#some people read these comics without knowledge of the source material so this is your *warning for spoilers* in the tags

[poorly-drawn-mdzs]

Stop flirting and start fighting

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[wishing-stones]

How do your takes on the boys set them apart from others do you think?

I'll be refering to them with their call names in this one

Targe(Killer) is a little difficult to say this for, because I think he's pretty standard. I'll say maybe that it's his loyalty to Nightmare that makes him unique. I haven't seen a lot of people explore that close friendship they have going on, the unwavering loyalty that doesn't often get explained. Killer owes Nightmare his life for rescuing him from his AU. Also, Targe is really, really competent. Scary smart, thinks quickly on his feet, and doesn't let his authority go questioned. He's a fantastic leader, not just a chaos gremlin.

Mote(Dust) is also hard to answer this for since I don't have a ton of other Dust interpretations to go off of. I'd say he's maybe a little more down-to-earth and... present? Than other takes I've seen on him. That he's not so lost in his delusions constantly. They're there, they're integral to his character, but he's also clever and resourceful. He's quiet, but he pays attention. I think I've said before that his character is the one closest still to his canon counterpart-- he's really just Sans who had an infinite run of Really Bad Days.

Haft(Axe) is a lot more chill than other Horrors I've seen. He doesn't regret what he's done at all-- he did what he had to in order to survive, and he's settled whatever guilt he might have had over that fact. He's also still blisteringly smart, and I have seen Horror played to be a little... dim sometimes, which does him an incredible disservice IMO. His 'canon' self (in the HT comic) is still smart, just a really jaded and kind of twisted survivalist. Haft has gone past that and into resolved survivalist. Suvival by whatever means necessary-- he had to defend himself and his brother more times than he cares to admit. Still... he's a big softy under it. He's a kind person at heart, he's just not gonna agonize over doing whatever needs doing. Haft also has a better relationship with food than I've seen portrayed. He's had time to work on it in his service to Nightmare.

Saltire(Cross) gets along with the guys a lot better than other instances of Cross I've seen with the BSG. He's also not as guilt-ridden, as his situation is fairly permanent. He's safe and secure in Nightmare's Hold, he does what he must in order to get by, and all things considered... it's not so bad. He has good food and drink, a nice room, gets to stretch his legs a bit with multiversal jaunts, a dedicated place to train, and a leader who respects and appreciates his capabilities. He's free here. Still, he's pretty withdrawn and takes a long time to trust, especially if someone (Killer) has stung him in the past. Sal... wants to move forward, even though his past weighs him down heavily. He reminds me of a big standoffish white wolf.

Sorpor(Baggs) doesn't have a whole lot different than his source material. I try to write him as close to canon as I can. The most he has that's different is that he's a little taller and knows about the multiverse. The latter can and probably will cause some interesting divergence from his canon timeline, considering he's aware of resets and how they can go (read: really badly). He has perephreral knowledge about some other things that can happen to the underground as well (Flowey, namely-- he wasn't present for the Photoshop Flowey fight, but he heard about it in therapy sessions). I'd say over time he's also gotten a little bit more direct because trying to manipulate the guys into what you want them to do is harder when they'll dance around with you. Straight and to the point gets more results with them, so he becomes a little more forceful. He also sleeps on a fairly regular basis, which makes him much more pleasant to be around constantly.

Umbrose(Nightmare) is fairly standard of the "classy" Nightmare variety. He enjoys his finer luxuries and arts, speaks largely without contractions, and uses big words. He likes to exude elegance and charisma, because while fierce can achieve results, it takes much less energy to simply... coax others into doing what you want. He's had years to chill out from utter violence, so he elects to do things in a fashion that doesn't tire him out consistently. He's also a fantastic leader. He treats all his underlings fairly and sees to it that they want for nothing. Ensuring their loyalty is important to him-- otherwise they could turn on him, and that would be bad. (I have some issues with the more abusive dynamics you see around with the BSG and him. You can only tettorize and threaten your minions into submission for so long before they plan mutiny). He's pretty chill, but no less intense in pursuing what he wants-- he's just smarter about it.

Aubade(Dream) is way more mature than a lot of takes on Dream I've seen around. He is tired. He wants to stop fighting with his brother. He doesn't understand where things went wrong and it eats him. At his core, he is existentially exhausted, but continues to do what he does out of duty. Certainly, he loves his friends and they do make him genuinely happy... but he's so tired, and if you look deeper into his actions, it shows. He also swears. He's not the perfect angel that can do no wrong, and he knows it. There are necessary evils that even the guardian of positivity must do. He's also aware that positivity does not equal goodness, and negativity does not equal badness. He's a little jaded, but understands that balance is a requirement in the multiverse, and so he has to keep doing his job. He's not afraid to take a life or beat someone to a pulp, though he'll issue warnings before he does.

Haboku(Ink) is a little more stable by proxy of being around his friends so much. Dream helps to remind him to take his paints regularly, and Blue will bully him into it if he has to. He's clever, too clever by half. He'll play to someones ignorant perception of him and has no issue letting them continue to think that he's an idiot with the memory of a goldfish and the attention span of a squirrel. He also enjoys stirring shit. He'll cause trouble just to cause it sometimes, but usually is good about not doing anything that will hurt he or his friends. He's fairly dutiful as well, and will protect the multiverse by any means necessary. Any. means. He is otherwise a pretty happy goofball who likes to make sure everyone around him is doing okay. He's honestly a sweet person if you're in good with him. He doesn't like to see unnecessary suffering.

Zaffre(Blue) has a knowledge of the multiverse and has been travelling it for a while. He's of the 'Jaded Blue' variety who tends to help Dream be Ink's leash. Still, he's a very happy guy who loves adventure and loves his friends. He's very passionate. He's no-nonsense. If you mess with what he cares about, gods grant you mercy because he won't. He hasn't killed, but he's certainly beaten a few people within an inch of their life in self defense or in defense of others. He's scary competent, and has a sense of duty to the multiverse much like Dream does. He is, at his core, still a Sans, though, so he is also incredibly intelligent and observant. He also still likes puns and practical jokes, which is not a trait I see applied to Blue very often! He does the whoopee cushion in the hand trick.

[twistedtummies2]

Gathering of the Greatest Gumshoes - Number 9

Welcome to A Gathering of the Greatest Gumshoes! During this month-long event, I’ll be counting my Top 31 Favorite Fictional Detectives, from movies, television, literature, video games, and more!

SLEUTH-OF-THE-DAY’S QUOTE: “How do you think this all works? By being big and being bad.”

Number 9 is…Bigby Wolf, from The Wolf Among Us.

“The Wolf Among Us” is a video game made by the now-defunct developers Telltale Games. The game was based on the comic series “Fables.” I’m going to come right out and say it: I have never read the comics, and I have basically no real knowledge of them or how the characters and lore in them may differ from the established points in “The Wolf Among Us.” HOWEVER, very thankfully, the game is able to stand up on its own two feet regardless, and so are its characters, so even someone who has basically no knowledge of the source material can still enjoy it.

The game is a sort of choose-your-own-adventure sort of deal; a point-and-click adventure where the player’s choices every step of the way affect how the story plays out, the kinds of relationships you form with other characters, and so on. Some choices are more important than others, but virtually every choice of note is worth pondering. The plot is a combo of film noir crime story and dark fantasy: it takes place in a world where various characters from the world of fiction, after their universe was mysteriously destroyed, have fled to the “real” world in order to seek refuge. They’ve established their own city, called “Fabletown,” where real world problems combine with fantastical adventures, as they struggle to build new lives and survive in this different universe, and hide their identities from the “normies” who exist beyond the borders of the city.

The main character is Sheriff Bigby Wolf. Bigby, as you may have guessed from his name and the title, is the Big Bad Wolf of fairy-tale infamy himself. In the world of the game, Bigby is a werewolf, who can transform from a human to increasingly more wolf-like forms, his true and ultimate form being a GIGANTIC feral beast bigger than elephant, able to create hurricane-force winds with his breath alone, and more than capable of swallowing a person whole. Needless to say, with this kind of setup, and his reputation as one of the greatest, most archetypal villains in history, Bigby isn’t exactly a popular Sheriff. Many fear or distrust him, and those that don’t typically still keep their distance for one reason or another.

Because of the playstyle of Telltale games, Bigby’s exact personality can shift depending on the choices the player makes: he can be sort of a gentle giant, who looks rugged and tough but really isn’t that bad. In contrast, he can be much more morally and ethically dubious, an anti-hero closer to Dirty Harry, who walks a very fine line between a man and a monster. However, regardless of the choices you make, a few things remain constant: Bigby’s general demeanor is that of an almost stereotypical noir-style detective. He’s gruff, grumpy, coarse, and can’t seem to go five seconds without having a cigarette. He’s often cynical and sarcastic, very much the sardonic hard-boiled sleuth. The character is voiced by Adam Harrington, and he does a phenomenal job giving Bigby the airs of such a great archetype, while also injecting vulnerability and sympathy into his portrayal.

The most notable constant of all, however, is Bigby’s motivations: even if you make him especially nasty, it’s usually pretty clear that this Big Bad Wolf is racked with guilt over his past. He knows the stigma that hangs over him is VERY well-deserved, and he legitimately wants to try and help people and make things better. Even when he makes questionable decisions, the majority of them are still justifiable in some fashion or another. He doesn’t want to be seen as the bad guy anymore, he wants to try and start a new life. It’s up to the player to determine if Bigby is truly able to put away the vicious, cruel, beastly sides of his personality and turn over a new leaf, or if his efforts and desires are all in vain.

Even though Telltale officially closed down in 2018, the first game was so popular that it was eventually revived for an upcoming sequel, made by the remnants of the Telltale staff with help from AdHoc Studios. The new game is set to release sometime this year, though no official release date has been given. Whenever it arrives, I look forward to seeing how Bigby’s story continues, and what new paths and new cases will await him in the future.

Tomorrow, the countdown continues with Number 8!

CLUE: “Just one more thing…”

[solarishashernoseinabook]

1. What was your first fic and could you stand to reread it today?

Aaaah thank you in advance for all the lovely asks :D I've combined them all into one long post ^-^

There are some wholly unsubstantiated rumours that, in the mid-2000s, I was active on Fanfiction.net. Those rumours would go on to say that my first fic on there was an extremely cringey Fruits Basket fanfiction. Some people would allege that it was 5000 words and written in Comic Sans. If such a thing were to actually exist, I assure you I wouldn't be able to read it again

3. In your opinion, what’s your best fic?

Ah, a Hard Question.

Hm...I think maybe The Royal Ranger! Writing an explicitly autistic character has actually been really fun and it's the first time I've actually made a friend over a fanfic (here's looking at you Angel 💖). It's also got fewer action scenes than The Ward Ghost, so with TRR I can focus on writing character interactions, which I love :D

9. Have you ever written for a fandom without watching/reading/playing the source material?

Nope! At first it was because I only wrote fanfic if I was certain I knew all the characters and could make everything fit well into canon. Now it's because I write because I'm inspired by a world and its possibilities and stuff I haven't read won't do that for me lol

49. Has anyone in your life ever read your fanfic just because you wrote it?

My mom has actually! She read one of my fics and asked for the link to another. To my knowledge she'd never read fanfic before then

45. If you had to call yourself an author of a single genre (besides fanfic) what label would you give yourself?

Fantasy for sure! Almost everything I write has some fantasy elements to it (bc that's 90% of the fiction I read lol)

27. If you could only ever write crossovers or single-fandom fics ever again, which would you pick?

Definitely single-fandom, I've never written a crossover before because I have trouble deciding how to merge the universes lol

Link to the ask game if you want to play!

[krystalalinawinters]

Hello. I have a few questions, for you. Of course, you don't have to answer them, if you don't want to.

What is your opinion on Star wars? How did you come to it?

Do you prefer canon or legends? If you have a preference, why is that?

Do you have experiences With dc comics? Do you have a favorite hero, of this certain comic company? If yes, why?

Do you think that palpatine's return, in both legends and canon, changes anything about Vader's death? Do you think that vader killing the emperor, and the emperor coming back, makes Vader's death seem not as important?

What is your opinion on Luke saying that, he wouldn't go after caedus, because he knew that he couldn't hold himself back from killing him?

Do you think that yoda is a good teacher? If yes, why? If no, why?

What is your opinion on dumbledore, from the Harry Potter series?

I thank you for your time, and hope you have a great morning, day or night.

Hello, mo1475! I’m happy to answer questions :) Though I've probably ranted excessively…

I am familiar with Star Wars, and I have a generally good opinion of the content I’ve interacted with; however, it’s been some time since I last interacted with the franchise in earnest, so I’m not familiar with the more recent series.

I’d assume I prefer canon? I haven’t seen Legends, so I can’t give a definitive answer to this one.

I do have knowledge of DC, though it’s more in the form of “I’ve read enough fanfiction to understand the plot points” than “I’ve read the comics”. I have watched some episodes of The Flash and Arrow, among other things, but I’ve never even touched a DC comic book. And yes, I do have a favourite DC hero, with no competition for the title: Red Robin | Tim Drake. It’s hard to explain why I like him, especially since I’ve only been familiar with the fanon version of him. I just think he’s neat. (If I had to pick a second favourite, it would probably be another member of the Batfam—most likely Cass)

Unlike many Star Wars fans, I don’t have a very strong opinion about Palpatine’s return, though in response to your question, I must say that it does take away from Vader’s death. I barely remember anything about the original six movies (I haven’t watched them in years), but Vader’s death is one scene I do remember. Anything that takes away from the significance of that scene, which stuck in even a child’s mind, is a bad choice in writing, in my opinion.

I’m unfamiliar with this plot point. I… have no idea who caedus is.

I don’t really have an opinion on Yoda. I’ve always thought the lore around him was a little weird; I didn’t pay much attention to it. I suppose he must, to some extent, have been a good teacher, since Luke won, but there’s also Dooku, so… ¯\_(ツ)_/¯

Dumbledore… feels unimportant. I never focused on him much as a character because of that. I liked learning his backstory, but that was probably the only time I cared about him. I found him boring and preferred to obsess over Hermione, Remus, Hedwig, Draco, and Professor McGonagall. It felt like Dumbledore did nothing to advance the plot… and then died. Beyond that—and I’m probably being too harsh because of this—it’s frustrating that J. K. Rowling declared he was gay to get representation points without putting anything into the books about it. I understand clarifying sexualities outside of source material when they’re ambiguous, but there should have been enough evidence in the text for people to infer that he wasn’t straight.

Thank you for the ask! I enjoyed answering—gave me a good break from the crippling weight of deadlines. I hope you have a good morning, day or night as well!

[channeleven]

LTA: Todd McFarlane’s Spawn

I'll be blunt, I don't have the best relationship with comic book cartoons. I'm able to appreciate some of them these days like the Incredible Hulk cartoons, but I feel a lot of them fall into the same series of tropes and cliches that basically make them as run of the mill as an animated sitcom, I feel like I'm the only one who noticed this. Now, comic book adaptations, familiarities aside, are enjoyable if you're into that scene, though it's hard to deny most of them have some serious issues. They could be forgivable if they came out at a time long before a gold standard is set like the old Marvel cartoons, but for stuff like She-Hulk Attorney at Law and DC Superhero Girls...

At your own risk.

But when it comes to shows like those, either I avoid it knowing I'd have little good to say about it, or I give it a shot after seeing some clips and I'll see how I feel about it from there, and here we are now.

Background

Spawn is a comic book character created by Image Comics co-founder Todd McFarlane, and one of many Image properties that received a hell of a lot of interest. In the mid-90s, Spawn received a massive marketing push, from video games, to toys, to movies and a television series, and for better or worse they saw the light of day. Though I imagine it was through marketing people became familiar with Spawn, I know I was.

My first exposure to Spawn was through a trailer for the 1997 film that turned up on an old VHS tape I had. I was unfamiliar with the character and assumed this was some B movie tribute, Spawn was a mutant and Clown was an evil wacky political figure or something. If you want my opinion on the film, I can understand why some things about it were changed compared to the comics, like changing Terry Fitzgerald's race and removing Chapel, but whether it was Todd's influence or not, it feels like people actually cared during its production, as nearly everything else is done to properly replicate elements of the comics, Michael Jai White did a good job as Spawn and John Leguizamo absolutely nailed Clown. You can certainly do a lot worse when it comes to superhero films, especially New Line Cinema titles released during that period. After all, 97 was the year of Annihilation.

As for the series it's another interesting coincidence. I left a comment praising the animation in the music video for Korn's Freak on a Leash, and I said yeah, I want to see a cartoon animated like this. Someone recommended Todd MacFarlane's Spawn to me, and after a few years I got around to checking it out... just to find context for a scene I saw on YouTube. Although going through it, it seemed more familiar than I expected, like I watched this long ago in reruns, or my folks actually let me watch it, I know they let me watch The Sopranos with them.

Let's just get into the series proper.

Plot and Characters

This won't be a plot summary, but just to get you into the loop, Spawn centers on Al Simmons, a government assassin who is betrayed by his partner and killed. He bargains with Satan stand-in Malebolgia in order to return to earth and reunite with his wife Wanda, but as his death was arson-based he is rendered disfigured, and now sent to recruit souls to join Malebolgia's army, in this case, souls of those who have done wrong and would be destined for hell.

This is made clear early on, so even if you haven't read the comics you can at least jump right in without needing that much knowledge of the character. An adaptation works best when you don't need to be immediately familiar with the initial source material. With so many adaptations taking on radically different directions with little connection to the sources that originated them, it's a huge mess. However, that doesn't mean you'd be losing some context if you're new to the series, and it shows for a lot of the characters. I'm not aware of their allegiances, motivations or overall relevance to the plot, so admittedly I had to look them up so I have some idea to what to expect, especially when each are well written characters in their own right. Firstly, Angela. She had only made one appearance in the animated series proper. I had assumed she would be a bounty hunter sent to kill Spawn, and I was kinda right. At least somewhere in the comics she was initially sent by heaven to destroy Spawn, it fails but not on black and white terms. The role was kinda switched by the end of the series, where Jade was given the role. I heard this was due to legal issues between Todd and Neil Gaiman and if the latter had no role in the series that could've spelt trouble, although Angela would've appeared in the show's fourth season had the series kept going.

But when it comes to Spawn characters outside of those immediately connected to Spawn, I've gotta talk about Sam and Twitch. Now, on the surface they appear to either be corrupt cops or those who would become a thorn in Spawn's side, but basic research and getting through the series revealed that wasn't so. In truth, Sam and Twitch are poised as being good cops in a precinct riddled with corruption, that point being made especially clear in the show's last season, when beforehand they were just investigating incidents Spawn either had a hand in or happened to be at the right place at the right time for. People like to immediately depict cops as outright corrupt, whether it comments on police brutality or just pokes fun at them, so it's nice to see something not only serve as antithesis to that, but maintain its commentary on corruption in the police force. Even when said commentary is on the nose, it's at least relevant to the plot and key characters and carried out in a way that makes either character shine, from reflecting Sam's genuine care for justice beyond his more loutish nature, to Twitch's bravery, determination and analytical nature.

I certainly thought they were great, and so did everyone else. They not only got a cameo in the 1997 film, but they even got a spin-off comic series.

Clown, aka the Violator, marks the perfect balance between entertaining and sadistic, or just one who delights in fucking with people's minds. He was summoned to ensure Spawn kills those with souls to be damned to be recruited into Malebolgia's army. The film portrays him as more comedic but otherwise in line with his comic depiction, while the animated series is the latter in full force, either works for the material they are given. On the opposite extreme, Cogliostro, once the Black Knight who had managed to escape Malebolgia's grasp, seeks to help Spawn avoid a similar fate. Regretfully in the comics he becomes a villain, but hey as long as it wasn't so he could get into the pants of a deviantArt OC so be it. This seems to be a later occurrence in the comics so the animated series was spared from one of the most desperate attempts at drama since ever.

Of course there're people who're relevant to Spawn's former life as Al Simmons, and this series does not take those details for granted. He wants desperately to see his Wanda one last time and he takes the opportunities, only for her to be appropriately disturbed by what is now at his disposal. His best friend Terry married her and had a child, and though Spawn was appropriately angry that he got further than he did, he realized it wasn't out of malice and at least found closure on that. Spawn was even able to confront his physical killer, Chapel, and of course he wouldn't show any mercy, having him live with the guilt, but having the strength to not have his soul claimed by Malebolgia. Finally, Jason Wynn, basically the whole reason things fell into place. Spawn indirectly served as a key to unlocking Wynn's corrupt practices, including black market trading. Whenever he strikes, he sends others to do so and is determined to keep his conquests in check. However, after becoming severely burned from a mythical mask, apparently the unmade fourth season would've had him seek redemption... either apologizing to Spawn or trying to have his soul be made pure so he can go to heaven, though the latter seems to be the case as he feared his actions against Al Simmons would catch up to him.

The seasons can be summed up like this.

The first season exists to establish Spawn and his motivations, as well as him settling into Rat City, an alleyway serving as a sanctuary for the homeless, and one where a number of shady dealings take place no doubt thanks to Wynn and for the first season, Tony Twist, who is promptly dealt with after Spawn makes quick work of Overt-kill, whom Twist sends to deal with a stake in their affairs.

The second season sees Spawn confronting Chapel and Terry finding himself scrutinized by Wynn after learning of his black market dealings, while Spawn is seen as a protector of Rat City. This also sees the introduction of Washington Post reporter Lisa Wu, who is soon revealed to be Jade, which the third season would confirm. As for the third season, Spawn realizes he can no longer get back to his old life as Wanda outright rejects him out of pure fear, a series of events would help clear Terry and expose Wynn, Twitch would survive an attempted assassination by his and Sam's superior officer and confirm his connection to Wynn, Jade willingly gives up after discovering Spawn's humanity is stronger than prior hellspawns she was sent to kill, and by dying a warrior's death she can maintain a place in heaven, and the series ends with Spawn wanting his humanity back. To some, this seems like a bad end, but this can be seen a number of ways, like how he is willing to be dead, knowing he's now a burden to those he cares about and can never live the life that was yanked from him, while realizing those who have wronged him were dealt with

Acting

Keith David as Spawn is complicated, because it isn’t Keith David playing Spawn, just Keith David. All that changes role to role is the script and the direction. Play his Spawn with his Goliath (Gargoyles) and I’m sure you’d find some similarities. Of course that isn’t to say it’s a bad performance by any stretch, but I can’t say the voice is necessarily unique. About the only time it seemed sorta different was when he played Atlas in Teen Titans.

But to be fair, let's bring up another example of an actor who is well recognized for one role, even though it's a similar performance across the board. Mike Pollock is the current voice of Doctor Eggman. While he has owned the role, his voice ins't particularly unique, a keen ear can easily pick that up when watching other 4Kids shows. However, the voice became synonymous with Eggman, as it fit the character. Mike Pollock is Eggman as much as Keith David is Spawn, having voices that suit the characters well and serve to truly define them.

Then there's one of the more interesting actors for Tony Twist, interesting in that he's played by the same guy, James Keane, who played Mr. Green on Hey Arnold!, and I say it that way because Hey Arnold! came before Spawn's animated adaptation. Keane also played Sam in this show, so it turns out he has more range than I'd expect of him.

And there’s not a single piece of Tara Strong or Grey DeLisle to be heard, it’s a breath of fresh air. We do however get Kath Soucie, sure, I'm okay with that, I know little of her personal life and her voice isn't as obnoxiously stale and repetitive as Grey DeLisle's, and she isn't a raging bitch like Tara Strong. Bite me.

But that's not all. We got the voice of Mulan playing Jade, James Hong; guy from the Seinfeld episode The Chinese Restaurant doing a role, Jennifer Jason Leigh got to play a character one time too, and there's a rule that says if it exists, Eric Roberts has to lend his voice one time. Inherently, it's a mixture of actors either not entirely in the loop of traditional voice acting or already are, and it can work, I know it did here.

Layers

There is some hidden complexity within even the smallest of things. Take for instance Spawn's encounter with that bad cop in the fifth episode. He threatens Gareb, but his anger was due to the stress of seeing one of his right hand cops and others literally blown up by a deranged priest who turns out to be Clown. Of course you wouldn't root for the cop but you kinda understand what led him to go bad, even get some irony of Spawn making him a message board, and after getting killed by Clown he gets the message about Spawn's presence to Sam and Twitch. This actually helps to give more weight and motivation to later scenes, for instance, Twitch's encounter with Spawn. Spawn has already determined cops to be outright crooked, but Twitch manages to demonstrate a stronger moral compass, and bravery in the name of learning the truth, and Spawn returns the favor with a warning, which really is him being nice.

You can even see such strong motivations with the other characters. Wynn is a uniformly corrupt individual, but he fears for his life upon realizing what he had created in Spawn, and he becomes determined to destroy him to save his own ass. Clown can seem like a hardass, but it's kind of his job, he wants to make sure Spawn fulfills his obligations. Terry married Wanda, but he never meant to infringe on foreign territory, and Chapel seemed to express repressed guilt over killing Al, before it drove him insane. Then Sam and Twitch, throughout the entire series leading up to a hell of a finish, and of course Jade which not only put her through an arc but helped better establish Spawn's humanity.

A great show is more than the sum of its parts, and I feel Spawn went above and beyond in that regard. It's really something you have to see for yourself.

The Animation

I was directed to this series because I loved the animation in the Freak on a Leash video, and I was not disappointed here. The animation was produced in house at HBO, and they also worked on Hot City which came out around the same time. MadHouse are credited to producing the show's title sequence. MadHouse is a prevalent anime production company, but they've had a hand in some American productions. For instance, they produced the animation for the second season of Street Fighter: The Animated Series.

However, MadHouse merely served as a contractor for other companies. In the first season, animation was split between KoKo Enterprises, Sheen Production and Sung Production. Koko were involved in quite a bit, producing the animation for the first season of Static Shock, Superman The Animated Series and took on animation services for Men in Black: The Series after the first season. For the second season it looks like MadHouse took on a more direct role in animation production alongside DR Movie. DR Movie also happened to produce the animation for Men in Black: The Series, but also produced the third season for Avatar: The Last Airbender, episodes of The Batman including The Batman Vs. Dracula, one episode of Teen Titans, they helped produce the Death Tome segment in The Simpsons Treehouse of Horror XXXIII, DC Superhero Girls, Justice League/Unlimited, they did one episode of Street Fighter, Masters of the Universe: Revelation, oh, they even did Loonatics Unleashed and High Guardian Spice.

It's important I highlight the more anime type shows and lesser stuff to demonstrate how subtle their work is on a visual basis in Spawn, but soon.

Okay, back on track, the last season was handled through Mook Co., who produced the first season of Men in Black: The Series, Swat Katz: Radical Squadron and the Scooby-Doo direct-to-video films from Zombie Island to Cyber Chase. At first I thought they were the ones behind the entire series, but I was wrong.

With Todd McFarlane playing a major role in the series' development, either he'd have plenty of freedom to take advantage of, or he's just there to make people happy. Okay this isn't going anywhere, what I'm trying to say is that things are drawn and animated to act like a direct translation of the comics. It's a huge contrast to the overt anime aesthetics and overtones present in other comic book adaptations. Now, it seems like most comic book adaptations outsource their work to Japan or equivalent studios in Korea in order to better replicate the action, but somewhere along the line people cut the middleman and decided to bank on the growing popularity of anime in the states.

Or maybe I'm overthinking it.

Spawn's animation is great, but far from perfect. They tend to take shortcuts and reuse animations, but most shows do and they're not as blatant as say... The Real Ghostbusters in its twilight seasons. Of course it's of no hinderance to the constant action going on, it isn't too complex, but it isn't too simple either. The art design provides a gritty appearance that compliments Spawn quite nicely, if it was overtly anime-esque, it would lose its punch, its grit, and just be a faceless series.

Senseless Comparisons

In a way, I feel that Spawn set a good standard for comic book shows that seek to be dark, well Batman: TAS aside. There're a lot of shows I can compare Spawn with, so let's begin with another series adapted from an Image Comics series, Invincible.

The differences are night and day. Spawn employs a more grounded comic translated appearance, while Invincible embraces the anime schtick wholeheartedly. It feels like a Cartoon Network action show from the mid-late 2000s but with blood and cursing, and of course their brand of humor. It can be enjoyed on a surface level, but when someone comes along and does it better, it's hard to really deny that.

Take the introductions of Monster Girl there and Angela here. With the introduction of Angela, you get a quick hint to her hero appearance, and when she goes into the alley you expect her to show her powers, but she just uses melee and anything subtle. You’d expect her to go full hero, but they don’t play into it, all you’d expect is for those creeps to get their asses handed to them, just no way of knowing how.

With Monster Girl, it's like this. There's a character who looks like she doesn't belong there. She is provoked into showing her power, this has been done. Now, it can be done right, don't get me wrong. Take Fantastic Four: World's Greatest Heroes' introduction to She-Hulk in the sure. Yes, she is shown at the start of the episode, but you know who we don't see right away? Jennifer Walters. Hence, it's possible to be surprised by its reveal for those who haven't read the comics, and yeah, the series features somewhat different takes on existing Marvel characters so there is a chance to be surprised. Not to mention, they didn't mention her name, like Invincible did with Monster Girl, thus eliminating any sense of surprise and dragging it out to make it look like a huge reveal. I'm just saying.

Next up, let's resurrect an old punching bag of mine for some extra blows, Teen Titans. Spawn did an episode that tackled racism, but handled it in the best possible way, show, don't tell. You would think they would make it where Terry or Spawn are maligned for being African American, but no, they have a psychopath who kills African Americans for dark intent, and the racist motivation behind it isn't stated outright. This episode has enough faith in its viewers to let them connect the dots, whereas Teen Titans spoonfeeds the message, pussyfoots around directly focusing on those who would face prejudice, because Tamaranians don't exist, and above all, rather than take the opportunity to incorporate lore from the comics, they make up a character that exists solely to push the message.

And yes, Static Shock tackled racism direct, but they handled it better by committing to the kind of racism people are the most aware of, and I'm happy that episode is getting more and more recognition for it, while Troq isn't as much. Consider this a segway into the next section.

Getting Away With It

Spawn was able to get away with a lot of stuff, though some would argue it was because it aired on a premium cable network and at a time when kids would likely be asleep, midnight to be exact. That's a good argument, but I feel that any show, anywhere could get away with stuff, well, beyond overt gruesomeness and gratuity, whether it's premium or basic cable, network television or syndication. To better explain my point, let's refer to Stripperella, Static Shock and Swat Katz.

Stripperella aired on a basic cable channel, and if you didn't get the idea from the title, it's a show about a superhero who happens to be a stripper, and yes, that profession is shown full stop. In spite of that, there's more to the show than it. Stripperella feels like it's trying to pay tribute to silver age comic stories, or just parody the genre, or maybe Stan Lee was clearing his desk drawers, I dunno. What I'm trying to say is that they got away with showing T&A on basic cable, lest the copy I saw was sourced from a DVD, but hey, they were wiling. For syndication, let's turn to Swat Katz. This show got a way with quite a bit, especially for stuff I bashed Teen Titans for skimping on, like characters going insane for whatever reason, even death, with some gruesome killings shown, shadow or not. Now yes, syndication lacks the standards network television does, hence producers were able to get away with a hell of a lot more, but what about that network example? Networks are ones that crack down on no-no stuff the most often.

Well... Static Shock.

Racism focused episode aside, Static Shock went dark a decent amount of times, and they never held back for anything. They made it clear Virgil's mom died under harsh circumstances, they highlight her death and the impact on the family, they put one character in critical condition as a wake-up call for Virgil to take his heroic obligations seriously, the first episode featured a gang war, hell, need I remind you of Jimmy, where a gun is blatantly shown, well, again, in a straight up depiction of a potential school shooting, oh, need I forget how the weapon is fired and someone gets hurt, on network television.

But wait, isn't The WB technically a cable network, same with Cartoon Network, beyond Kids WB shows airing on WB affiliates in syndication? I mean Teen Titans was also in the same boat as Static Shock, but you could argue Static Shock did a hell of a lot more than Teen Titans did in highlighting serious issues, and above all committing to genuinely dark stories. I'd argue that Static Shock serves as a kids equivalent to Spawn for going above and beyond, showing writers genuinely cared about making engaging content, and Spawn just helped inspire me to see just how it could be done, or how it has been.

Now, if you really want to see the differences in impact an episode could have, compare Teen Titans' Haunted to Spawn's Home, Bitter Home.

Relationship

As far as how I feel about the show, I have the same relationship with it that I do with Koala Man. Both of them are great shows and vouching for their quality is a hill I'd be happy to die on. The issue is that I don't like to participate in discussions of either, because I know where they'd lead. Spawn got cancelled too soon, Koala Man was created by the same guy behind Smiling Friends, do the math. I still like the shows, but I know it can go south if I encounter the wrong people.

Not only did I bring up Koala Man for that, but because both represent the best of two sides of a superhero show. Koala Man is a well written comedy with glimpses of character complexity and motivations made clear, all in series about a man coping with his past and a midlife crisis, I guess. Meanwhile, Spawn is a well written horror drama with clever dialog helping to provide some relief every once in a while. Bringing back Teen Titans just to get this out, Koala Man is set in an absurdist world so you can take the weird things happening as a given and they let the jokes flow without resorting to tropisms to get a laugh out, and Spawn has every right to commit to more gruesome acts, both because of its midnight slot on a premium network and already being based on a gruesome comic book series.I don't know how else to end this, so let's go on.

Do I Want to see More?

So, seeing what I've said, do I want Spawn to get another season? Well the answer to that, is no. I don't. You're probably confused, lest you've seen my philosophy before. The thing about continuing, what if the ending turns out to be a letdown? A journey is only as good as the destination, if the end sucks it will drag down the experience of the rest of the series because you know that’s how it will end and there is nothing you can do about it, Camp Lazlo and Star Vs. beckon. There's also the matter if one more season is gonna be enough, will people be fine with that, or will they just keep asking for more? Ask for an inch, but take a mile. And of course people can indirectly kill the good will in seeing things continue. I never want to see Infinity Train or Glitch Techs with how clingy people are to those.

Then there's the matter of unintentional cockiness, had with shows like Sonic SatAM and Teen Titans, where they immediately end with either a cliffhanger, or a downer, something to gaslight people into thinking they want more. My philosophy on television shows go like this, treat every season finale like it's your series finale, leave off on a note that you can pick up the pieces on or satisfying enough to accept, which is something Spawn did, by having Spawn reaffirm his want to be human. You may say he hardly evolved, I'd say you're confused. Spawn wanting his humanity suggests he knows he can't get his old life back, but also won't be the leader of Malebolja's army, he is willing to die, but we don't see it. It could've been worse.

Okay yes, there's the matter of Spawn impregnating Wanda with a child that would serve as a decider for the fate of the world, but it would take a long time before the baby would be able to make a conscious decision and act on it. There's another element to the fourth season, but I'm not gonna bring it up, knowing how people on Twitter would lose their minds and that's another series thoroughly ruined by total goons.

Final Thoughts

Spawn is an underrated gem, for sure, but given the climate of cartoon culture, maybe it's for the best not that many people know about it, let this be like a secluded spot a select few people know about, a well kept secret not tainted by idiots, like Mission Odyssey.

I would say HBO turning away from animation after Spawn and Hot City concluded ironically predicted the state of HBO Max, but then you realize stuff like The Life and Times of Tim and The Ricky Gervais Show existed.

[bigskydreaming]

Hi! I was reading a fanfic and it brought up Roy and Dick's fight, which I see a lot of in fics but never what they fought about and consequently why they don't talk. I thought it was a vague excuse/reason why Roy was Jason's friend not Dick's anymore but this fic brought up when Dick was batman so I was wondering if there was actually a fight between them? Btw I really enjoy your metas! They're v thought out and well articulated. Also it's v easy to separate what's your opinion and what's fact which is. Very helpful for me

Yeah this is one hundred percent a fanon thing that's kept deliberately vague to justify why Roy in his friendship with Jason seems to have no positive thoughts or concerns about Dick whatsoever. Now granted, Dick and Roy are not nearly as close in the New 52 as they were pre-Reboot. The lack of their friendship there is definitely one of the things I disliked most about the Reboot - and I actually don't care if Jason and Roy are friends tbh, its the total erasure of his history with Dick as if he can't be friends with both, that like, bugs most.

But so like, yeah, Roy and Dick aren't super close when they interact on the Titans in the New 52, but there's literally nothing in any of their interactions that explains the complete absence of him from Roy's life or a reason that Roy would like, hate him the way he tends to in a lot of Jason-centric fics.

When you factor in pre-Reboot stuff though, it starts to get a LOT more.....uh wyd? And this is why I have trouble buying that people just write Roy and Jason the way they do because its the only thing they know from recent comics. Like one, most fans talk about how they don't even read the source comics, so there's no reason their knowledge of the characters or events would be limited to just recent comics if they're going off wiki summaries and scans anyway. And second, most fans AREN'T limited in their knowledge to just recent comics.

Like, the second people start writing Roy and Jason and Kori but with their pre-52 characterizations and references to events from THAT timeline, it all gets very messy, the way they're like, completely antagonistic towards Dick a lot of the time. Because Roy and Dick were always solid. Yes, they fought. A lot. But they always, ALWAYS made up afterwards. They had conflict about Roy's drug addiction - it didn't stop Dick from being there to support him through rehab, or Dick being the first person Roy called to help him get Lian after he learned of her existence. Dick literally held Lian before Roy ever did? He's the one who first put her in Roy's arms for the first time.

(Which is the prime grudge I and most Dick Grayson fans have about Roy and Jason fics which make Jason like, the absolute apple of Lian's eye. If you want to expand Lian's circle of loved and trusted ones to include Jason as Roy's friend and thus her uncle, like go for it! But there's zero reason that should require invalidating and erasing the fact that Dick was this little girl's adored godfather and uncle for pretty much her entire life. And the way Dick is just shoved offstage from Lian's life entirely, to slot Jason into his place as though they're completely interchangeable, its like....THAT'S the kind of thing that gets people irey about how Jason 'steals' Dick's dynamics and character relationships.

Because there's nothing saying they both can't be major players in Roy and Lian's lives! But just that they're not interchangeable! You need to develop the specific role Jason plays there WITHOUT just overwriting everything Dick actually did in relation to the two of them pre-Flashpoint, which is what you're drawing from the second you write Lian, unless you're specifically going with the few appearances we've had of her within literally just the last year.

But I mean, when people just search and replace Dick Grayson in all Roy and Lian's pre-Reboot stories and act like Jason was the one doing all of that instead.....why wouldn't fans of the source material be annoyed by a character getting credit for interactions and things done for Lian and Roy that Jason literally NEVER DID, while at the EXACT SAME TIME, conjuring some mysterious, unnamed 'Falling Out' that Roy and Dick had, that was clearly all Dick's fault, and resulted from him being basically excised entirely from Roy and Lian's lives?

Same with Kori, for the record, and like despite being Dick's ex, she and Dick have NEVER been like, estranged? She and Dick have often been close even after their breakup. None of it makes any sense, and the fact that a lot of fans don't even try to make it make sense or justify it, and expect other fans to just be fine with settling for an inexplicable reversal of Dick's every actual dynamic with these characters while setting up Jason to occupy the exact same role Dick played in these other characters' lives, like.....lol. Its fun.)

Anyway, back to your question, like, there are fights you can go with pre-Reboot as the source of various conflicts between Dick and Roy - but again, I maintain its just as crucial that they're always written as getting past them. They have a very tempestuous relationship because they are the two people MOST likely to call each other on their shit, two of the two people WITH the most shit in common due to the parallels in their childhoods and the roles they've occupied in the Titans and the superhero community in general, and the two people most resistant to being called out on their shit by each other, lol. Mostly in that case because like, they do recognize that they have a lot in common and understand each other very well, so the second the other is calling them out for something, they're usually like "ugh, if HE'S saying this, its probably true and I am just not prepared yet to be wrong about this. I need more time being unjustifiably rawr about things." Its like that thing where they both look at each other doing something that feels familiar or calls back to their own reasons for doing something and they're like ugh I'm in this picture and I don't like it.

So they clash. A lot. But always with the implicit bedrock of like, there's nothing either of them can do or say to the other that will push the other away for good.

They fought over Roy replacing Dick as leader of the Titans when Dick's wedding fell apart, even though Roy actually didn't want to do it and was kinda pushed into it by the government, but again, Dick like, got over it and realized it was for the best and forgave Roy for it that very same issue. And on and on. It always went like that. So there's plenty of stuff that can be used or pointed at as a source of conflict between the two, but the part I'll always call unbelievable is the idea that they never make up after one of these fights. Why now? What fight, specifically, is so bad between them that despite everything else they've gone through AND gotten past, they can't get past this one? Y'know?

So yeah, that's my take on this. There is no definitive falling out between Dick and Roy as many fics like to point to in order to shove him offscreen and make room for Jason in Roy and Lian's lives, and personally, I just don't find it necessary and I actually think it makes Roy look REALLY bad. Because when you're not specifically detailing all the things that Dick has actually DONE for Roy, the lengths to which he's been there for his friend, and like, specifically invalidating each and every one of them as something that never happened in a particular fic, then literally anyone who reads that fic and has their own awareness of Dick and Roy's friendship is kiiiiiinda likely to be reading that and thinking wow what an ungrateful asshole, when Roy's just written as bitching about Dick with Jason and sandbagging him without any real explanation as to WHY, beyond just 'oh they had a fight years ago.'

(And coming up with some random awful thing that Dick did to justify Roy hating him now isn't like, a superior alternative, lmao, because again, its still just trashing one character for the sake of getting him out of the way of two other characters' friendship and people are going to think what they think about that).

Anyway, my now standard stock disclaimer that like, there doesn't actually need to be a canon fight obviously, for people to just write things this way and handwave that Dick and Roy had an epic falling out years ago and now they just hate one another or whatever, or just Roy hates him or vice versa. Obviously people are free to do what they want. They don't need a reason other than "I want to write it this way so Jason and Roy are friends and Jason doesn't have to 'share' him with Dick or have his friendship be overshadowed by their greater history together." That just happens to be a reason that no Dick Grayson fan is ever really going to be happy about, lol, for what should be perfectly obvious reasons, so it honestly shouldn't be surprising to people that fans of the source material often gripe about it.

Because yeah fanfic is a tremendous opportunity to transform the source material into something better, but if what's better for some fans actively takes away what was working perfectly well for other fans the original way, they're going to say that. Especially in a fandom where so many new fans take their view of the characters and their dynamics from fics rather than the source material - when fandom has that much of an influence on what new fans perceive to be 'canon,' fans are perfectly within their right to emphasize what is ACTUALLY canon and what isn't, so that new fans at least have the opportunity to determine for themselves what take they want to go with, instead of just accepting at face value that the nature of say, Dick and Roy's relationship is just that Roy hates Dick because of some mumble mumble ancient history vague mumble details not found mumble mumble fight.

[cowboycassini]

I wish people could speak intelligently about the problems of Late Republic Jedi without misrepresenting Jedi culture, lore, and beliefs. Certainly I know that the vast majority of Jedi lore was built in Legends and as such may or may not be Disney canon, but you and I know that all the writers and creatives are coming at this things with that vast bank of knowledge at their disposal. As they’re creating the High Republic lore or expanding for the post Rebellion/Imperial age, they’re drawing on that.

I wonder how many of you are even aware of, let alone have read the Jedi Apprentice series (for example)…the very series that is the backbone of the whole “Qui-Gon is a shit Master” thing, as well as the look into Late Republic Jedi life it gave. Along with the myriad Legends books about the Clone Wars era that were released. How many of those have any of you read or the comic book runs? Or anything? Or is all your knowledge from fanfic and tumblr posts and twitter threads and discord servers? All of you passing hot takes back and forth between each other because you trust the source and no one checking to make sure the first person isn’t full of shit.

I’m no Jedi apologist, and I’m not an elitist who thinks you have to read or buy everything to be in the know (and am always willing to share my materials!) but good golly please learn some nuance besides “Jedi did a bad therefore I will paint them with the broadest possible brush”

Especially when so many of y’all will be the same ones making Olympic level leaps and bounds for Anakin, Obi-Wan, and Ahsoka or whoever your shitty fave is.

[brawltogethernow]

How much can you tell about a fan from how much they like Raimi Spidey

Who you are based on your Raimi Spider-Man opinion:

1. The best Spider-Man adaptation! You don’t like new things and don’t adapt to change well. You’re probably an older Millennial or Gen X. You respect an iconic scene and cheesy drama and don’t retract your enjoyment of something when the pressure is on you to do so. You like adaptations of superheroes more than the comics.

2. The most comic-accurate Spider-Man adaptation! You have never read a comic these films were based on. You may have never read any comics. You read or heard this opinion somewhere and are parroting it, and may think you can verify it’s true because you read one Avengers issue from after 2002 where Peter Parker cameos. You have high potential to become a deep comic nerd someday who will be embarrassed you ever said this so watch out for that.

3. Revolutionary for its time, paved the way for later comic book films, pared down the source material out of necessity - respect without enthusiasm You’re a little jaded but you’re trying not to let it get you down. You’ve gained immunity to MCU hype. You were happier before you did, but you can never go back. Analyzing fiction is second nature to you.

4. I just hate them Toby McGuire is consciously on your list of celebrities who could not get it. You turn over interests fast and see disliking things as its own activity, a dark mirror of fandom. You have strong negative opinions of properties you have not personally checked out and you’re happy that way because dissing stuff with people makes for good conversation.

5. Must a movie be “good” to like it? Is it not enough to have colors moving on the screen very fast. I respect you. You’re the better timeline version of the first category. Self aware and witty, a little insecure.

6. They’re bad because [thirty minute list of flaws] Wow you’ve thought about these movies a lot. You like review and analysis series like CinemaSins. (You may have a flaw list for CinemaSins specifically: It’s just an example.) Possibly an aspiring writer. You’re very plugged into pop culture and it doesn’t really occur to you to avoid media just because you don’t think it’s good.

7. I liked the first two when they were newer but they didn’t age well. Your persona is very go with the flow, not very opinionated. You consume media casually. In school you liked whatever bands your classmates did.

8. I have a soft spot for them but the effects are bad. You like MCU Spidey. You overestimate how empathetic and discerning you are. You don’t judge quickly but you do judge heavily.

9. I can’t hear you there’s only room for one Spider-Man movie in my brain WHAT’S UP, DANGER?

10. The third one ruined the whole trilogy! THAT’S what ruined it for you? You’re not wrong but your taste is unreliable.

11. I love [ship]! You’re very resilient. The weird kid. You glom onto stuff you like and don’t let go. Natural resilience to acting because of peer pressure, though you can take emotional hits from it. Probably internet friends with the three other people as deeply invested in this version of this ship as you are. Excitable in both positive and negative senses. You still use ff.net a lot. Above average vintage and otherwise lesser known comic knowledge but your attention is divided. The rare media targeting you is the 2017 cartoon if you’re a Parksborn and the Spider-Man Loves Mary Jane comic series if you’re a PeterMJ.

12. Uh I saw one or two in theaters? I don’t really remember them. You only read this list this far down because you like seeing people discuss their pet topics regardless of whether you understand them. May have to hit up a search engine to be sure what “Raimi” is.

13. Directly responsible for a lot of bad 616 trends, weird storylines, and character assassination. You’re a dyed in the wool comics nerd. Don’t get so mad you forget why you even like superhero comics. Go drink some water. You pirate media because capitalism can’t sustain how much you read.

14. Directly responsible for a lot of great 616 storylines!!!! Also a dyed in the wool comics nerd but all your favorite storylines are in the early aughts (and maybe late nineties), which was a formative time of your life. You like dropping niche comic trivia as talking points, also from this era. You not only actually go to comic shops but also have a pull list. Pour one out for the Ultimateverse amirite?

15. Peter sure turned into a giant spider and gave birth to himself because of this movie lmfao. You embrace the humor and weirdness in situations to stay sane. You know weird history or science facts and like to pepper them into conversation. Your ideal history rant is arranged to be reminiscent of that meme with the guy knocking over a giant domino with a row of successively smaller dominos. You feel the most enjoyable parts of comic community are online. You might be on Twitter. You could beat the above category in a trivia-off but would probably flub the execution due to being put off by them. You vibe with nihilism memes but you care just under the surface.

16. My blurry half-remembered impression of them isn’t negative You’re nice. You like cute desserts. I feel like you had an anime phase and go to cons.

17. Garfield Spider-Man sucks!!!!!! That’s not actually a Raimi opinion but you think it is. Low humor is just humor to you and you don’t see that as a problem.

18. I’ve been waiting for you to PRAISE the Amazing movies actually? You like Taylor Swift and would be super down for it if Kindred turned out to be Gwen Stacy. You’ve been screaming for years. You don’t like the Raimi films but don’t have time to get down on them while defending your own maligned property. You know Fant4stic was objectively not great but you’ll defend it. Emma Stone and Andrew Garfield live in your head rent free. You like to curl up and watch some good looking people having a tragic romance okay.

19. Spider-Man 3 is a cinematic masterpiece. You like shock humor and stoke attention from internet trolls on purpose. You discern your own opinions and don’t give a damn about anybody else’s.

20. I’m very two cakes meme about Spider-Man content! Raimi good! MCU good! Webb good! All the cartoons are good! I see a red mask and a thwip and I riot. A pure soul. I don’t understand you, but that doesn’t reflect well on me.

[yurileclercseyeliner]

A Dumb Rant About A Webtoon

Okay so I’m actually super into reading webcomics (I read them on both Webtoon and Tapas), and although this has nothing to do with my blog (I AM considering making a side blog for webcomic content/reviews tho) I sort of feel like ranting about one that I saw. I’m sorry, but if you like Athena Complex this is probably going to piss you off. Admittedly, I couldn’t get far into the comic without being upset about this so I stopped reading a few chapters in, so that may affect my opinion here. This is mainly my opinion though, and if you disagree with me it’s fine.

So I did mention in my Fire Emblem kelpie beast unit post my opinion on mythological adaptation. Essentially, I believe that when you adapt any sort of mythological being into your story you need to keep these two things in mind:

The recognizable features/symbols/abilities: by this I mean what physical features is this being known to have, what are their physical/magical abilities, what objects are they most associated with, etc. You don’t need to have every single thing that is mentioned in the source material, just a decent combination of them that can allow the reader to easily connect the adaptation to the source material.

This factor mainly applies to individual characters as opposed to a full species or classification of creatures (I have read a decent number of mythological adaptations and have seen a mythical species depicted as evil in one adaptation and benevolent or neutral in another and enjoyed both, it all depends on if it makes sense in the context). What are the character’s main personal views, goals, and motivations? By this I mean how do they think and what are their views on the world around them, and what is the context surrounding that? Essentially, what can their main personalities and motivations be boiled down to and why?

After those two factors, I think that you can then go buck wild with any other characterization as long as it isn’t contradictory and makes sense in your story.

Now that I have set that down here’s my deal with Athena Complex. Athena Complex is a Webtoon based on Greek mythology that follows Athena, the Greek goddess of wisdom and strategy. She falls in love with Poseidon, the god of the sea, and is rejected by him. Fueled by vengeance and a desire to win his heart she takes the form of a high school boy in order to take revenge on his reincarnation. Basically, this entire Webtoon is practically a public execution of a large part of what makes Athena, well, Athena.

First off, I will give credit to Athena Complex for at least getting the symbolism correct, Athena is a goddess of wisdom and war and when in the form of a goddess her design reflects that with her armor, among other things such as her association with owls, so the first aspect that I mentioned is fine.

Additionally there is the fact that they also did heavily tap into the prideful aspect of Athena’s nature. Essentially in the source material Athena is a VERY prideful goddess and will take any opportunity to prove her worth if someone attempt to upstage her, and gets very angry when she fails or is insulted in the process (ie the story of Arachne, the story behind the double flute). This aspect could also be seen slightly in Athena Complex’s Athena’s behavior, which I can also give them credit for.

But that’s where a lot of the similarities end. Tbh a large majority of these issues surround the second aspect, the basics of the figure’s personality and motivations.

First, Athena’s stance on romance. Original Athena...literally wanted nothing to do with any sort of romantic relationship. Seriously it’s one of her main things one of her epithets is literally “Parenthos”, which means virgin. No lovers, no sex, no marriage, no intentionally created children (I say intentionally bc she and Hepheastus accidentally created a child when his snot got onto a torn piece of her cloak, but that’s a different weird story), nothing. She solely focused on the expansion of knowledge and learning. She had no time for any sort of relationship. Making Athena in Athena Complex heavily motivated by an unrequited romantic attraction literally rips one of her main core values to shreds.

And this in my opinion one of the worst offenses, MAKING THE SUBJECT OF THAT ROMANTIC ATTRACTION POSEIDON. Literally one MAJOR thing for the original Athena and Poseidon is that they HATE each other. (Also Athena is literally Poseidon’s niece, but tbh that’s a less heinous crime bc Greek mythology was weird about that shit, multiple gods married their siblings/cousins/uncles/aunts/nieces/nephews/etc., it’s weird. Also in Athena Complex Poseidon acted the main person raising Athena, which is ALSO really fucking weird and concerning, anyway back to why they hate each other).

The Contest for Athens: Basically before the Greek city of Athens was called Athens the people were looking for a patron deity, and both Athena and Poseidon tried to lay their claim. In order to determine who the city would go to, they decided to have a contest of who could give the city the best gift. Poseidon gave the city some horses (for transportation and farmwork) and a small spring in the middle of the city (note: the water in the spring was salt water and therefore undrinkable). Athena gave them olive trees (for food, making oil, wood, etc.). The peoplr decided that Athena’s gift was better and thus named the city “Athens” after her, leaving Poseidon incredibly salty.

The Medusa Incident (TW: possible rape/non-con): So Poseidon was having a nice little affair with a mortal woman named Medusa (you notice how this name is familiar, right? that’s important). It’s a little iffy on whether or not this affair was fully consensual on Medusa’s end due to the sort of victim blame-y aspects to this story, hence the trigger warning. So Poseidon his having his fun and decides to find a nice little place they can go to do the nasty. Where does he think would be a great idea? One of Athena’s temples of course! You know, a literal place of worship dedicated to his rival who is known to dislike involvement in romantic/sexual relationships? Nothing could go wrong at all! They of course get caught, and Athena, being pissed, decides to curse Medusa with snakes for hair and the ability to turn people into stone just by looking at them (see why the name was familiar?) For good measure she also curses Medusa’s two sisters with the snake hair. The sisters are then dubbed the Gorgons and then go live in isolation on a island until they are killed by Perseus (a hero that Athena was helping).

So this Webtoon completely ignores the context behind this hatred and decides to make it into an enemies to lovers story based on unrequited feelings (the feelings of a person for their childhood caretaker too...still weird). I guess they wanted to do enemies to lovers and such based on a rivalry dynamic, but in doing so they erased most of the actual substance behind that rivalry by making it romantic and destroying the characterization of one of the main characters.

I can understand taking creative liberties, but before you do so you NEED to have a full understanding of the characters that you are adapting. If a mythological character is known for a certain practice (refraining from romance) or for having an extreme distaste for another figure (Athena hating Poseidon), INCLUDE IT. You NEED to have all of the bare bones basics before you start taking liberties.

For example, the original Athena:

Goddess of wisdom and strategy

Association with owls, olives, carries a shield known as Aegis

Highly values learning and knowledge

Prideful to a fault

Virgin goddess with no interest in romantic or sexual relationships

Extreme hatred for Poseidon as a result of repeated negative encounters

Those are the bare bones basics, after that you can do what you want.

Honestly I don’t think that this Webtoon is necessarily BAD, but it is VERY annoying when you have the context behind these characters (hence my frustration and inability to make it past 10 chapters). In my opinion, if the author wanted to write this storyline, they should have made their own OCs as opposed to butchering a pre-existing figure’s characterization.

(Also I’m so sorry I know that this isn’t relevant to my argument BUT THE POSEIDON REINCARNATION LOOKS SO BORING HE LOOKS LIKE A BACKGROUND CHARACTER WHERE IS THE FLAVOR????)

[joecial-distancing]

July Roundup

Lifestyle:

I’ve been getting back into running this summer. It’s been about 4 years since I’ve done any serious running, and I have been made painfully aware of the differences in my body at age 29 compared to 25. My knees hurt more, I need to attend to stretching much more seriously than I used to. I’m coming at the task with better self-knowledge than last time, though; I know how far and how fast I’ve been capable of pushing, and I find an enormous amount of comfort and strength from that familiarity. 

I’ve also been applying to jobs, a process which started as nauseatingly daunting, but has gradually settled into just a regular chore of the week (ideally chore of the day, if I’m to keep up with new years resolutions). Getting a resume mushed into a satisfying shape has felt nice, as has getting together a form cover letter that I know hasn’t hurt my chances of getting my foot in doors. Annoyance Boxes checked off, and the rest is getting familiar with the rest of the grind. Interviews have been and will be the same process.

Games:

I’ve also been playing a lot of Sekiro. I’ve always “liked” Fromsoft games, but it’s been rare that I’ve been able to justify the time investment. There’s an appeal in the structure, endless chances to bash myself against a problem until it clicks, being able to run drills when stuck or inadequate (and there is a hook in the inadequacy; nothing frustrates me more than being unable to Just figure out a solution, or requiring too much time to get there. I have a tense relationship with time and deadline pressure. Impatience is one of my greatest vices). So with school finished, I’m diving into this as a treat to myself. The systems are fun, and the camera is so fucking awful that I get unreasonably angry about it. One thing I always do with these games that I think is anathema to a lot of their fans is to spoil myself on what I’m up against. In dark souls I would always have open area maps, rather than try to navigate the combat and exploration simultaneously. It put my mind at ease, I didn’t like the discomfort of the tension of untriggered surprise. And with Sekiro, I know roughly the zones I’m up against, I’m not above watching videos of the boss fights to learn the proper counters etc. No shame, no honor, that’s not what I get out of these games, really.

As with running, so with jobsearch, so with Sekiro, the method is diligence, the appeal is the pleasure of feeling my improvement over time. There is nothing more exciting to me than casually accomplishing something that I know would have annihilated me only a short time ago. I can finish 2 miles in 20 minutes, I want to get it down to 15. This also means the videogame tends to lose out on the priorities list—if I’m wanting to dedicate myself to practice, there’s almost always a different outlet that’d be better outcomes in the long run

very 8 of pentacles mood overall, lately.

Books:

I’m almost done with Pynchon’s Against the Day, which had taken up all of my Reading attention span this month. Unless it does something in the final 8% to lose me hard, it’ll probably clock in as my 2nd favorite of his stuff, behind Gravity’s Rainbow.  Anarchism as expressed against American mining companies, European empires, and the Mexican state; searches for a lost paradise city; warfare between schools of mathematics; the nature of Light. At face value, it feels closest to Gravity’s Rainbow and Mason & Dixon, compared to the rest of his work (I know there’s a lot of subtext and referencing going over my head with all of these in terms of both history and literature; I noticed a lot of reviews of AtD focused about the variety of genre style work that he’s pulling from in certain sections, nearly all of which is lost on me. It has, however, been very fun to me that I’m able to keep up with the mathematic academia infighting depicted in this). There’s a “fairy tales coming to life” quality to all three, if instead of Grimms’ stories it’s historical models of the world: Supersonic rockets wreck the flow of pavlovian cause & effect, the destruction of natural landscape in the course of linear surveying becomes a direct conduit for a massive influx of evil energy, quaternion mathematics casting time as real and space as imaginary allow a yogi to contort himself out of sight and into the imaginary plane. The aether is experimentally disproven in the beginning of Against the Day’s timeline, which doesn’t stop holdout engineers and mystics from working wonders with it.

It feels like there’s about as much going on in here as GR, but where GR is claustrophobically overstuffed (which is also part of the reason it’s a better book) and Mason & Dixon gets kind of plodding, the material here is given space to breathe, without losing momentum. It probably helps that the characters in this are a.) numerous, and b.) unusually solid as far as Pynchon goes.

It’s also got many great examples of something else I really like about Pynchon, which is that he is willing to commit 110% to incredibly stupid jokes. There’s an Elmer Fudd reference in here that completely knocked me on my ass.

Viz:

Watched the Bo Burnham netflix, which was mostly pretty good, though I’m completely out of patience for ostentations self-awareness or fake debate where the ~comedian~ who’s concerned about being ~white privileged mannn~ feels guilty he might be ~taking up space~, doesn’t know that he ~deserrrrves it~... out of patience because I already know what he did with that guilt (if genuine) — he didn’t scrap the project, he released the fucking thing anyway. What am I to do with this, Bo Burnham? Would you like my permission? Would you like an “it’s ok dude” from people of marginalized groups within your audience? Why am I watching along for a decision you’ve quite literally already made? I don’t trust displays of vulnerability before an audience of this size.

Also watched through I Think You Should Leave, which... sure it’s funny, and also very effective at making me uncomfortable, which is clearly what it’s aiming to do, but. I don’t really get why it’s got such a strong cultural draw within the online spheres I’m normally checked into. Saw some discourse about how the quotability is somehow distinct from regular memeing, which, alright get over yourselves jesus christ.

speaking of flavors of the month, watched 50 shades and lmao. I’ve been told by a trusted source the books are worse which is hilarious.

also speaking of flavors of the [century], S.O. and I have been doing a rewatch of pre-MCU comic book movies, which has been some fascinating anthropology. It meant, though, that we had to sit through howard the duck, an absolutely wretched film. Other highlights so far: willem dafoe power rangers acting, the soundtrack on affleck daredevil (incl a fuckin choice Evanescence exercise montage), Blade & Blade II still hold up.

We’ve also made it to the final season of pre-reboot xfiles. Duchovny’s mostly gone from this last season, replaced largely by robert patrick of T1000 fame, who is a better actor but a worse character, dude’s basically just A Cop. The writing’s weirdly probably better than the last couple Duchovny seasons, but the show doesn’t work without him — his bad acting was the main thing keeping things together, the tone’s all off now.

[caltropspress]

FEEDBACK LOOP #6: Cargo Cults’ “Rammellzee”

Since these symbols and all symbols are drawn, infinity’s separation from all symbols must be shown through drawing. The only proof of such a separation of the infinity would be the understanding by the majority of the planetary peers. There is no other way.

—from IONIC TREATISE GOTHIC FUTURISM ASSASSIN KNOWLEDGES OF THE REMANIPULATED SQUARE POINT’S ONE TO 720° TO 1440° THE RAMM-ΣLL-ZΣΣ (1979, 2003)

The rabbit-hole went straight on like a tunnel for some way, and then dipped suddenly down, so suddenly that Alice had not a moment to think about stopping herself before she found herself falling down a very deep well.

—from Lewis Carroll’s Alice in Wonderland

Riding among an exhausted busful of Negroes going on to graveyard shifts all over the city, she saw scratched on the back of a seat, shining for her in the brilliant smoky interior, the post horn with the legend DEATH. But unlike WASTE, somebody had troubled to write in, in pencil: DON’T EVER ANTAGONIZE THE HORN.

—from Thomas Pynchon’s The Crying of Lot 49

1.  I walk down the street and people look at me and say, “Who the hell are you?”

Cargo Cults (Alaska and Zilla Rocca) begin their track “Rammellzee” with the voice of the some-16 billion-years-old being himself. The song is an ode, an invocation. The organ sample provides a bizarre ride: a carousel of colors. We immediately plummet—into a well, a subway tunnel, a cosmos of linguistics. Not a nonchalant That’s deep, but a depth of knowledge where “cipher” means code, means Supreme Mathematics, means gathering with your rapfolk outside the Nuyorican Poets Cafe or in Washington Square Park: a deep connection. Mimicking Rammellzee, Alaska presents the listener with “swirling pages / forming mazes of [his] formulations” and subsequently “break[s] them down into a form that’s shapeless.”

2.  Hip-hop is ageist….In blues, you ain’t official until you fifty. (Ka, Red Bull Music Academy interview with Jeff Mao, 2016)

The phrase …of a certain age has, historically, been used euphemistically to describe someone (typically a woman) who has existed for a “shameful” tally of years. Society is still undoing the stigma, but rappers have made strides.

In Adult Rappers, a 2015 documentary directed by Paul Iannacchino (Hangar 18’s DJ paWL), Alaska is [accidentally?] presented twice in the closing credits—like a double, a separate persona—which calls to mind the multiple personalities of Rammellzee: Crux the Monk, Chaser the Eraser, Gash/Olear, et cetera. Age allows for maturation, for building, for bettering. In Rammellzee’s case—and I’d argue Alaska’s—it allows for complexity to emerge organically through wisdom. It allows for reinvention, for many versions of one’s self. Age and development is how an aerosol can with a fat cap can graduate to customized deodorant roll-ons and shoe polish canisters.

It begins with jerry-rigging a nozzle and ends in diagramming a “harpoonic whip launcher/pulsating extendor” to illustrate the deconstruction of letter-formations in the English alphabet. The spirit of experience pervades the Nihilist Millennial album. As anyone who has ever sat on the couch knows, communication can also improve with age.

3.

Artists and rappers like Rammellzee and Alaska rely on wild-styles, a self-made world that warps quantum physics and disregards notions of dimensionality. It’s dream-vision. It’s liberation. It simultaneously celebrates and critiques communication: like the image of a muted horn.

“Communication is the key,” cried Nefastis. “The Demon passes his data on to the sensitive, and the sensitive must reply in kind. There are untold billions of molecules in that box. The Demon collects data on each and every one. At some deep psychic level he must get through…”

“Help,” said Oedipa, “you’re not reaching me.”

“Entropy is a figure of speech, then,” sighed Nefastis, “a metaphor. It connects the world of thermodynamics to the world of information flow. The Machine uses both. The Demon makes the metaphor not only verbally graceful, but also objectively true.”

[…]

Nefastis smiled; impenetrable, calm, a believer.

The wordplay seems just that: play—that is, until you find the thread. Alaska cobbles together words like rubbish, W.A.S.T.E. Words appear daisy-chained together—flowery, ornate, and strung together by their stems: “fatalism, Fela Kuti, razor thin” / “smash the superstitions with acid tabs and some Sufi visions” / “deep dive Sonny Liston” / “Walt Whitman.”

The track reads like a codex. Something crafted in a scriptorium. His words are warfare—double-tracked/double-barreled��and he slips into braggadocio to prove it. It’s an authoritative posture of experience. Having started atomically small—from Breaking Atoms bedroom listening, to Atoms Family—Alaska’s flow presents nuclear now: maximum damage.

There’s a refinement to what this duo is doing: “Me and Zilla well-established with a lavish vision. / Both hands crusty with Ikonklastic Panzerism.” The boasts rely on royal diction: Camelot, palace doors, Prince Paul. Each man a king, a God, and each one should teach one. Mentor texts for the masses.

4.  

Rammellzee is an equation, And simply stated it’s the way of life I’m chasing. That’s why I praise the future-Gothic future-prophet. Gotta rock it, don’t stop it, Gotta rock it, don’t stop.

You find diversions on the song, exits into familiar chambers. GZA quotations (“I was the thrilla in the Ali-Frazier Manila”) and allusions to Main Source. Large Professor rapped “Dead is my antonym,” and if that’s to be proven true, money needs to be removed from the equation. The refrain of “Gotta rock it” not only calls to mind “Beat Bop,” Herbie Hancock, and Grand Mixer DS.T (or his later incarnation, DXT), but rockets—Afrofuturist angles, future shocks (Bill Laswell [Material], friend to Rammellzee, had a hand in all this). It’s not so much a “future-prophet” as a “future profit.” “Freedom in the process” means creativity without expectation, without the constraints of market value.

Alaska gives it to us straight: “I don’t care if you don’t like it, and I don’t care if you don’t buy it / ’Cause I find freedom in the process.” Despite becoming increasingly complex in his visual approach—like a heap of garbage that loses the definition of its component parts over the ages—Rammellzee understood time equals clarity of vision. A wasted world becomes a meaningful one. Of course, we got to pay rent, so money connects, but ownership of one’s art is about empowerment. “Selling out” is the opposite—an evisceration of one’s self and spirit. “We lost control from the second we sold the art,” Alaska raps. “We sold our future….We should be seeking enlightenment.”

The moment arrives, epiphanically: “I find freedom in the process so I’m grateful, / And that’s my main source: it’s my friendly game of baseball.” For Alaska and Zilla Rocca, it’s not a job—it’s a passion, a pastime.

5.  Nascent imagination deep inside a battle station.

Post-9/11 meant luxury apartments displaced Rammellzee’s Battle Station loft, his living museum. But the art has been excavated and exists posthumously. His Gothic Futurism and Ikonoklast Panzerism seem at home archived on the internet—a network that appears more like a chaos cloud. Rammellzee deconstructed and transcended language—junk monk scripts and calligraphic cut-ups of consumerism. His art is the empowerment a recycling arrow-triangle could only hope to be. Recycle is also rebirth. Rammellzee’s career path is circuitous, deep-tunneled (subway-esque), eternal.

Similarly, Alaska’s multisyllabic patterns are an endless barrage, like weaponized letters tilted sideways, like bottle rockets angled into a bottle’s neck: “Armament / Now my names are built like a BattleBot / Locked inside an ad hoc Camelot, I rather not / Tangle with a rabid lot, hop inside a rabbit hole.”

Alice was beginning to get very tired of sitting by her sister on the bank, and of having nothing to do: once or twice she had peeped into the book her sister was reading, but it had no pictures or conversations in it, “and what is the use of a book,” thought Alice “without pictures or conversations?”

Boredom can make trouble, but boredom can also breed creativity. Alaska rather not spar with trolls under ISP bridges—though he’s equipped to. Instead, he channels his energies into material.

6.  Our culture is done. We lived it.

Near the end, Alaska paraphrases Rammellzee: “I’m not the first or the last to don the mask. / I see it as a title, I’m monastic with these raps.”

Living a life of art—making it regardless of accolade or monetary payment—is the highest form of creativity. Live the art and die by it, like Stan Brakhage, poisoning himself at a slow pace as he applied toxic dyes to celluloid film. Like Rammellzee executing graffiti pieces maskless, huffing the carcinogenic fumes.

MF DOOM (née Zev Love X)—a Rammellzee descendant—taught us how to revel in anonymity, the importance of not spotlighting yourself, but instead seeking out the shade, secret passageways, and the trapdoor in the stage floor. Not all of us heed the advice, but some do, and they feel the throb of real success, not the sort that shows up in bank statements and 401(k) plans.

Images:

“Beat Bop” test pressing, Rammellzee and K-Rob, art by Jean-Michel Basquiat, 1983 (detail) | Rammellzee black-and-white portrait photograph (unknown) | Ikonoklast Panzerism diagram from IONIC TREATISE GOTHIC FUTURISM ASSASSIN KNOWLEDGES OF THE REMANIPULATED SQUARE POINT’S ONE TO 720° TO 1440° THE RAMM-ΣLL-ZΣΣ (1979, 2003) | Page 34 (muted post horn) in Thomas Pynchon’s The Crying of Lot 49, Bantam Books edition (1966) | “A scribe at work,” from an illuminated manuscript from the Estoire del Saint Graal, France (Royal MS 14 E III c. 1315-1325 AD) | Herbie Hancock, Future Shock cassette cover (1983) | Grand Mixer D.ST comic book image (unknown) | Stan Brahage at chalkboard (unknown) | Stan Brakhage, Mothlight celluloid (1963) | “Beat Bop” test pressing, Rammellzee and K-Rob, art by Jean-Michel Basquiat, 1983 (detail)

[vojniks]

                                  an extremely private 𝐉𝐀𝐌𝐄𝐒 𝐁𝐔𝐂𝐇𝐀𝐍𝐀𝐍 𝐁𝐀𝐑𝐍𝐄𝐒 / 𝐖𝐈𝐍𝐓𝐄𝐑 𝐒𝐎𝐋𝐃𝐈𝐄𝐑, strictly headcanon based with canonical elements drawn from both 616 / media adaptations. plot oriented / low activity. this portrayal and its writer are intensely critical of the source material / marvel rpc, and will be selectively following other members of the community. please do not follow or interact: if you are under the age of eighteen, as adult material will be present upon this blog. additionally, please do not follow me if you are a ““comic book elitist””. this portrayal is not for you, you make me incredibly uncomfortable.

NOTE: guidelines will be placed under the following read more. individual pages will not be present upon this blog. if you have questions, the askbox and ims are available and discord upon request.

001.    this is an extremely private, plot-oriented portrayal of james buchanan barnes / the winter soldier of the marvel universe. while i consider everything pertaining to my characterization ‘ headcanon based’, i do draw influence / cherry pick canon from various comic book runs, as well as some aspects of the mcu rendition. while i do not exclusively operate in any of the universes, i will adapt to 616 / mcu partner portrayals with necessary plotting.  it should be noted:  i generally consider the marvel rpc incredibly toxic and unwelcoming to new writers, as i’ve participated in it several times over. i will not engage with known cliques who gatekeep AND/OR exhibit elitist attitudes.  i am here to write, not prove my worth as a fan / writer to someone over the internet.

002.    please do not follow me if you are not interested in writing / plotting. this blog is not here to be a simple number on your list. my goal with writing here is to further develop my characterization and rebuild upon current / new relationships with canon / non-canon characters. bucky is an intricate character with so many levels, i would love to explore these different interactions, whether they be platonic, romantic, familial, or other.

003.    please do not follow me if you are writing genderbend / cisbent / etc. characters, or other inaccurate characters ( ie. racially inaccuracy ). race bending a white character to a character of color with the proper development / acknowledgement of the drastic change this is not problematic. doing so without a change, however, is extremely problematic, given the setting / environment isn’t colorblind ( which most settings / environments outside of high fantasy aren’t ).

004.    this portrayal / blog is duplicate friendly.  there is no place on this blog for people who have intense duplicate anxiety. at the end of the day, tumblr roleplay is tumblr roleplay. we do not own these characters, we cannot stop other people from writing our characters. please do not make this place toxic for other writers who have chosen to write a duplicate. if you have duplicate anxiety, you can block the blog in question / blacklist urls. it’s as simple as that. do not give me or anyone else an ultimatum of: unfollow duplicates of these characters or block me. it’s manipulative and shitty of you to do that. if it bothers you so much, YOU UNFOLLOW AND BLOCK THE BLOGS IN QUESTION.

005.    that being said, i am not here for petty drama between writers. do not include me in your squabbles, do not come to me looking to dig up gossip on other writers. i’m not here to participate in high school gossip / drama. i’ve made this blog to write and i will write. with all of that on the table, i do not consider legitimately harmful behavior as drama and will reblog callout posts for people who are toxic / abusive / harmful to the community. do not give me an ultimatum of: unfollow this person or block me. if it bothers you so much, YOU UNFOLLOW AND BLOCK THE BLOGS IN QUESTION.

006.   i expect you to understand the unspoken rules of roleplay.   please do not metagame / godmod / etc. do not assume to know anything about bucky that isn’t already public knowledge in the story. do not assume a ship, even if canon, without proper interaction between writers.

MAINS / SHIP EXCLUSIVES.    an added note, please be aware that just because i have established ‘mains’ with various portrayals, that doesn’t mean that i’m exclusive to them ( outside ship exclusivity ). that being said, i will likely only interact with two versions of a character, if presented with the opportunity.

none, atm.

psd credit for icons and other blog-centric graphics belongs to: @creationcolors​!

[jackswolfe]

I've seen The Old Guard and thought about buying the graphic novels just cos why not and if that way there is no sequrl then at least I can still find out about the rest of the plot. But now I've been hearing, I think mostly from your blog (like the anons and stuff) that the people involved in creating the novels are problematic in how they depict their characters??? I really hoped that I could finally enjoy something without it being problematic but I also don't wanna get something Part one

If it's got racist depictions of the characters cos I'm white (like non- European white) so I don't have the intimate knowledge of how racism can be portrayed/conveyed and so don't want to be a part of the problem (if that makes sense???). But at the same time I'm not really sure by what people mean about the comics being problematic cos I haven't seen anything from the source material so I'm a bit confused??? (2/2)

I don’t think the writer, Greg Rucka, is problematic but I encourage people to correct me if they think otherwise. I think Greg was really invested in telling a fresh new story that dealt with so many themes that pertain to love, family, some other more sensitive topics such as faith, things that other comics/movies haven’t done, but in a really tasteful and respectful way. 

There are some things that I wasn’t a big fan of, though. For example, the way Andy is written is sort of what we’ve seen before when Hollywood tried to give us a strong female lead but it was as though they wrote the character to be a male protagonist and didn’t change anything apart from the gender. There are other things but they would contain spoilers so if you are interested in hearing about them, feel free to dm me! 

But all in all, I think Greg Rucka wrote an amazing story, with well-rounded characters and he gave us the representation that any other form of media has severely lacked in perhaps decades. My main issue with the comics stems from the illustrator, Leandro Fernandez. The way he drew Joe and Noriko is a major red flag for me. Their facial features are extremely exaggerated in comparison to the other (white) characters and that just doesn’t sit right with me. He has said that the purpose of it was to always be able to distinguish between the characters but there are so many ways in which he could’ve drawn Joe and Noriko. He just went with that. Likewise, Nicky is depicted wearing a templar knights cross on his body armour. There was absolutely no purpose for that. It goes against everything Nicky believes in today. It’s so disrespectful towards his relationship with Joe. I just don’t see why he would choose to do that (except for the obvious reason). 

To conclude, if you want to read them for the story and for more background information, I can send you a link where you can do so for free. I don’t think you should pay for them simply because I would not support Leandro like that. But it’s completely up to you !!

[mit3c]

Forgive me for this, but what are your thoughts about Donald/Daisy? My knowledge of Disney only extends to KH, both versions of Ducktales, and Three Caballeros, so I don’t recognize 98% of the duck characters. I don’t know how to obtain the Duck comics in the States in English, though I’ve always wanted to read them.

what is there to forgive haha?

oops i wrote so much. read more

daisy huh... my opinions of her vary from “sure” to “ew” I guess. it largely depends on the source material... I feel in KH she is such a non character... even more so than usual. well in KH female characters tend to not be written great and Minnie and Daisy are really shoved to the side to the point it’s not even bad writing it’s no writing at all ??? like she is never seen interacting with Donald apart from uh I think the end of KH1 where she threatens and chase him? which is. yeah sure

iirc she didn’t show up in og DT... new DT is a very superficial attempt at “fixing” her but no matter how well-intentioned the writers are, inserting Daisy so late into the story AND as Donald’s love interest is not great and that fixing attempt is bound to fail I think. I have a lot of thoughts about that episode and I’m not going to go into details unprompted (literally WHO wants my ducktales rants?) but it sure makes me smile seeing people going HEALTHY DONDAISY!!! DAISY IS FIXED!!! XD uwu lol.. but future will tell...... maybe my speculations will be wrong and I sincerely hope they are. but yeah as of now there isn’t much material about them and I don’t like what we got so far

in lot3c dondaisy is a central part of the story and hm. I wouldn’t mind Daisy being an obstacle to donald/straight up antagonistic if this didn’t fit in a misogynistic tradition of the Nagging Girlfriend Trope and I think a lot of writers can’t imagine a Daisy who isn’t that, sadly. It’s a shame especially in the Donald Duck’s Found Family Go On Funny Adventures All Around The (Supernatural) World show... I think Donald being torn between a trivial, normal, quiet lifestyle and an adventurous thrilling one is nothing new and it’s a theme that shows up in a lot of others media, be it comics or animation (It’s a running gag in Mickey Mouse2013 and Ducktales2017 deals with this horribly, but it’s really a long time thing in comic books too), and I usually like it! but instead of being an internal conflict, in LOT3C it’s symbolized by Daisy who works as an anchor into the “real world” and keeps pulling Donald back to it when frankly I’d rather see him (even begrudgingly) adventuring with his amigos. And I don’t mean that as a dumb “grrr daisy in the way of my cabs shipping” way, because I do think Xandra and April/May/June have great chemistry with Donald... if Daisy is an anchor into the real world, I believe AMJ is more of a bridge between reality and fantasy, and as such they are a lot more fun and a lot less frustrating. I do think you could have the whole thing with Donald having one foot into reality and one foot into the supernatural just in his relationship with Xandra. In short I think it’s def a case of writers wanting or having to put Daisy in but not being able to write her beyond being Donald’s annoying girlfriend and it’s a shame.

And if you think about it, if you remove Daisy’s Annoying Girlfriend status, literally who is she? She’s a character that  was initially written as a prize for Donald to win ; initially it’s the nephews who gets in his way, then Daisy herself, then Gladstone, etc etc. It has been a long tradition both in comics and animations for decades and no one up until recently bothered to give her something else. Historically there have been attempts but they are inconsistent, loosely defined, and most importantly always relate to being THE GIRL. She writes a diary that chronicles her Woman Problems such as her boyfriend being too ugly so she’s ashamed to go out with him ; or being jealous and petty about her female friends, etc... she has her friends over at the Women Club which is sometimes a charity, sometimes a feminist club, and most of the time a place where they throw girly parties where Donald has to be dragged in against his will... she has a superhero identity that revolves around “being a feminist” but really is about SHOWING THE DUDES WHO’S THE MOST CAPABLE SEX, and all in all her gags revolve around “haha women are so ridiculous” and “marriage is a prison”  So yeah, for a long time Daisy was built as a character that is just one misogynistic trope after the other and don’t have much of a direction, but also she’s historically known as Donald’s Girlfriend so somehow she has to be with him by mandate and my impression is that most writers are stuck with her and have no idea what to do with her... she has no life outside of Donald or any main character really so if she were to break up with him she’d have no reason to hang out with any of them. She could end up with Gladstone? but what even is the Daisy/Gladstone relationship in itself if it doesn’t revolve around Donald? Literally every other female characters have goals and something for themselves...Grandma has her farm and is a caring, support character for about everyone ; Brigitta is a skilled businesswoman who wants to end up with Scrooge ; Dickie is a teen and a reporter, etc etc. Daisy is Donald’s girlfriend and she makes his life harder. ok, which is a goal I guess ! but not a great one for a character sold as one of the Good Ones... and modern stories making her sweeter to Donald make for cute panels but it’s just removing one of her traits without giving her any new ones...

What’s sad is that in more modern times there have BEEN attempts at fleshing out Daisy- she’s a novelist, she’s a reporter, she works for Scrooge, she’s into fashion, she has AMJ, etc. Some writers are well aware of the Daisy Problem and it’s even adressed...

(blessed lars jensen)

...so there is that conscious effort to flesh her out, but these efforts are so far too isolated and nothing tends to stick out much... and I mean, it’s difficult to almost completely rewrite a character when she has decades of history behind her already. But the efforts are here and I salute them... even though there are more or less well executed..I like MM13′s Daisy for her strong personality and her working independently from Donald - I think having her do stuff with Minnie, Clarabelle, and even being friends with Mickey etc helps a LOT (though this series is not free from Donald feeling stuck in his relationship with Daisy.. but it’s still miles better imo than their usual portrayal) 

so yeah I know that ask was originally about DonDaisy only but I think in order to know how I feel about them it’s.. good to know about how I feel about Daisy lol. In general I think they are stuck together by mandate when Daisy doesn’t have much to offer to Donald beyond Pain and Donald has better chemistry with literally. every other character ever. sorry if you didn’t ask about this wall of text lol but if you don’t know much about Daisy I guess here’s an overview of the character...

oh also. Daisy and Donald are cute in the parks. Daisy is that attention loving diva and Donald just fawns over her it’s really cute... her being fashion buddies with Minnie is cute.. nghnng though female characters being linked to fashion is.. sigh I will not go into another rambling I save this for another ask lol

[ask-de-writer]

SEA DRAGON’S GIFT : Part 24 of 83 : World of Sea

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SEA DRAGON’S GIFT

Part 24 of 83

by

De Writer (Glen Ten-Eyck)

140406 words

copyright 2020

written 2007

All rights reserved.

Reproduction in any form, physical, electronic or digital is prohibited without the express consent of the author.

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Copyright fair use rules for Tumblr users

Users   of Tumblr.com are specifically granted the following rights.  They may   reblog the story provided that all author and copyright information   remains intact.  They may use the characters or original characters in   my settings for fan fiction, fan art works, cosplay, or fan musical   compositions.

All sorts of fan art, cosplay, music or fiction is actively encouraged.

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New to the story?  Read from the beginning.  PART 1 is here

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“We understand, Kurin.  May we talk again?”

“I would love to.  Could we go aboard the Dark Dragon or the Soaring Bird?  Your ships are so different from ours, I would enjoy seeing how they are built.”

“It shall be so.  You will see both ships to your heart’s content. Until we meet again, Dragon’s Gift.”

Chapter 7: Betrayal

After a few inquiries, Kurin found the man she was looking for.  “Captain Mord!  Someone is spreading Ship’s Business to sailors of other vessels.  Some Fauline deck-hands interrupted me while I was talking to Captains Sula and Huld about Cat.  They asked about feeling the bottom and they were rude to me.”

“This is very serious.  Are you sure that they knew our Ship’s Business?”

“They asked me to teach them to feel the bottom.  Then they asked if I knew where the crabs were because they pinched.  It means they know that I map the bottom and they connect that with our crabbing.”

The Captain’s eyes hardened.  He cupped his hands and called out, “All Longin officers, to me!  Now!”

Folk materialized like magic.  In few words Captain Mord relayed what had happened.   They fanned out to search for the one who was spreading tales.  

It was not long before they caught him in the act of giving a comic but unfortunately accurate description of the deep-sea crab fishing. First Officer Kotance and the Officer of the First Night Watch grabbed him and removed him by main force.  They asked three of the listeners to come with them as witnesses.  All of the Longin’s crew were recalled to the ship.

Their booths were shut.  It was an almost unprecedented event.  

Before the assembled Officers and crew of the Longin, the witness were asked what they had heard and who they had heard it from.  Two of the three did not know the person by name, but had no trouble pointing him out. The third not only pointed him out, but named him.

“It was him, there.  That Silor fellow.  Has a great way with a tale.  I near split when he told us about trying to hang onto those big crabs as was trying to scuttle back over the side.  And there was that bit about what a pain the big crab traps was to handle, before the boat-wrights fixed up the boats with lifting tackle and special transoms.”

“Don’t forget about the maps!” put in one of the others.  “He told us how the white-haired girl, he said he called her Current ‘cause she should flow away and not bother him any more, tied up the entire ship for over a full Wohan making pictures that she claimed were the bottom.”

“Yes,” said the last, “and don’t forget how she says that the sea ‘talks to her’ and tells her where she’s at and what the bottom’s like.  Said, if it’s true, then that’s witchcraft — — maybe Dragon magic.  He says that the Captain is under her spells and that’s why his lead deck-hand job was taken from him.”  

The witnesses were paid for their time and inconvenience, and courteously returned to the market.

Silor’s defense, that all he had done was tell a few harmless tales to entertain friends fell on deaf ears.  The deliberations were short and to the point.  Seeing the possible damage to their own profits inherent in his indiscretions, even Silor’s friends abandoned him.

His mother and father, stone faced with shock, anger and sorrow, cast their votes against him.  Silor tried to reach out them.  Tears on her cheeks, his mother did give him a brief hug.  She pushed Silor away from her and his parents turned their backs to him.

Silor was given ten minutes to get his possessions on deck.  There, they were searched, to be sure that what he had was his alone.  He was bound, arms behind his back, and taken, duffel and all to the bazaar. The Longin’s crew made a lane through the throng, to the central square, in front of the Council Pavilion.

A tocsin drum beat “general quarters” to get attention.  Captain Mord Halyn strode sternly back and forth as he addressed the throng. “Silor Elon Longin stands before you.  He was tried and convicted by the Articles of the Longin, for the crime of willfully revealing Ship’s Business.  Disclosing the business in question was voted as an expulsion level offense.  He was physically present at the meeting of the ship where that vote was taken.  He knew the penalty.  

“From this hour forth, we expel him from the Longin.  He has no place with us, now or ever.  If he is found again on the Longin or any craft belonging to the Longin, he will be summarily executed.  If he enters any booth of the Longin or its crew, he will be stripped and thrown out.  We are done with Silor Elon, and take his Ship Name from him.”

To the slow tocsin drum beat of the ‘Funeral Farewell’ the crew dispersed to reopen their booths and get back to business.

Silor was still in shock.  He was standing, arms bound behind him, in front of the Council Pavilion.  The only people talking to him were taking great delight in saying dreadful things.

What was been said to him was bad enough that he got Captain Sarfin’s attention and found to his horror that the rumors were true.  He might die.

His mind was racing with questions.  No Ship Name?  It could not be! How did the little Dragon-witch do it?  How did she turn my whole ship against me?  It was my life!  Why does she hate me so?  There are Elon Clan folk everywhere!  None of them have ever been so dishonored.  What will to happen to me?   As the Council drums began summoning the Captains of the fleet, he had a chilling premonition.

Chapter 7a: Exile

The Captains, by ones and twos, filed into the Council Pavilion, by necessity, walking past the frightened Silor.  Some of them looked at him with pity, and some with disdain.  Captain Mord Halyn, who had been his captain for as long as he could remember, the person that he had trusted more than any other, save his father and mother, stalked by him, face averted.  Even Captain Barad Maks, of the Grandalor, who had bought him many meals in the past, walked by with studied disinterest.

What occurred inside the pavilion would have surprised Silor, if he had been able to overhear it through the multiple layers of cloth, meant to prevent just such eavesdropping.  Captain Sarfin, of the Dorton, whom many called ‘the Wise,’ held up his hands for order, in the time honored way of the Naral fleet.

When the Captains had quieted, he said, “This Council was called by Captain Mord Halyn Longin.  As it is his Council call, I turn the meeting over to him.  Captain Mord.”  He graciously stepped away from the Place of Honor, yielding it to the Captain of the Longin.

Mord stepped into the Place of Honor, unhappiness written large on his face.  He turned to the assembled Captains, paused to gather his thoughts and began,  “I have called this meeting to discuss the fate of the young man outside.  We cast him out as the Articles required us to.  It does not mean that we do not care.  In fact, we are heartsick at this turn of events.

“Only rarely has a man been cast out of his ship in the Naral fleet.  Most times, no ship would take them.  Men have drowned when the rafts and anchorage floats were returned to the sea floor.  Nobody on the Longin wants to see that happen to Silor.

“The Elons have a long and illustrious service with this fleet.  I know that two of you here are of Elon blood.

“We, of the Longin, have asked you all here in the hopes of finding him a berth.”

As the other captains squirmed, Barad stood up for attention.  Mord, having little choice, pointed to him.

The Grandalor’s Captain pretended both concern and caution. “You have cast him out.  Are you not afraid that he will reveal your Ship’s Business to others?  That is the offense for which he was cast out, was it not?”  He was thinking to himself, Silor must not know much, or this plea would not be happening.  Still, one who hates, and knows even a little, can be useful if properly handled. This will have to be done carefully, most carefully.

Mord replied, confirming part of Barad’s suspicions, “It was the offense.  Most of our Ship’s Business that he is privy to, he has already told, and it is now common knowledge.  For the rest, he at most knows that a thing can be done, but not how.  He was a lead deck-hand.”

Barad scratched at his bearded chin, then scratched behind an ear, buying time, it was something that he’d heard — — —  “Lead deck-hand?  I thought I heard something about that — ” he trailed off looking innocently at Mord.

Mord was alarmed at this exchange.  He was afraid for Silor’s life but he was bound by oath to tell only the truth in this Council, “He was one of the youngest lead deck-hands in the long history of the Longin.  At only fifteen, he held that post for over a Gathering.  He only lost it over a matter of discipline, less than a Wohan ago.”

“Oh, what did he do?”  Barad asked in mock curiosity.  He was well aware of the answer.  He made it a point to know all could be known about the Longin because of his hate.  Silor himself, for a bit of sympathy and some free food, had been a steady source of information for five Gatherings.  

Barad did not hate the Longin for its success.  His grudge had a different, and far older source.  Barad had become a laughing stock in trying, unsuccessfully, to get back at the Longin by attempting to cheat them over the course of many Gatherings. Oddly, that did not bother Barad particularly.  He could admire the skill with which he had been meshed in his own nets.

Mord replied stiffly, “He fell asleep while on watch, putting our live cargo at risk.  Instead of trying to hide the problem, he sent for aid.  It took eleven more men three hours to remedy the problem that developed.  He volunteered to, and did, stay on watch and help until it was done.”

“I see …” said Barad, pretending hopefulness.  “Perhaps he has an apprenticeship?  He is of a good age for starting a Craft.”

Mord was forced to admit, “None of our Crafts would take him.”

“Then I’m sorry,” said Barad actually managing to sound so, in spite of inner jubilation, “I don’t see how the Grandalor can take him. We do have standards.”

He sat, to a wave of sniggering from the other captains over his remark about the Grandalor having standards.  He did not care.  Only one more thing was needed, and he hoped it would come from someone else. He had done what was required.  Silor’s fate was sealed.

Mord could see it too, and he was crushed.  He had done all that he knew how to do.  By the terms of the expulsion the Longin could do nothing more to help Silor.

As Barad hoped, Sarfin stood up.  In a sudden hope, Mord pointed at him. Sarfin had many times earned his nickname of ‘the Wise.’  “There is a way out of this for both you and the lad, but it won’t be cheap.  By your Articles, you are forbidden to help that young man or even acknowledge him in any way whatever — but the fleet can.  We can give him a good fishing boat with a day cabin to protect him from the weather, a small still for water, a few week’s provisions and some reasonable fishing gear.  The nearest fleet is the Pallant, and they’re only about a thousand miles away.  If he just generally heads west he should be OK.”

TO BE CONTINUED

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