnson. As much fantasy as history. But it offers a flavor of a time and a subgroup few Americans would know.

James Corey, Caliban’s War: The second book of “The Expanse” series. The protomolecule is working its mojo, and Earth, Mars and the Belters are none too happy with one another. A fun read of a massive space opera.

Walter Kempowski, All for Nothing: Set in the context of the collapsing Eastern Front during WWII, this story proceeds from the fractured point of view of the Germans who are about to be turned into refugees fleeing oncoming Soviet forces. The book, notably, does not make these Germans sources of sympathy: the mood is dissonant and disordered. A real piece of literature.

Hilary Mantel, Wolf Hall: Because who doesn’t want a point-of-view account of a key counselor to Henry VIII, one who rose to extraordinary wealth and power despite his humble birth and then managed the, how shall we say, removal of Kathrine as Queen? Replaced by Anne Boleyn? Who wouldn’t want to read it? It’s excellent, by the way.

James Corey, Abaddon’s Gate: Book three of The Expanse, and the protomolecule has remade humanity’s relationship to the universe. But we’ll probably screw that up, too. Another good story, filled with actual thought about the problems of space travel and space living.

MIchael Krondl, The Taste of Conquest: The Rise and Fall of the Three Great Cities of Spice: Venice, Lisbon and Amsterdam each in their turn dominated the global spice trade -- a trade that was one of the main stimuli for early colonialism and imperial conquest, and which strongly influenced the rise of the modern corporation as a linch-pin of global capitalism. The book is not as good as it should be, but the story is one that few people know, but should.

Hilary Mantel, Bring Up the Bodies: Hey, it’s time to get rid of Anne Boleyn everyone! Or, at least, to separate her head from her body. And let’s manage the English Reformation, too ... all just a few years before losing our own head. Welcome to the early/middle 1500s in England everyone!

Leigh Perry, A Skeleton in the Family: Who doesn’t have a skeleton living in their house who helps solve mysteries. I mean, who doesn’t?

JK Rowling, Harry Potter and the Sorcerer’s Stone: So my son has started reading Harry Potter. So I have started reading Harry Potter. I liked this book: it’s tight, it’s focused, it’s a fun read. I see the appeal.

Terry Pratchett and Neil Gaiman, Good Omens: The answer to the questions: “What if the angels and demons charged with over-seeing Earth as humans go from the Garden of Eden to Armageddon decide that they like Earth and don’t want Armageddon to happen (even if their allies do)? And what if the Anti-Christ were raised in a perfectly mundane family in a perfectly mundane English village? How might it all turn out?” To delightful and funny effect.

JK Rowling, Harry Potter and the Chamber of Secrets: Meh. Okay. Not as good as book one. But still a good story.

Gilbert King, Devil in the Grove: Thurgood Marshall, the Groveland Boys, and the Dawn of a New America: A broad pastiche of events surrounding one of the many civil rights cases of the 1940s and 50s: the abuses and murders of several African American men accused of raping a white woman in Lakeland, FL, in 1949. With a whole lot of associated discussions of other cases, the NAACP, corrupt and criminal law enforcement, race riots, and the like. A good read. And how can it be that the bastard George HW Bush, put Clarence Thomas on the Supreme Court to fill a seat once held by the staggering legal figure that was Thurgood Marshall. Shameful is the only word.

JK Rowling, Harry Potter and the Prisoner of Azkaban: Certainly better than the Chamber of Secrets. A darker turn. But beginning to get padded as readers demanded “more” if not “better.”

James Corey, Cibola Burn: Book 4 of The Expanse ... and I didn’t like it. It seemed like filler, a book written to a contract deadline. Maybe it will pay off in the end. But another one like that and I’m not going to care.

Tom Phillips, Humans: A Brief History of How We Fucked It All Up: Did you know our oldest known ancestor, Lucy, probably died by falling out of a tree? If stories about how people have messed things up, have suffered both intentional and unintentional consequences, turn you on, do I ever have the book for you. Schadenfreude much?

JK Rowling, Harry Potter and the Goblet of Fire: Dear lord is this book long. Why? No doubt because the fans wanted it to be. But it is as gratuitously padded as any book I have ever read. It’s okay. But I wasn’t particularly impressed. Perhaps another six Quidditch matches would have helped ....

Adam Higginbotham, Midnight in Chernobyl: Thought the HBO miniseries was scary? It was tame. I mean: the Soviets, with their level of “technical prowess” and their industrial “quality control checks” ran the facility. Heck, Chernobyl wasn’t even their first disaster. Let’s just put it this way: the actual fuel piles in each of the FOUR Chernobyl reactors were so big that: 1) different sections had different characteristics, and didn’t all operate at the same rates or temperatures; and 2) the monitoring equipment couldn’t record how all of the pile was operating at any time. Happy now? Russia still has 10 Chernobyl-style reactors in operation. Enjoy your good night’s sleep everyone!

JK Rowling, Harry Potter and the Half-Blood Prince: Yes, yes: I know. This isn’t Order of the Phoenix. Well, I read Order of the Phoenix many years ago, and thought it was deeply annoying. A pile of words with little point. A way to keep the audience happy with long passages about very little.

Meanwhile, I, like my son, roared through Half-Blood Prince. A ripping good tale. Much tighter than the last several of the series.

JK Rowling, Harry Potter and the Deathly Hallows: A fine read. A bit slow getting going: let’s go here! Let’s go there! Let’s recap the plot! But after the first 1/3 or so, the story got moving and I enjoyed it. Didn’t expect great literature; didn’t get great literature. But then again, I deeply appreciate how much pleasure my son got from this, and how excited my daughter is to engage with it. If it hadn’t been conceived and written, it seems like there’d be a Harry Potter sized hole in the universe.

Neil Gaiman, American Gods: In all honesty, I didn’t really like the first 2/3 of this book: too many tangents; too many sub-stories for the sake of sub-stories. And I’m still not sure I think it was a great book. But I really enjoyed the last third of it, and there were moments, vignettes, and sentences that truly blew me away. So I am glad I stayed with it.

Kameron Hurley, The Light Brigade: A sci fi story of soldiers apparently engaged in a war with Mars who are transported to the battlefield as beams of light. One gets unhinged from time. I am not sure it was worth the work, and I came to understand it was based on a short story and so, at times, it seemed a bit one-trick pony-ish. But it had its share of moments.

Daniel James Brown, The Boys in the Boat: A bit slow going at first, but it grows more compelling as it moved forward. This is the story of the 1936 crew (rowing) team at the University of Washington that went to Berlin and won the gold medal as Adolf Hitler watched. An interesting story about crew as a sport (about which I knew basically nothing), and life in Depression-era Washington state -- with a little, somewhat gratuitous, commentary about life in Nazi Germany layered in. One takeaway? The actor Hugh Laurie’s father was the lead oarsman on the British crew at Berlin in 1936. Hugh Laurie rowed crew at Cambridge as well.

James Corey, Nemesis Games: The next in the Expanse series. Much more enjoyable than the last one, but still a bit strained. One heck of a plot “twist.” A perfectly lovely way to relax; didn’t change my life. Some interesting character twists. But also a lot of “here are some giant developments (a lot of giant stuff) that give us lots of things to write about going forward!”

Alan Stern and David Grinspoon, Chasing New Horizons: the story of the New Horizons mission to Pluto. Interesting behind the scenes look at how the mission got funded, planned and implemented. Accessible in terms of the explanations; thick with bureaucratic story-telling and summary. It turns out this stuff is really, really hard. Interesting, but it didn’t blow me away.

And to end the year, I am reading: Christopher Moore, Lamb: The Gospel According to Biff, Christ's Childhood Pal: What if 13 year old Jesus had a buddy who, 2000 years later, wrote a gospel that filled in those missing years of Joshua’s (as Biff calls Jesus) life? Well, here’s your answer.

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thenightling · 4 years

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The Sandman: A Game of you (A summary of the plot from someone who actually read the thing...)

I have seen a lot of misconceptions floating around Tumblr about the plot of The Sandman: A Game of You, mostly thanks to an old Mary Sue article that seemed to deliberately take the plot out of context to make it look transphobic. Some people on Tumblr have even said “I love Sandman but I won’t read A Game of you because I heard about what’s in it.” Neil Gaiman, himself, even received an ask here on Tumblr about the story’s “problematic” content because the person who wrote the ask legitimately thought the story said trans women cannot use magick in The Sandman universe. I have even seen transphobes claim Neil Gaiman is on their side for this reason.

According to Neil Gaiman he wrote A Game of you while being consulted by trans friends, one in particular, who heavily became the basis for the character Wanda.

The first version of The Dreaming (Sandman spin-off comics) and The House of Mystery Volume 2 (Also a Sandman spin-off) were written by Caitlin R. Kiernan. (a transwoman). That’s right. Neil Gaiman left The Sandman franchise in the care of a transwoman.

Now, let’s begin...

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The Sandman: A game of you (summary)

First we need to go backward into The Sandman. The main character of The Sandman is Morpheus AKA Dream of The Endless. The Endless are a family of anthropomorphic personifications. That means they are living embodiments of certain concepts. For example Morpheus, also known as Dream has an older sister who is Death. She’s essentially the Grim Reaper.

Note: Death is older than Dream (Morpheus) but looks younger by at least a decade. The family consists of Destiny, Death, Dream, Destruction, Desire, Despair, and little Delirium (She used to be Delight but she went mad). Most of Sandman is the story of Morpheus and what happens to him. The place to begin is Sandman: Preludes and Nocturnes.

The first story to feature Hazel and Foxglove (though Foxglove’s other name, Donna, is given much earlier in the series) is The Sandman: A Game of You. Donna AKA Foxglove had been in an abusive relationship with a girl named Judy. After their breakup Judy had been murdered (issue 6 of The Sandman, within Preludes and Nocturnes, the issue is called 24 Hour Diner).

Donna took the name Foxglove as a stage name as she wants to be a rock musician. She falls in love with Hazel. The two are housemates with Wanda (a transwoman who ran away from a very transphobic hillbilly family), Barbie (a pretty and slightly eccentric makeup artist and dreamer trying to rebuild her life after a failed romantic relationship with a man named… I kid you not, Ken), and Larissa, also known as Thessaly, a nerdy looking and stand-offish woman who turns out to be a powerful and slightly-homicidal witch from ancient Greece. There’s also an old man named George who turns out to actually be a Nightmare spy for a creature called the Cuckoo (more on that later.)

I’ll give the plot of The Sandman: A game of you first and then tell you the full plot of Death: Time of your Life. The two connect.

In The Sandman: A game of you we learn that Barbie had a Labyrinth-esue fantasy world (Think of Jim Henson’s The Labyrinth) that she would escape to and lucid dream of all through her childhood and early adulthood but she had not been there in a long time. We (readers) met Barbie earlier in The Sandman: The doll’s house when she had been dating Ken and in that story we see the first glimpse of Barbie’s fantasy world.

Now her childhood anthropomorphic animal friends miss her and worry about her and were terrified of the activities of The Cuckoo (The main “bad guy” of her fantasy world). One of the creatures (who greatly resembles Ludo from Labyrinth but is articulate) enters the real world where he is unfortunately killed. He tried to warn Barbie of the bad things happening in her fantasy land.

Things start to get weirder. That night everyone has anxiety based nightmares. It turns out Hazel is pregnant from a one night stand that she regretted and didn’t know how to tell Foxglove so this is the basis for her nightmare. Foxglove has nightmares about her abusive and deceased ex, Judy. Wanda is having nightmares about transphobia. She has not medically transitioned and she worries that others feel she does not count as a woman unless she has the surgery. She’s actually terrified of surgery and affirms herself in the dream that even without the surgery she IS a woman.

After everyone has terrible anxiety dreams and most confront their nightmares they wake up to find things are strange in their home. First Hazel confesses her indiscretion to Foxglove. Foxglove forgives her and they decide to raise the baby together.

Larissa finds George, realizing he was the cause of the nightmares, and kills him. She uses his remains to find out what is really going on.

Barbie, however, will not wake up. She has been sucked back into her Labyrinth-esque fantasy.

The friends, finding out that Larissa is really an ancient and powerful witch known as Thessaly, decide to go on a rescue mission into the realm of dreams (known as The Dreaming) to save Barbie.

Thessaly gets revealed as being a TERF (this was written in the 90s so the term didn’t exist yet), claiming her magick will not work for Wanda since she’s not a “real woman” and besides, someone needs to stay behind to protect Barbie’s body.

Thessaly opens a way by the moon’s magick to get herself, Hazel, and Foxglove into Barbie’s fantasy world.

While that’s going on a storm is unleashed by Thessaly’s use of magick. The storm causes heavy winds and trees to uproot. Wanda sees a homeless old woman in trouble. It’s a woman who had previously been nasty to her. Wanda saves her life but dies in the process.

In Barbie’s dream the heroes find a magical gemstone called the Porpentine (actually a rose quartz dreamstone, a magical stone that Dream AKA Morpheus uses as a conduit for his power. His main one, for a long time, was a ruby. Think of it like a magick wand). They destroy the porpentine, which is actually what the cuckoo wanted.

The Cuckoo had accidentally gotten trapped in Barbie’s dream many years before and though they feed on imagination she wanted her freedom. The destruction of the dreamstone alerts Morpheus (Dream) who comes to see that the skerry (The island that was Baribe’s fantasy world) is no longer needed.

The island had actually been created many centuries before for a former lover of Morpheus’ known as Alianora. Alianora could not return to her old life but wanted a place of her own when they broke up so Morpheus had given her the island. The dreamstone powered its magick. The island would exist so long as the dreamstone did. For many centuries after Alianora passed away the island had been the plaything of many young woman dreamers.

Morpheus absorbs the island and all its characters back into himself. And has a brief private conversation with Alianora’s ghost, comforting her by assuring her that her island had been home to many dreamers after her.

Morpheus allows the Cuckoo to fly away (which is all she really wanted), but Thessaly had wanted to kill her for all the trouble she had caused them. Morpheus prevents this.

Morpheus tells Foxglove, Hazel, and Thessaly that they should not have physically entered The Dreaming. That this is against nature. Barbie may wakeup but the rest are trapped. However, he does owe Barbie a boon for destroying the dreamstone- giving the power back to him that had long since been stored away in the jewel. This is a bit of a con on Morpheus’ part, because he got her to ask that her friends be returned to the waking world as her boon. This was Morphesus’ sneaky way of getting out of being in debt to her.

One by one they are returned to the waking world. And Morpheus and Thessaly become lovers (but she later dumps him, saying he cares too much about mortals, which surprises him because he used to be a very cold, and aloof bastard and he doesn’t like facing that he’s changed.)

Barbie attends Wanda’s funeral but unfortunately it’s hosted by Wanda’s redneck family who keep misgendering her. Cut off Wanda’s hair, put her in a suit, and deadname her on her headstone. Barbie writes Wanda’s real name on the headstone in lipstick.

Barbie also has a very strange dream where she sees Wanda with the delicate, feminine, features she had always wanted but was too scared to get the surgery to have (bone structure related), and another girl she doesn’t recognize. This is Death.

Death waves to Barbie, thus assuring her that Wanda is happy and safe where she is going and that yes, Wanda was ALWAYS a woman. This was written in 1992 so this was a big deal. A lot of people here on Tumblr mistake the story as transphobic and legitimately believe it was saying magick won’t work for a transwoman. No. This scene was to prove Thessaly and Wanda’s parents wrong about that and to show cis het readers that trans women ARE women right down in their soul.

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Death: The High cost of Living.

In Death The High cost of living we learn that every so often Death takes human form as a means of self-humbling. She used to be very cold and mean until one day a soul she was collecting asked her how she would feel about it. So to remind herself of why she should show compassion she turns herself mortal for one day and lives as a human woman.

I won’t give the full plot of this story here but know that she attends a Foxglove concert and proclaims herself a fan.

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Death: Time of your life.

Hazel had the baby and they named him Alvin. This was meant to be in honor of Wanda even though that was Wanda’s deadname and she had hated the name. They couldn’t figure out how to make a male equivalent of Wanda’s name so they just used her deadname. I don’t think this is a great idea, personally, but at least they tried to honor her memory.

By now Foxglove is a bit of a celebrity But she is stuck in the closet. It’s the mid-90s and her manager is worried that if she comes out as a lesbian it could ruin her career.

Foxglove thinks she’s falling out of love with Hazel because while on tour, she (Foxglove), has been sleeping around while on tour and knows she hasn’t been spending enough time with Hazel. She’s also getting burnt out. Being a celebrity is not all it’s cracked up to be and she misses being obscure.

It turns out baby Alvie (Alvin) had an accident and Hazel offered up herself within a year if Death would not take Alvin. Death apparently listened but she warned her, she had to take someone when the time comes.

When Foxglove learns what has happened she rushes home and then to The Sunless lands (the land of The Dead) to save Hazel. Her handler comes with her. When she learns the deal Hazel made with Death she’s ready to offer herself to save her, realizing she DOES still love Hazel after all. The handler, however, offers himself instead.

It’s HEAVILY implied that Death was actually going to take him all along and the rest was just a rouse to save Hazel and Foxglove’s relationship because she liked them, and wanted them to realize what was important. It also assured the handler a chance to die a hero, doing something noble and good, which he secretly wanted anyway.

Foxglove goes back to her pre-music career name of Donna and settles into a private life where she is openly with Hazel and their son. And they live happily Ever After.

I figured it was important someone who actually read the comics summarize it since so many people here on Tumblr mistake The Sandman: A Game of you as transphobic and some have even called Hazel and Foxglove AKA Donna homophobic simply because they both have had affairs and forgave each other for it and Donna’s previous relationship had been abusive. There was an article from The Mary Sue a few years ago that deliberately took things out of context to make the story of A Game of You seem problematic and too many people trusted that as being accurate.

Also I had been wanting to write out the summary for some time since there are Sandman fans now who out-right refuse to read the arc because they were told it has problematic content, and some that badly misunderstood what it was trying to say. i.e. legitimately thinking feminine magick wouldn’t work for poor Wanda when in reality the whole point of Wanda’s arc was to tell the reader that transwomen ARE women.

#The Sandman #Sandman #The Sandman: A Game of you #The Sandman A Game of you #A Game of you #Sandman: A Game of you #Sandman A Game of you

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desertbroad · 5 years

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kaj + (inverted) tropes: part two! * * i don’t know all the actual Official TM names for these tropes, so most are made up. also, you might notice the regular trope list (part 1 of this headcanon) is significantly longer. this is because kaj has a few main inverted tropes but tons more regular ones, since tropes are like atoms: they make up everything. i just wanted to focus on the few inversions that created her character and let the rest come naturally! under a read more for length. ** also as of 7/6/19 part one isn’t done yet. yes i know please don’t shame me ok IM GETTING TO IT

fridged woman (aka back from the dead)—

for this one i took inspiration from laura moon from american gods, with a few tweaks (love neil gaiman, but some of the things about her character are...a bit squicky). unlike a good number of women in media, kaj isn’t shoved over gently and pronounced dead so that a man can grow from her pain. in fact, she’s shot in the head twice, pronounced dead, & buried. while her “death” means more pain and character development for the characters surrounding her, it means pain and character development for her, too. truth be told, she survives a hell of a lot more than any average person should, especially one with her low luck stat. half of this is the fun and wacky way new vegas’ world works (obviously, no real person could survive all this), but also because of her good ol’ courier determination. things that should’ve fridged kaj but haven’t include: two shots to the head, numerous combat scrapes, being stabbed, having her brain/heart/spine removed, having a bomb collar attached to her neck, killing an entire fortification of trained legionnaires, stepping on landmines, etc etc. the courier is pretty much the bruce willis of fallout.

world ending vengeance—

specifically applies to certain characters. while most others who piss kaj off get the full brunt of her wrath (see: caesar, mr. house, elijah, general oliver, ulysses), benny, along with dr. mobius & the think tank & mcnamara*, get a pass. in fact, she lets him go not once or twice, but on three separate occasions, even knowing he’s likely to betray her again. the reason why? not even kaj knows. some people speculate it’s because she likes him / slept with him (incorrect; she liked house to a degree, and slept with caesar); others speculate it’s because they’re so similar (also incorrect; she shared an alarming number of similarities with ulysses & elijah). the theory that comes closest to the truth is that she pities him. it fits in line her past behavior with mobius & the think tank, who were physically unable to see the effects of their actions and thus were spared a horrible fate. likewise, kaj seems to have judged benny to be innocent in her own personal court, and though he continues to be a thorn in her side again and again, she refuses to “sentence” him for anything. it helps his cause that his plan helped her take over vegas, and he created yes man, one of the only living beings she’s ever fully trusted. also a slight inversion of kaj’s maneater / black widow trope; the one person she truly should seduce and kill, she doesn’t.

that said, benny doesn’t get away from their encounters without any punishment—after narrowly escaping being crucified, both kaj and benny have matching rope burns around their wrists. it’s her morbid idea of a joke.

*mcnamara doesn’t fit within this trope, but kaj spares the bos for veronica & christine’s sake, despite yes man’s warnings. also for the off chance that they might convert to being her allies (they don’t, and this choice helps lend itself to more BOS trouble all over the wasteland).

white man cowboy—

kind of a simple inversion that’s been done before, but an important one and one that i like a lot. for starters, the “john wayne” cowboy is a bastardization of a history that was made up of ethnic minorities and whitewashed for hollywood aesthetic (also fuck you john wayne). while none of my research has come up with anything about women of color or nonbinary people in the western scene, only moc (whether this is intentional or not, i’m not sure), i still wanted to write kaj as non-male. frankly, this is because i wanted her to be an inversion of tired tropes, and that included being a debonair, byronic woman / non gender conforming hero (think gentleman jack) instead of a debonair, byronic white dude. we’ve got 20 of those for every fleshed out woman/enby on screen, lbr. kaj is also a femme fatale, but only by coincidence; she’s more of a wandering heart breaker than a necessarily dangerous woman, much like many of the heroes on screen.

i also find that non-men of color are one of the most underrepresented minorities in fiction—even media that celebrates diversity simplifies them down (hamilton), or centers their narrative and entire purpose around a man (hamilton, again). nevermind nonbinary people / trans folk. for that reason, i wanted kaj’s story to be about a woman of color / someone who doesn’t conform to expectations and doesn’t allow herself to be put in the sidelines for a white person or a male to lead her life. and regardless of whether a woman filling this swaggering, womanizing cowboy role is accurate to history or not, fallout’s setting lends itself an air of exaggeration, so i felt it was appropriate to include her here, instead of arguing with people over whether someone like her existed in actual history (my suspicions say yes, and that these people have simply been erased from the narrative for the convenience of certain people’s feelings, but still).

smarter than you look / deadly doctor (this one actually has a tvtropes page! look it up!)—

from the deadly doctor page : ‘ surely the ultimate example of the morally ambiguous doctorate. one reason for this is due to all his/her training : while having advanced knowledge on the human body can be used to save people, it also gives all the knowledge on how to injure and kill people with minimal effort by knowing all the body's weak points. some more sympathetic examples equate to the medical version of a well-intentioned extremist, who may certainly have good (or at least sympathetic/understandable) intentions but ruthless medical ethics. ’

one of the most important things kaj took from her thorough education is medical training—unable to depend on anyone after being traumatized, trusting any doctor who happened along to treat her illnesses was out of the question. she was also smart enough to know the original kaj wouldn’t be around to heal her up forever. thus, she began her training as a self preservation instinct; but over time, as she grew and relearned how to be compassionate and empathetic, she decided to use healing for good, too. trained as a young girl by the original kaj, and then later trained officially as a combat medic by the ncr, kaj has spent a countless amount of hours inside army tents, healing wounds and assisting doctors with tough cases. she even keeps a medical bag on her person for exactly that sort of situation (especially since supplies in the mojave aren’t exactly easy to dig up). though she’s a big scientist in general (the big mt saw to that), medicine is her specialty. she’s even stitched up her own wounds, though it’s not something she particularly enjoys (it takes a lot of whiskey and something for her to bite down on).

for reference, consider this scene of anton from no country for old men (TW: he’s performing self surgery, so it’s pretty gruesome). though both anton and kaj’s lifestyles are rough and even sadistic at times, they both still have medical training—if not to protect others, then to at least protect themselves. and like anton, it shows kaj’s inability to trust anyone with her most important commodity: herself. this makes her surgery in the big empty doubly as horrifying, given she took specific pains for something like this to not happen. it’s why she refuses to leave without all of her organs (also, stubbornness). all of this is just one of the ways kaj is way more ... well, everything than she looks. which leads into...

underestimate me if you dare, aka femme fatale (sort of?)—

though fallout prides itself on being a soft reset on the world, people’s perceptions of minorities are still ... iffy, due to real world influences by the creators. thus, the people around kaj often jump to assumptions about her based on her identity—mostly, that she’s weak. once, it offended her, but now it’s a perception that she encourages. after all, she’s not flat out strong like your usual hero, but is more of a hamlet-type; smart, perceptive, fast, and willing to strike from the shadows. it’s hard to do any of that if you’re putting on a big performance about your power (though admittedly, she’s been known to go big or go home if she’s planning on killing everyone; if she’s not faking nice and telling you what you wanna hear, trouble’s ahead).

of course, the reality is that kaj is a powerhouse. but these perceptions about her supposed weakness are why posing as a legion member is so easy—those who think she’s weak underestimate her or keep their distance, which gives her leave to do what she wants. she’s viewed more like a pet than a person by most, and though it frustrates her at times to pretend, it also gives her leave to do more, than if she were to simply pose as a man.

all that said, kaj doesn’t exactly qualify as a femme fatale. most of her lovers are just information givers, and they escape from their interaction unharmed. kaj killing her bed mates is actually less likely than her just sparing them and letting them go, none the wiser. of course, you kill one tyrant (maybe two or three) and suddenly you’re a black widow—

#headcanon.#long post //#sb: if you love benny so much why dont you make a blog for him #me: THAT OPENS THE DOOR................#if i make one for benny i will make one for every one of my fnv faves and it will just be a MESS !!!#anyway hi heres the basis of kaj's character in a neat post !#i think i got everything

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