#yup antihero again

[latent-thoughts]

I honestly agree with you on everything after ragnarok is not canon. Although I love Thor ragnarok, it’s an entertaining movie and ive seen it more times then I should, thinking about it now I’ve never seen Thor ragnarok as canon. it’s just been a movie that’s really shitty but entertaining, and funny when you don’t have context about the characters.

I just hate that it’s so disrespectful to the actual characters. AND what’s even worse, is that I did not even consider the movie disrespectful to the characters until I was on tumblr and found threads of old posts/things you’ve reblogged on why it is.

And everything after it, has come tumbling after.

People need to realise there’s a difference between entertaining cinema, vs actual good Quality cinema. Especially with something like marvel because it’s all “connected”. Marvel is choosing quantity over quality and it’s clearly showing.

Yup. Marvel-Disney has become the 'Five Minute Crafts' of movie making. They're pumping out multiple shows and movies annually, but there's hardly any substance to them anymore. Nothing actually connects in this so-called cinematic universe, but the promos and interviews will try to fool you into believing it.

There's no cohesive story, only easter eggs abound. They're mostly meaningless, because most of them have their roots in different storylines in the comics, not the movies. Like, wtf was Thanoscopter doing in the Loki series? Or why was Sylvie wearing the broken crown (which was originally worn by AoA Loki for very specific reasons)?

Moreover, every new entity boasts of bringing in a drastic change into the multiverse or having a powerful character like no other before them. Yet, all of this is forgotten in the next entity they release. Rinse repeat.

The problem with Ragnarok was that it wanted to be funnier and bigger than GOTG--a movie that somewhat broke the mold for MCU movies at that time. It constituted an unlikely team of antiheroes who became heroic, and it had a more zany kind of humour to it.

What Ragnarok didn't note was that GOTG had heart. It had zany humour, yes, but it also had plenty of poignant moments. It didn't make a joke out of everything, most certainly not the characters. Every character was handled carefully, their trauma and loss acknowledged despite their negative actions.

Ragnarok failed supremely at this. Bruce turned into a parody of anxiety attacks and 'useless' nerdiness (7 PhDs but can't fly a ship, haha). Loki--a character of a subjugated race, taken from his people, raised to hate his own race, a clear victim of Asgard's imperialistic and colonial agenda, was made fun of for simply existing. His trauma was ignored, his relationship to Thor was twisted to make Thor into a victim, and instead, his main oppressor, Odin, was glorified despite his war crimes and invasions. What more, the fact that Thor left Loki to die on Sakaar was glossed over and made into a joke. Valkyrie (she still doesn't have a name, even post l&t) was introduced as a slave trader (does anyone find it sus that a woman of colour was shown as a slave trader?) and this part of her life was never acknowledged again, not even by Bruce, even though she traded the hulk to the GM.

Thor...sigh, where do I even begin? Gone was the considerate and thoughtful Thor we had seen in TDW, the Thor who acknowledged his father's bad decisions and tried to counter them by putting his own life on the line. Gone was the Thor who held his dying brother in his arms and cried. Granted, canon Thor had his issues to overcome, but he was never crass and inconsiderate like Ragnarok Thor. Ragnarok not only uprooted Thor from his growing self awareness and growth, it uprooted him wholly from Asgard. Killed off his friends and killed off his home. And made a joke about it all.

There's so much more to say about that trash movie and it's confused purpose, but all in all, it put the first nail into the whole franchise' coffin. L&T is only a continuation of that, based in the same theme of ridicule and distasteful humour.

What rankles is that it could've been a great movie, had Chris and Taika taken their heads out of their respective asses for a bit to think it over. But they were too busy making toilet level jokes and jerking around the sets, ignoring the script (which btw had Thor admitting to his mistakes to Loki) and just improvising everything with their bs logic. Taika didn't even do his research on the characters.

And that's something he's proud of. A theme that has continued with the creators in other Marvel entities too.

I just feel very sad about it. Because phase 1 (even 2) Marvel was something if quality. Now, the characters these phases had established are either (unfairly) dead or completely unrecognisable. I no longer have any sense of anticipation for their new stuff. I don't even want to watch new movies or shows.*

Anyhow, thanks for visiting my askbox. ♥️

*Moon Knight is the only exception, and you'd note the show had no prominent easter eggs or even mentions of other characters from the MCU. Mayhe there's something to be said about that.

[nileqt87]

Ramblings about Lucifer referencing Bones, “Close your eyes.” and shows influencing each other

That was never just a Bones reference being made and the season finale admitted it.

https://www.youtube.com/watch?v=jv_1dJk5yEM

David Boreanaz played the ironically-named Angel on Buffy the Vampire Slayer and Angel: the Series. His character has *so many* parallels with Lucifer (far more than Booth outside of the law enforcement/crime procedural connection).

Angel's spinoff also has noir crime drama aspects mixed with the supernatural starring an immortal protagonist with a dark past and infamously villainous reputation fighting evil as a supernatural private detective in the City of Angels (a city known for its dark underbelly juxtaposed with fame and glamor, broken dreams and chasing eternal youth) and navigating human law (including the LAPD and evil lawyers) while not legally existing.

Angel also fell in love with a blonde human heroine (Buffy Summers) after lifetimes of self-destructive, not-so-heroic behaviors (getting his soul back did *not* make Angel a hero and human Liam was a lecherous drunk with unfulfilled ambitions and father issues) who inspired him to become a better man and make human connections.

AtS made heavy use of sprawling nighttime Downtown L.A. cityscape shots, which Lucifer also shared an abundance of.

During both of their first cases, they failed to save the troubled blonde girl they were trying to help (Tina and Delilah, respectively). They also have a connection inside the LAPD through a blonde cop who also takes their identity secrets pretty badly (Kate Lockley in Angel's case).

Note that Buffy not only screamed (twice, given it repeated during her memory loss in Halloween), but also came after Angel with a crossbow when she thought he'd attacked her mother (it was Darla), so Chloe taking the Devil face reveal (Monster Reveals are iconic old horror imagery) poorly to the point of considering poisoning is par for the course. However, it only took Buffy seven episodes instead of three seasons to get the identity reveal via seeing the horrific second face (arguably also an accident on Angel's part).

They are metaphorically or literally Hell's angels. They also had long stays in Hell or a hell dimension.

Lucifer and Angel are also both Prodigal Sons with long-held grudges against their long-absent fathers (patricide in Liam/Angel(us)'s case) and they're later faced with a situation where they have unexpected, thought-impossible offspring who show up as adults (neither got to raise their miracle child) wanting revenge. Yup, major Connor/Rory parallel there.

Angel is also in a constant struggle with the Powers that Be manipulating his fate and free will (like Lucifer, he's a champion of free will no matter the cost) and making him prophecy's bitch.

Bones famously got jokes about how Booth is Angel getting his Shanshu (made human), since the character is given constant Angel-isms like references to a dark past having killed people (Booth is also named after a historical murderer, in addition to having been a sniper), both being Catholics full of Catholic guilt (note that the Buffyverse is most accurately polytheistic, though Angel does face off against a take on the antichrist--Angel has constant biblical imagery/themes and not just because of vampire iconography), kicking down doors (just not off their entire frames--LOL), turning on a dime and threatening people up against walls, constant wink-wink references to the Buffyverse (familiar casting, references to the Hyperion Hotel, etc...), etc...

The Lucifer finale used the words "Close your eyes." right before Lucifer is sent to Hell. This is literally the BtVS season 2 finale where Buffy kisses Angel and sends him to hell for a century with a stab to the gut (see the season 5 finale, not to mention Lucifer giving up his life for Chloe's à la I Will Remember You).

Note that D.B. Woodside was on BtVS (playing Robin Wood, whose Slayer mother Nikki Wood was killed by Spike). Aimee Garcia was in both episodes of AtS (Birthday--she's older than she looks!) and Bones. See her also playing a cross-wearing religious girl on Supernatural who was slaughtered in a police precinct by Lilith. Kevin Alejandro was also in an episode of Bones.

Tricia Helfer was in an episode of Supernatural playing a ghost who reenacts the night of her death every year. BtVS also had an episode along those lines, but with Buffy and Angelus possessed (not to mention Phantom Dennis!). Lucifer having Dan as a ghost is yet another thing they all have in common (ditto referencing Ghost, Patrick Swayze and/or Unchained Melody--Vincent Schiavelli a.k.a. Ghost's subway ghost was Jenny's uncle Enyos, whom Angelus killed).

Lucifer name-checked Castiel and Supernatural referenced Lucifer using their Lucifer (crime-fighting angel in L.A. made it a double-reference whammy). Supernatural returned the favor again by having Castiel forced to sing in Enochian. Lucifer's reference to his singing voice was already a zing about Misha Collins having to put on that monotone gravel voice and Enochian being far from melodious.

Russell T Davies was quite heavily inspired by the Buffyverse when he revived Doctor Who and spun off Torchwood, so there are absolute tons of Buffy, Angel and Spike respectively in Rose Tyler, the 9th/10th Doctors, Captain Jack Harkness and Captain John Hart (right down to the actor). School Reunion is the episode where the Buffyverse inspiration is most on the nose, complete with Anthony Stewart Head saying "shooty dog thing" in a school setting and a Mayor/Angel-esque speech about the curse of immortality. The Time War gave the Doctor a huge genocide-level guilt complex. Note that the creator of DC comics' version of Lucifer, Neil Gaiman, has also written for Doctor Who and is also the co-creator of Good Omens (the show is brimming with Doctor Who Easter eggs thanks to David Tennant). A barely-recognizable Tom Ellis played Martha Jones' ex-fiancé Tom Milligan during the Year that Never Was, as well.

A lot of shows take inspiration from the Buffyverse and you've probably seen some of them. It isn't just the copycat vampire romance stories either.

Angel's forerunners in turn were a mix of guilt-stricken, rat-eating Louis de Pointe du Lac (his Jekyll/Hyde-esque alter-ego Angelus is closer to the pre-retcon, fully-evil Lestat de Lioncourt, who got woobified into an antihero rocker not unlike Spike--the entire Fanged Four mirror Anne Rice's character lineup), sword-wielding, immortality trope-influencers Connor/Duncan MacLeod of Highlander fighting for the Prize of humanity (akin to Pinocchio becoming a "real boy"--see also Barnabas Collins of Dark Shadows, though he was before vampires became antihero superheroes, not just sympathetic antivillains) and Nick Knight of Forever Knight (vampire detective).

Additionally, Tom Welling was famously the longest-serving Clark Kent of them all (Smallville) on the old WB (there's that DC comics connection, too), so it's not just a Fox shows thing (though Fox, not just Warner Brothers, did indeed own the Buffyverse). One of the least-known things about Clark is that he also has an immortality problem where he wouldn't age parallel to Lois (they wouldn't be able to have kids either) without a workaround. The Kryptonite line directed at Cain/Pierce by Lucifer was quite on the nose! Lucifer and Smallville sort of crossed over even further in Crisis on Infinite Earths, so Tom is canonically the face of both Clark and Cain in parallel universes of the DC multiverse.

Supernatural had quite recently had their own takes on Cain (played by Timothy Omundson, who also played God Johnson) and the Mark of Cain when Lucifer did it. Dan's killer Le Mec was, of course, Rob Benedict, who was God a.k.a. Chuck Shurley, the ultimate villain of Supernatural. Richard Speight, Jr., who was archangel Gabriel/Loki the Trickster, directed a lot of Lucifer's later episodes in addition to being a prolific Supernatural director.

Supernatural and Lucifer use the exact same font for their titles (Supernatural Knight).

The X-Files (which Supernatural referenced constantly) and Supernatural also had stories about nephilim (see the apocryphal Book of Enoch). Lucifer ultimately had two nephilim (forbidden interspecies offspring of angels and humans), even if not saying so as a known concept. Connor can also be compared to the vampire equivalent of being something like a dhampir, though he's not quite that (mostly-but-not-quite-human offspring of two vampires instead of a human/vampire hybrid--see Blade for an actual dhampir). Supernatural has also covered the even rarer cambion species (human/demon hybrid).

[xae-in-a-coat]

Xaje(Z-Age): The Poetic Murderer

Yours truly made a Kingdom Hearts/Organization XIII Sona recently & finally decided to post about him here due to the fact that he somehow managed to develop an everlasting fear of people stealing his hard earned brain-work over night. Anyway, just take these small scrap doodles & angst ridden quotes I created earlier. None of this really counts as attention-worthy in my eyes, believe me, I am well aware of the fact at this point, but it’s solely for the sake of me not losing my mind over the possibility of my ideas being stolen anytime soon(plus, truth be told, I’ve actually grown quite fond of this miniscule scheme we artists call “character design”). Now, where were we? Ah yes, my quotes & in-game dialogue:

“Shadows can’t appear without light nor can stars shine without the darkness. In conclusion, our worlds require both one & the other in order to exist within a state of tranquil harmony. Perhaps we should start encountering that terribly desirable goal by changing your uneducated perspective.”

-𝚇𝚊𝚓𝚎

“You blinded light dwellers would never understand, you believe that the world is filled with happiness & success, that even in the darkest of times there’ll always be that last sliver of hope worth holding onto, that all of your feeblest dreams will one day come true. Well you’re wrong. The world is nothing more than darkness in itself, and we’re living proof of that. Us Nobodies were once like you, foolish, ignorant, weak, we clung to those same beliefs that you now spout and look where it’s landed us. An endless, inescapable abyss of nothingness in which we gather & begrudgingly call a home. Welcome to The Castle That Never Was.”

-𝚇𝚊𝚓𝚎

“Do I cause you to question the English language itself? Good. Confusion is the mind’s greatest weakness after all. Along with curiosity of course, but I’ll gladly settle for either of the two.”

-𝚇𝚊𝚓𝚎

“Allow me to put a quick end to this poorly written story of yours. It’s plot is becoming terselessly bland & ever so flavorless, these pages could endanger the less prepared minds of vain readers, & besides, not even the characters seem to know what they’re doing anymore.”

-𝚇𝚊𝚓𝚎

“Thank you, but no. I prefer to eat in private. Being here amongst the presence of all your beautiful faces is causing me to feel deeply self loathsome, or for the less educated, gross.”

-𝚇𝚊𝚓𝚎

“Yeah, I study gems. Nothing crazy though, mainly just a load of Google searches & me being pretentious, heh. Anyway, what was that really cool thing you were doing with that giant key just now?”

-𝙹𝚊𝚎

“I’m a poet, just living out my life & writing my own stories I guess. Not like anyone else would bother reading them anyway.”

-𝙹𝚊𝚎

“Hey uh- Is that a pen? Cause I kinda need one right now. Crazy bunch of ideas just flooded my pea sized brain. Wouldn’t wanna forget them right? A mind-full of words now could turn into a completely full fledged story later, who knows.”

-𝙹𝚊𝚎

“Blueberries, literature, & dreams. These are the few things I’ve stayed alive for. Yup, fourteen years of being a hopeless idiot & disappointing everyone I come by.”

-𝙹𝚊𝚎

“But why do we hate darkness even though we’re literally surrounded by it every night!? I thought you Keyblade idiots knew better, I thought you were better! Heh, guess I was wrong… Note to self: Never put your trust in anybody EVER AGAIN! BECAUSE THIS UNIVERSE IS NOTHING MORE THAN A FILTHY BREEDING POT FULL OF EVEN FILTHIER BACKSTABBERS!-”

-𝙹𝚊𝚎

“Unfortunately enough, it seems that I’ve run out of stories to tell… Heh, I should’ve realized this moment was going to come for me sooner or later. A writer’s charm only lasts so long before it fades, just as a pen will eventually run out of ink, or an uncharted idea will eventually be forgotten. Yet again, that bothersome light you use to fight us is no different when compared to those few simpleminded examples. Expiable, inconsistent, just like the hearts you so proudly hold.”

-𝚇𝚊𝚓𝚎

“Why must inspiration always come to me at the worst of times?- Ugh, I suppose that new writing prompt of mine will just have to wait for later, you on the other hand, shall be dealt with now.”

-𝚇𝚊𝚓𝚎

“Your specialty should be renewed into a weapon of some sort. Coming naturally to you in times of need, refined, retrained, & unlike what it was before. Here, take my trusty Fountain Pen for example: From normal size to weaponized! It’s quite fun actually, not that I have a heart to garner the enjoyment of course, but still, one cannot deny when one has alas discovered the thing they endearingly call ‘a hobby.’”

-𝚇𝚊𝚓𝚎

“The beings I once called ‘family’ were nothing more than burdensome unaccepting hate speakers, & surely enough, they still are. It was because of them that I ended my miserable self & landed here, fractured, incomplete, but more relieved than I can ever recall being whilst I still garnered a heart from within. Yes yes, it may not be the most apparent thing to you newcomers, but being a Nobody has its perks, especially if you willingly chose to be one.”

-𝚇𝚊𝚓𝚎

Now for an unanimated cutscene of two characters conversing through the unprofessional script put together by yours truly:

Xaje: We’re nothing more than a stain on the pristinely white pages of your world, an unwanted drop of ink that was never meant to exist in the first place, a thing you unaccepting light dwellers would call ‘a mistake.’ Still we roam freely, collecting the negative reputation you’ve forcefully written us to have. Ever spreading, ever growing, never stopping till we’ve met our untimely ends. Perhaps you & I aren’t so different after all, P/N.

Protagonist: Shut it, I’m nothing like you!

Xaje: Hm, don’t be so foolish light dweller, our respective roles as heroes & well… Antiheroes, will always set us apart of course, but in the end we both want what’s best for this dreaded empire, don’t we? deny it not any further P/N, we’re one in the same, you’re simply far too blinded by the light to see truth when it’s clearly there. Well, if I can’t persuade you now, perhaps I’ll try again another time, good day.

Protagonist: Huh?! Hey, come back! QUIT RUNNING AWAY FROM ME YOU COWARD!

Xaje: You see what I mean, foolish, ignorant, weak. Are baseless insults & vile acts of bullying really your only powers? Tsk tsk tsk, how very sad indeed.

Protagonist: SHUT UP!

Xaje: Till we meet again dearest light dweller, be sure to keep that precious little heart of yours safe whilst we’re apart, won’t you? I find that it can be quite fragile at times.

Protagonist: I SAID BE QUIET!- Aaannnd he’s gone… AGAIN!

-𝙵𝚒𝚗

Progress shots:

[southslates]

kaz for the character questions!! (ps: i originally followed you for atla but i love that you just happened to join a fandom i also like!)

aw i’m glad! yup this is basically going to be a grishaverse blog from here on out :)

sexuality: i think kaz is on the ace spectrum :)

fave ships: kanej! i like it both platonically and romantically-- i love him as a character more than anything

brotp: with jesper and nina! kaz & nina’s relationship is so refreshing lol

notp: kaz & jesper, i just can’t see kaz ever having feels for jesper :(

random headcanon: when kaz was a young child he loved physical touch and being close to his family members. inej teaches him to enjoy that casual closeness again

general opinion: i love kaz so damn much. i’m just a sucker for antiheroes, and he checks all the boxes. i am (clearly, as seen in my pfp) so excited to see him played by freddy carter, and i’ve got a lot of hope for the series. he’s also helping me get out of my writer’s block, which is amazing :)

[symphonyofthewrite]

Inverted Recurrence

Fandom: Castlevania Symphony of the Night (but with the Netflix series characterizations)

Summary: It's been three hundred years since Alucard saw Trevor and Sypha. When he sees a version of them in the inverted coliseum...he just can't seem to win the fight against them.

So he loses. Over and over.

(The inverted coliseum boss fight from Symphony of the Night, but with the Netflix series characters)

Notes:  First of all, warning! (As evidenced by the summary) there will be swearing in this fic!

This is a fic for the game Symphony of the Night. However I used the characterizations of the characters from the Netflix series. (This is also why Grant is not present, even though he's present in the actual fight. I wanted to include him, especially because they took him out of the show...but because they took him out of the show, and because I have yet to play Dracula's Curse, I didn't feel like I could properly characterize him to have him in the scene.)

In case you've only watched the show, but are still interested in reading, I'll put a little summary of the things you need to know about the game in order to read in the replies!!

If you enjoyed this I'd really appreciate it if you could leave a comment and/or reblog! They make my week, and really help motive me to keep writing multi-chapter fics like this one!

I’ve also posted this on my general writing blog @antihero-writings if you want to check it out there!!

Chapter 1:

Alucard hit the ground of the save room…which happened to be the ceiling, breath and heartbeat crawling through his chest like fire ants.

“Well…fuck.”

******

Fire consumed the werewolves’ snarls, echoing through the stone hall, and he continued up the corridor without a glance back.

Alucard paused to think; count the rooms.

He wiped the blood off his sword—well, not his sword, that is to say, he still didn’t have his mother’s sword back from that dickhead, Death. Due to this, he was using one he had borrowed from one of those green skeletons upon its second death.

“Are you prepared?” he asked his fairy familiar. “If my thinking is correct we’re coming upon the main part of the coliseum. This could get”—he adjusted his grip on the sword and inclined his head to the side. “Interesting.”

She folded her arms and bowed. “I am prepared for whatever comes our way, Master Alucard.”

He grinned back. “Good.”

He marched forward, and, sure enough, the upside-down version of the coliseum center revealed itself. The same room where he had fought the Shaft-possessed-Richter in the right-side-up castle. The sconces spilled blue fire endlessly to the ground, fixed to columns that didn’t reach the ‘floor’, in a circle around an overthrown throne. A throne which held no one now, as if he were a gladiator in an upturned universe, a slave of the games, watched by an invisible sadistic god, hosting this for their own pleasure.

The doors shut themselves behind, and in front, of him with a loud thump, closing off his exits.

Yup. Interesting.

He stood on guard, aiming the sword at the pentagonal spinning coffins in the center of the room, his mind cycling through what might step out;

Let’s see, skeletons? Zombies? Ghosts? No it’d be something more advanced than that. Maybe a dragon would walk out? Or maybe he’d fight the embodiment of emperor Nero himself? That might be fun.

When their lids creaked forward and the first enemy stepped out it did not, in fact, have rotting skin, or a malevolent grin…It looked like a man.

A man with brown hair, blue eyes—one of which a scar fell across—sauntered over to Alucard, the Belmont crest gleaming on his chest.

Alucard froze, eyes widening.

The man groaned when he saw Alucard—but not in an undead way, more like a man who was annoyed—and, unlike many of the monsters, he spoke:

“Well if it isn’t the cockwart, Alucard.”

Alucard fought werewolves and demons, things that spit fire, things that turned him to stone, things that would eat his soul out if given the chance, and he didn’t even break a sweat. Not much could make his heart hammer these days.

But this—

“Trevor! What have I told you about speaking your mind?!” Alucard had been so focused on Trevor he hadn’t noticed the other enemy: a woman in blue smacked Trevor on the back of the head.

“Uhh that it’s what everyone should do it all the time?” he rubbed his head.

She pulled on his ear.

“Okay, okay! Easy on the moneymaker!”

Alucard’s eyes stayed open wide, as if he was afraid if he closed them they’d disappear and he’d remember he was dreaming. The golden irises oscillating beneath waves of memory, the sword at his side twitching.

“Master Alucard?” the fairy’s voice was muffled behind the sound of his heartbeat.

He fought reanimated flesh, and first-animated metal, he fought things straight out of books, things he wished were mere fantasy, and never once did he stand paralyzed.

But this…this made his blood thump cold and relentless in his ears. This made his heart start churning with questions, his head ache with memory. This made his throat tighten with sentimentality long forgotten.

The fairy couldn’t hear the words he breathed.

Three hundred years is a long time. Even if he spent most of it asleep, time has a way of weighing heavy on the chest.

They were arguing amongst themselves, while the fairy was asking him questions, but he couldn’t make out any of the words. As if he was beneath many tons of water, the pressure slowly crushing him.

Being immortal has never been the blessing humanity thought. Watching your friends, your family, die is hard enough, but when you know you won’t be joining them wherever they’re going for a long time, if at all, things get more complicated. The pain, then, isn’t just loss…it’s the knowledge of what you’ll never lose. Watching your friends die, while you, standing at their death bed, look the same as you did when you met them sixty years ago, like you’re taunting them, like you’re some cosmic joke… Watching them die, while you have millennia left to spend grieving, making new friends and watching them die too, just living… it isn’t exactly something you’d spend one of your three wishes on.

Sometimes he wished he was mortal. Human. That the blade and arrow would sting more, that words would mean more, that he’d remember the things his friends told long ago, under moonlit skies. He wished he could feel something, that he could feel fear and horror and hope. That the fight would pump in his veins. That he could grow old, and die, and wouldn’t have to live a thousand more lifetimes before death took him away. Sometimes he forgot how to appreciate life; they say death is what gives life meaning, after all.

Seeing his friends from centuries ago, his friends who he had argued with, played games with, laughed, cried with. Friends who he had watched die, who he had mourned, grieved long ago back again…

“What’s the matter?” Trevor put his hands on his hips, noticing that he was standing there dumbstruck. “Cat got your tongue?”

Alucard backed up on shaky legs, biting his lip until it bled.

He was twenty years old again. Twenty years old and they were in a snowy woods speaking of God, mothers, old books, and how lonely they all were, on their way to defeat Dracula for what they didn’t realize then was only the first time.

“Master Alucard!” the fairy fluttered in front of his face—how long had she been calling him? “What’s going on?!”

His lips were sealed shut; he couldn’t answer even if he wanted to. His eyes gravitated past her to the two behind her.

It had been so long. So long since those lonely nights. Since those sunny days. So long since he’d seen their faces. Heard their voices. Seeing, hearing, them now was like medicine after years of sickness, like sobriety after spending years drunk. Like reminding himself he hadn’t made them up after all—(because sometimes it felt like he had). So long…So long since he’d been with his friends. So long since he’d had friends.

“I did want to resolve our differences.” Sypha shrugged. “But, we’re going to have to show you what we really think of you now.”

“Couldn’t have said it better myself. It was nice—well uh…it was something knowing you.”

“…What?” Alucard’s breath made clouds in these snowy woods.

Trevor glanced up at him, unspooling the morning star whip—the one that he had once used to fight the night hordes with together…or at least a version of it…it didn’t look quite right.

“It’s a real shame”—he said like it wasn’t much of a shame at all—“but…we do have to kill you now.”

“We have a reputation to keep.”

“You know, vampire slayers and all. Can’t have the son of Dracula walking around.”

Alucard had to keep his breath from catching on itself and tripping.

He backed up, turning to see Sypha holding out her hands in a combat posture.

He shut his eyes and shook his head quickly, clearing the snow from his eyes, reminding himself the woods were nothing but memory; he was here, in Dracula’s upside-down castle, fighting phantoms of his friends.

They’re not real, he told himself. They’re not your friends. Trevor and Sypha are gone. They’re just one of Dracula’s tricks. He’s using them to get to you.

He felt something wrap around his leg.

“Master Alucard!”

“It’s nothing personal.” Trevor spoke, “Except if you count the fact that we’d only do this to you...because you’re the worst.” He yanked on the whip and swung Alucard by his leg into the far wall at full force.

Sypha held up her arms beads of light before her fingers, then brought them together, making spikes of ice jut out from beneath the walls, stomping towards him.

He pried himself from the wall and jumped out of their way.

Trevor threw a cross at him—one made of bones—but it came back without finding its mark.

Before Sypha could send her jet of flame at him, Alucard burst forward, knocking her down.

“Attacking poor, innocent girls now? So that’s how you want to play it, huh?”

“Who are you calling ‘poor’ and ‘innocent’?!” Sypha crossed her arms, “I can handle myself thank you very much!”

“Oh—I—uh—I didn’t mean it like that!”

Sypha scowled at him.

It was like they walked straight out of his memory. …Were they really not real?

Trevor jumped up, raising his whip.

You don’t have to do this, Alucard wanted to reason with them.

But he knew. He knew this wasn’t them. They were only a shell. A reanimated memory. Empty. There was nothing in there to reason with.

Alucard blocked his attack with his shield, and crouched down, slicing his leg, knocking him down. But before he could send the sword through his chest, Sypha raised her arm and incased him in a block of ice.

The fairy broke him out, but this had given Trevor enough time to get up, throwing another bone cross. This time it knocked Alucard down.

Sypha floated before him, ready to blast him with fire. This time Alucard teleported, slashing Trevor in the back.

“You filthy vampire bastard.”

Why them?! He wanted to demand of Dracula, but that was all-too obvious.

Alucard disappeared in a column of gold, then reappeared, opening his cloak and sending fireballs towards Trevor, who extinguished them by swinging his whip.

He dodged Sypha’s ice spears, but Trevor took this opportunity to power up, and once Alucard was out of their way he began throwing continuous knives at him--which Alucard turned into a bat to avoid.

Sypha incased him in ice for the second time, returning him to human form. The fairy broke him out.

Before Sypha could cast her next spell Alucard turned into a wolf and bowled Trevor over, leaping into the air to bite Sypha’s leg—

But before his teeth clamped down on her leg something caught in his throat—something too close to sentiment—and he fell to the floor, himself again.

In the moment’s hesitation Trevor wrapped the whip around Alucard's neck.

His eyes glinted, and his mouth quirked up. “See you in hell.”

******

“Well if it isn’t the cockwart, Alucard,” Trevor grunted as he sauntered down from the wagon, smirking.

“If it isn’t the bastard, Trevor.”

Sypha ran up to the dhampir and put her arms around him.

“It’s so good to see you again Alucard!” She released him, putting a hand on his cheek and smiling. “You haven’t changed a bit!”

“Well being half-vampire does have its benefits.”

They turned to look at Trevor, who was hanging back, rubbing the back of his head.

Sypha put her hands on her hips, raising an eyebrow at him. Trevor sighed.

“Good god, I never thought I’d say this but…” He looked at his feet. “I missed you. …You and your stupid, ugly face.”

"I have something to say to you as well.”

Alucard promptly flipped him off.

Trevor made a face, groaning, “I try to say one nice—”

Before they could blink Alucard had wrapped his arms around them, holding them so fast and so tight it nearly made them fall over.

“I missed you too. …You don’t even know how much.”

******

Alucard hit the floor of the save room—which happened to be the ceiling—at full force, the world returning like a punch to the face. Once he regained his senses, he coughed, balling his hands into fists before him, breath harsh in his throat, heavy on his chest.

“Well…fuck.”

“…Master Alucard?”

He didn’t want to talk to her. He didn’t want to talk to much of anyone. He didn’t even want to think. To be here at all, in this castle. He half wished this save room didn’t exist so he wouldn’t have to go back there and do it all over again.

She fluttered up knelt in front of him, brushing the hair from his eyes.

Those eyes flicked to her. Eyes often soft and warm…now full of cold fire.

“I hope it’s not rude of me to ask…Who were those people?”

He didn’t reply at first, dropping his gaze, letting his breath rise and fall like ocean waves ripping through him, filling his eyes with saltwater.

“…Nobody.” He murmured low.

“They…” She paused a moment, trying to figure out how to delicately phrase things, “didn’t seem like nobody.”

He sat up. “…They’re not real.” He pinched the bridge of his nose, trying to quell the burgeoning headache. “Dracula’s just trying to fuck with me.”

“Oh, indeed, I understand that.”—He shot her a reproving glance, so she continued more delicately—“…But most of Dracula’s minions don’t look human…not to mention they don’t know you…It appears to me whoever they represent were important to you.”

He looked away. He didn't want to talk about this. Not now. Not with a creature who--however well meaning--could barely begin to understand the horrors of immortality.

“And…they did know you...right?”

He looked down to see her wringing her hands.

“What exactly are you getting at?”

“It’s just…”

It dawned on him and he smiled, shifting to his knees. “That I’m the son of Dracula.”

She opened her mouth to say something, her wings beating and stopping nervously, looking down.

“Well it is a rather strange thing for them to say isn’t it? I mean, it can’t possibly be true.”

He smirked. “What if it is?”

She fluttered up to him, examining his features closely, her mouth open the whole time.

“You are?!”

He lowered his face closer to hers so she could feel his breath, his fangs glinting, “You scared?”

“...Not scared, more confused. I mean how can Dracula have a son? And—”

He raised an eyebrow. “Would you like me to go into the details?”

“I don’t mean that!” She smacked him lightly. “I mean…How can you be his son?”

“Why can’t I be?”

“Well first of all you don’t look like him—”

“Oh? And how do you know what Dracula looks like? Have you met him?”

“Well…I…” Her eyes darted between him and the ground, apparently grappling with the idea that he knew quite well what Dracula looked like. “This castle is full of Dracula’s supporters… he seems quite persuasive.”

“I’m not sure I’d say that—over half of them are creatures without reason, or free will, enough to know, or care, who they’re following.”

“Still…he has no shortage of allies.”

“What’s your question?”

“…How are you not one of them?”

He smiled. “I like to think I have a little more sense of right and wrong than mindless beasts.”

“Oh, no, I didn’t mean it like that! I just mean…you’re so kind. I wouldn’t think Dracula’s son—”

“I’m not only the son of Dracula.”

She paused, thinking, before looking up. “Your mother.” Her wings fluttered as she gained understanding, floating up to his face. “It was your mother, wasn’t it? That memory we saw. The Succubus. You said that your mother never said those things.”

“Yes, she said quite the opposite, in fact.”

She gave a sad smile. "...It sounds like you loved her very much."

He gave an almost imperceptible nod as he looked away.

"I'm...sorry that happened to her. That's ...awful. Humans can be brutes at times."

"Yes." He agreed softly, before adding, "But not always. And not all of them."

She paused herself, then began fluttering back and forth—the fairy version of pacing—trying to wrap her head around it all.

“Was she married to Dracula?”

“Yes.”

“Who was she?”

“Her name was Lisa… and she was mortal.”

“Did he love her?”

He smirked at the innocent and naïve question.

“Very much. ...Enough that he’d destroy the world for her.”

She paused, looking at the ground. “Is that why we must defeat him?”

He gave a small nod.

“It seems such a sad reason to have to kill him…for love.”

He looked off to the side, not saying anything.

“Come on.” He stood up. “It’s time for round two.”

******

Notes Cont.:

For the cartoon, I actually wrote this fic before I watched S3, so when I was trying to come up with memories for after S2 with Trevor and Sypha all I could think of was simply them arriving back at the castle. Then reading it after watching S3 I realized their reunion would probably go differently :'( ...I decided to keep it as-is because I really have no clue how that's gonna go in later seasons, and because I felt people might like reading about a nice version of them coming back to him anyways.

[kilesplaysthings]

And here we go again! Another post of~

Who’s that Voice Actor?

Today I decided to do another personal fave: Leonardo da Vinci from Ikemen Vampire, voiced by Tsuda Kenjirou.

Tsuda is quickly becoming another favorite VA of mine. He has such a unique voice and it’s perfect for mature roles, antiheroes and even villains. He also seems like a funny guy. Just check out this cute short (and yes, I said cute because I think it’s cute lol).

So here we go!

Notice a pattern here? Yup, a lot of his roles (at least of these, which I know of) seem to indeed be antiheroes and villains. Either that or non-conventional leads or side-characters. I gotta say, it’s partially due to his voice acting that I really like Overhaul as a villain, and he’s swoon-worthy as Ogata from Golden Kamuy. He also nails the tortured, brutal lead for the now-airing series ID:Invaded, which I highly recommend if you like crime and psychological thrillers. 

He does a fantastic job as Leonardo in IkeVamp. I really think he nails the character’s mature and sensual personality. Plus, he’s got that smoky, gravelly timbre to his voice that fits Leonardo, who smokes those cigarillos. 

Characters listed (left to right; top to bottom):

Mikoshiba Senjuurou: Free!

Inui Sadaharu: Prince of Tennis

Atomic Samurai: One Punch Man

Kunai Hakuto: Maou-Sama, Retry!

Kazama Chikage: Hakuoki

Mifune: Soul Eater

Manji: Blade of the Immortal

Kaiba Seto: YuGiOh!

Ogata Hyakunosuke: Golden Kamuy

Joker: Fire Force

Overhaul (Chisaki Kai): My Hero Academia

Sakaido: ID:Invaded

[nellynee]

FowlPlayAU (aka Miraculous Peacock Marinette AU)

Literally no one asked but I don’t care. An AU in which Marinette holds the Peacock Miraculous

This actually developed from a few different threads that I tugged on over the course of a few months.

I guess the starting point for this was probably the season 1 episode “Simon Says” with the very short but profound moment of understanding between Gabriel and Ladybug over the pedestal they both placed Adrien on and the subsequent really, really heavy handed comparisons everyone kept making towards everyone else about who resembled Emilie the most

Basically I thought this episode was the heaviest seed in the narrative of the parallels between Gabriel and Marinette, both fashion career focused workaholics who take way to much responsibility on their own shoulders and get obsessive to the point of destructiveness over their respective, similar love interests, and using those parallels as a point of interest in showing both Marinette's growth as she moves beyond that destructive mentality and towards regarding Adrien as a person and how Gabriel’s “love conquers all” mentality isn’t an inherently positive thing but no. *sigh* no, they needed more screen time for one time characters. It fleshes out the world,yes, but not the characters. LOTS of interesting long term threads were dropped in favor of broadening the cast to try and shoehorn that “kid superhero group” into the show that was originally tossed. Basically I’m saying that I do think Gabriel and Marinette have enough in common to surprise some people, including each other, and I’m a sucker for intergenerational friendships

The second main factor was the small subplot at the time of Gabriel suspecting Adrien of being Cat Noir. I got really interested after “Gorizilla” about what might actually happen if Gabriel did figure out that Adrien was Cat Noir at that point in the series (I have words about Cat Blanc, trust me. No those words aren’t “throw the whole mess out the window” because I actually love it. But many, many words) Going off the heavy handed implications that Emilie was the former Peacock, I thought it would be interesting, and in character, for Gabriel desperately analyze his son’s behavior as Cat Noir, trying to figure out WTF Adrien thinks he’s doing, only to realize that Cat Noir has some pretty obvious affections for Ladybug. This is unacceptable of course, but understandable in a “he’s a hormone ridden, teenage boy, and Gabriel was once too the same sort of boy in love with the same sort of heroin” sort of way. The obvious answer to getting rid of what is the only possible obstacle for his son’s cooperation (I was going off the pilot with the potential of Cat Noir as a Hawkmoth agent because of their familial connections) is to get rid of his affections, and since it has to be shallow, he’s too young and also Gabriel controls his whole life so it can’t be love, then all he has to do is shift his son’s affections. Cue an uncomfortable number of episodes in which Gabriel subtly inserts a B plot into his Akumatized villains by trying to push various girl together with his son in carefully controlled circumstances. Because this is before Kasumi, and again, those nice parallels between Marinette and Gabriel himself, he eventually after trial and error settles on Marinette as the perfect candidate. Thus, we get a series of hilarious situations in which Marinette and Adrien are pushed more and more into high pressure uncomfortable and intimate situations, losing time and ability to turn into their superhero personas as a natural deterrent to power creep and justifying the use of other Miraculous users a lot more. 

I saw someone comment in one of their author’s notes on a fic a long time ago that they hated the trope of Marinette being an emotional Atlas and my instantaneous internal response that that kinda WAS Marinette's character early series, especially the origin episode, and that a lot of the most prevalent fics were written in that time period, and that really intense response from me really stuck. 

Peacock aesthetic. yup, that alone gets an equal piece of the pie 

So yeah, if any of that interests you, keeping in mind that on top of potential sympathy and understanding of his actions, Gabriel is still absolutly a shitty person, then the actual (canon divergent) AU is under the cut.

The actual thing diverts during Stone Heart, in which the moment Marinette decided to become Ladybug for realsies rather than try to faust it off Alya doesn’t happen. Rather than deciding to put on the earings, Marinette distracts the monster enough they can get away. Alya finds the earings, and takes up the Mantle of Ladybug.

This decidedly marks a regression in Marinette. Where as Ladybug, and with Tiki’s constant assurances and influence, Marinette learns to work past her urges to take responsibility for everyone’s emotions, Marinette has now lost that constant companion, and has to deal to with her new best friend’s time being diverted

Cut forward to “Stormy Weather” and Marinette has fallen into a vicious cycle of guilt. The little creature had told her it was her destiny to be Ladybug. And while we know that the situation with Hawkmoth is not much different than it is in canon, Marinette is totally convinced that the only reason Hawkmoth is still around hurting people is because she rejected the call. That guilt has built into a feeling of impotent inadequacy that convinces her that she’s no longer deserving of the Ladybug roll, and so she’s both unable to do anything, and responsible for Hawkmoth still being around. 

The most prevalent of episode changes is Lady Wifi. It’s Marinette who’s akumatized, not Alya, and it’s a fairly traumatizing, but empowering experience for Marinette. 

The ultimate culmination of this is this universe’ “Volpina” episode, where, in the background of main battle events, Marinette gains an understanding of the suspicions that Gabriel might be Hawkmoth, and in the climax of the battle, believing Adrien in danger, she confronts him, confirming his alter ego. 

In a scene I have no time to actually extrapolate on, if your curious, just ask, Gabriel and Marinette come to a tentative understanding. He’ll give her the powers to protect his son, and she’ll actually have some sort of control in her life again. This akumatization takes the form of a faux Peacock Miraculous. 

This marks the first half of her partnership as an antihero with Hawkmoth. (and yes, I do have the mechanics of how he can akumatized more than one person at a time without Catalyst, which will be extrapolated upon request, but this is long enough already)

Again, I wanna draw attention to those Sweet, Sweet Marinette and Gabriel parallels. Gabriel, through half truths and carefully peppered moments of emotional manipulation and practiced vulnerability, attempts to B plot Marinette into stealing the Miraculouses. Believing herself to be at least somewhat in his thrall, Marinette allows herself to empathize with his plight, and they build a surprising, if strained, raport. 

After discovering that she is not, in fact, under Hawkmoth’s control Marinette rebels just long enough to have Hawkmoth take back his Akuma, and Marinette caves the next time Adrien is in Genuine Danger, stealing the real Peacock Miraculous and using it.

This marks the second half of their partnership, and Hawkmoth reveals that the miraculous is broken, and Marinette is now dying from it’s use, and that her only choice of survival is to help him make his wish. This evens out the power balance, at they both now have the same goals and powers independent of each other, but also ups ante. 

That’s the most tldr general of overview, with other more specific highlights like

Ladybug!Alya having to reach her own emotional maturity, her earlier stint as a hero leaving her with a much bigger ego in terms of how she perceives her impact of the morale of the city and where her priorities lie in trying to boost that morale vs her personal needs. Ladybug!Alya tries too hard to take notes from already established heroes and public images. She still runs the Ladyblog, Spiderman style.

After quickly realizing (after some confusion) that the Ladybug he fought Stoneheart with the last time is not the same as the one he fought the first time with, Adrien gets a big old case of the pining sighs

Early series Adrien and Alya are both not the type to value secret identities, and so yes, they do reveal said identities to each other fairly early.

They also can both keep a fucking secret, so it works. They are secret BFFs

After the first time Adrien is rescued by the mysterious Peacock Holder, he figures out that whoever she is, she’s the original Ladybug, and more and more ends up distracted and drawn away from fights by her, the perfect reason for Alya to have to bring in other miraculous users. (the interactions tend to take place on moonlit balconies. There’s heavy Pilot influences here)

Marinette does this thing where she spreads her fan when she’s startled and hides her face. Mostly because Cat Noir wont stay out of it. The miraculous’ memory means she tends to fan speak a lot. Symbolism

Speaking of symbolism, the character designs are rife with them. I know exactly what Peacock Marinette looks like and there’s a reason for everything.

The subplot where (inspired by the pilot) Cat Noir finds out that there used to be a curse on the ring that could only be lifted by a kiss from Ladybug (thanks to her creation/retcon powers). Cat Noir convinces (inaccurately) himself that his destruction powers can totally do something similar with Hawkmoth’s mind control now all he needs is to kiss the Peacock user and she’ll be free! She’s totes not a bad guy!

Yes, Marinette does get a different miraculous ala being an episode helper, and her emotions are complicated about it

And other fun tidbits. This got way to long but I’m more than willing to extrapolate on anything more specific that anyone is curious about

[frasier-crane-style]

Let’s talk about Treks baby

The One Where Riker Stars In The Grey.

When Riker is reassigned to go over a terraforming colony bedeviled by pesky, genetically engineered wolves, a new first officer is assigned to the Enterprise. And he’s kwazy.

The irritatingly named Quintin Stone is sort of the Nick Locarno to Peter David’s later Mackenzie Calhoun. Brooding rogue, troubled past, gets the job done, you know how it goes. It’s a pretty unabashed power fantasy/Mary Sue in New Frontier, but there the whole thing is so over the top and tongue in cheek that you really can’t take it too seriously. Quintin, on the other hand, is more played for drama--for most of the story, there’s a question as to whether he’s outright homicidally insane. Luckily, Troi is on top of things, checking on his mental well-being and also kinda being his love interest, like a literal version of this gif.

Spoiler alert: It turns out he’s deeply traumatized by a not wholly believable incident in his past*, so good on ya for catching that one, Troi. 

Looking back on it, this book would almost seem to count as a deconstruction of the ‘broody antihero’ trope, showing that the character type just doesn’t work in TNG. He infuriates most of the cast and doesn’t get the girl, while those who are taken in by him are presented as saps (yup, Wesley). 

Speaking of New Frontier, with the self-aware jokeyness and tongue-in-cheek acknowledgment of Trek’s campier elements, would it be fair to say PAD was ahead of the curve in predicting the modern incarnation of Trek? Its take on Star Trek would definitely fit in with the Kelvinverse movies and especially with The Orville, which is pretty much the people’s choice for Trek these days.

*Okay, I get the interpretation of the Prime Directive as not interfering or revealing yourself to alien cultures until they develop warp drive, at which point they’re going to figure out you’re there anyway. And if you can stop an asteroid from wiping them out without them knowing about it, fine. Cool. I get that. But I don’t get Star Trek stories where the PD means you can’t interfere with the Romulans’ development, even though they’re showing up on your doorstep every other week and shooting at you. It’s like saying if Hitler 2.0 showed up in Germany and started amassing power, the US shouldn’t try to discourage that shit or, I guess, engage in any diplomacy whatsoever. It’s mindbogglingly isolationist. And isn’t it arguable that part of a culture’s natural development is interacting with other cultures? Like the back and forth between America and Japan driving forward the medium of animation?

The One Where Picard Nearly Bangs Guinan’s Sister

This one has a bit of nontroversy attached to it, because it came out while Star Trek was still kind of hashing out the Borg, so there’s a disclaimer at the beginning basically going

The gist of it is that Borg aren’t supposed to have gender (a bunch of people with blue hair just had their ears perk up, didn’t they?), but PAD here has a drone that gets detached from the Collective and is a girl. It seems pretty self-evident to me--Picard gets assimilated, they get him back, he’s still a dude, so why wouldn’t it work that way with a chick? But this is back when assimilation wasn’t the Borg’s m.o. the way it would later become. They assimilate a Ferengi in this book (yup) and it’s kind of a big deal. Oh, and as you might’ve guessed, Girl Borg bears a few similarities to Seven of Nine, who would show up later in the franchise, although PAD’s take on it is more “we rescued a girl from a serial killer’s basement after ten years and she’s totally catatonic,” less “what is this human emotion you call ‘kissing’?”

Good thing we have Deanna Troi, a counselor, to ease Girl Borg through the healing process. Oh, wait, she basically takes one look at GB and goes

Thanks for the help, Troi. I guess this subplot is supposed to prove that it’s pointless to try to save any assimilated person other than Picard, because mentally they’re already dead, so might as well just have a bunch of fun guiltlessly blowing them away

(And that goes for you too, audience.) But still, bit of a downer. At least Spock would’ve tried a mind-meld.

There’s also this chick Delcara, who in a pretty XXtra Flamin' Hot narrative choice is like Picard’s soulmate and he’s sort of in love with her slash obsessed with her after having a psychic vision of her in Starfleet Academy and y’know? TNG might’ve opened the door to this by having Crusher bang a ghost, but we should close that door. We should close it right now.

(By the way, in case you’re wondering if this Guinan’s sister business means Picard is down with the swirl, it turns out she’s Guinan’s adopted sister, so is it just me or is that weirdly ambiguous? She’s a beautiful black woman and Picard wants to do her. You can come out and say it, book. No one minds.)

Anyway, Delcara is piloting one of dem planet-killers from back in TOS--in hindsight, it’s weird that the Abrams movies never did anything with the one big Death Star-y thing that actually is canon to TOS, isn’t it? They gave Khan and Nero ridiculously super-sized ships, but the one kaiju that’s actually in continuity, nothing--on a vendetta against the Borg, who basically killed her family twice over. Man, if only there were some kind of psychologist on board the Enterprise to help her through that trauma.

I sense she feels great bitterness, Captain.

Yeah, why does she get a seat next to the Captain again? Let Worf have that seat. How is it fair that he has to stand around all day, he actually does stuff!

Anyhoo, as you might’ve guessed from the opening set on a holographic rendition of Don Quixote, with a Data Discussion(tm) of quixotic endeavors... and the fact that Delcara intends to totally wipe out the Borg, gosh, I wonder if she’ll succeed--this one’s something of a downer. It does give the promised Planet Killer on Borg Cube action for those fanboys who’ve wondered who would win in a wrassling match, and Picard learns a valuable lesson about not pursuing suicidal vendettas against the Borg, which he definitely takes to heart...

(Wow, he did that one-handed? What kind of gains does Sir Patrick have?)

But still... bit depressing.

The One Where Bones Becomes A Space Pirate

Another giant novel, I’m surprised this one never got raided for parts in any adaptation. Even on the page, it’s pretty breathtakingly cinematic, and yet, the only part of it that’s really been used is, if you squint, Bob Burnham in Discovery being a disgraced Starfleeter.

The premise is that, some months ago, the TOS Enterprise crew was involved in a breaking of the Prime Directive that resulted in the destruction of a world and the ‘Enterprise 5′ of bridge officers blamed for the tragedy being shunned and hated wherever they go (ah, that utopian Star Trek future, predicting an entire population that’s politically engaged). 

Now, with the command crew scattered, everyone’s trying to get back to the planet where it all happened to find out what tf went down for reals. In a bit of a stretch, this is really hard for them--no one seems to be able to call in a favor or hire Han Solo to take them there or anything, which I suppose is in keeping with Star Trek 3′s similar situation six years prior. They don’t have to go so far as to steal a Constitution-class this time. I suppose it’s fitting for the wild and woolly TOS era. In TNG time, they’d probably be able to dial a Space Uber. (As it turns out, it seems like if they’d just coordinated their plans, they all could’ve hitched a ride with Spock, but then there’d be no book, much less a Giant Book.)

Anyway, Kirk’s been court-martialed and is working as an asteroid miner, Chekov and Sulu fall in with Orion pirates, Spock is challenging the whole thing in court, and Uhura’s in jail........oh. It’s like that, huh, Starfleet?

Like I said, most of the plot involves the crew going off on all their separate adventures, eventually getting the band back together and figuring out what went down. Apparently, the book was criticized for its nonlinear structure, but I think it worked out really well. Starting months after the incident, with everyone disgraced, gets you pumped to find out what happened. Then when they flashback to the shit going down, there’s a great sense of foreboding because you know something is going to happen, just not what exactly. 

If I can make a criticism, it’s that after some great build-up, the ending seems a bit anticlimactic. The nature of the threat requires some unbelievable Hollywood Evolution to buy (nothing new for Star Trek, admittedly, and this is a crew that’s fresh off meeting Apollo and Abraham Lincoln) and while it is fitting that they’re able to resolve the situation without blowing up anything or punching anyone (Star Trek loves to talk the talk about how anti-military it is, then end their movie with some Klingons getting blasted), it still seems a little... dry. You’re not going to have Kirk hang off of anything, story? Not even a little? Okay. I still had fun. 

And you’ll note that once again, Deanna Troi was of no help whatsoever. Geez, woman, you’re oh for three here!

[bigskydreaming]

Whats Nightwing and Deathstroke's dynamic? Why does it make you wince? Im not very familiar with it.

Nightwing and Slade actually have a really interesting and compelling dynamic in a lot of ways, that can be really good when written well and really terrible when not. My biggest issue is it is that its not sexual in the comics (Slade is a good thirty years older than him) or in other adaptations that have a version of it, like the Teen Titans cartoon. But fandom being fandom, Dick/Slade is a bigger ship than like, half his actual canon ships, so any new take on it always comes with a big sigh at all the new Dick/Slade shipping that’s gonna crop up or have a resurgence cuz of it. And I’m annoyed enough with YJ right now that I’m not giving them the benefit of the doubt that they’ll do anything new or interesting with it that’s worth having to wade through pages of new Dick/Slade noncon in the months afterwards. Its a ship that generates a lot of non-con fic in particular, or at least my old favorite, ‘dubcon’, with the dubious part of the consent referring to the fact that it usually involves mind control or brainwashing, both tropes that show up a lot in their interactions anyway. (Not that there’s anything dubious about this NOT allowing for consensual anything, just that people love to call it dubcon because….fuck if I know).

But anyway….in the comics, Deathstroke is a mercenary who’s one of the Titans’ earliest and most iconic enemies. Though at various times and depending on who’s writing him, he’s sometimes an antihero and even a semi-trusted ally of the Titans (usually with Dick specifically), other times a villain but with his own personal code of honor that means he won’t help the Titans or other heroes but he’ll refuse to take jobs that would pit him against them, and other times he’s full on remorseless and sadistic villain who hates them all and wants them all dead.

He also had three kids, his son Grant (the first Ravager), his younger son Joseph (Jericho) and his youngest, their half-sister Rose (the second Ravager). Basically, the first time he interacted with the Titans was when the supervillain group HIVE put out a contract to have the Titans all killed. Slade turned them down cuz of his personal honor code and how young the Titans were, but his son Grant accepted the contract in exchange for HIVE giving him superpowers to help him fulfill it. The process didn’t work right though, and when fighting the Titans, Grant’s powers overloaded and killed him.

Slade blamed the Titans for this, and vowed to finish the contract and kill them as some twisted way of honoring Grant. He doesn’t do Logic so good, well no, its more like he doesn’t really do parenting so good, as in he tends to have fuck all to do with his kids 364 days of the year, but then something bad happens to one of them and suddenly he thinks he’s Dad of the Year and going 0 to Homicidal in six seconds flat is the way to make up for all the times he’s let them down or screwed them over, instead of just…not Doing That.

So Slade recruited a young meta named Tara Markov (yup, that one) and trained her as his apprentice specifically to help him get revenge on the Titans. At his prompting, she joined the Titans as a spy for him, feeding him intel and plotting against them in one of the best known comicbook storylines of all time, The Judas Contract. It was up there with some of the X-Men’s best known stories like the Dark Phoenix Saga and Days of Future Past. (In the 80s actually, the Titans comic book was almost as popular as Uncanny X-Men at the time. Like way more than the Justice League. They were DC’s big hitters, popularity wise - specifically the lineup that for the most part was centered around Dick, Donna, Starfire, Beast Boy, Cyborg and Raven, with other members like the original Titans and later ones like Pantha and Wildebeest coming and going at various points in the 80s too).

Ultimately, Tara made her move and betrayed the Titans, enabling Slade to kidnap each of them one by one and turn them over to the HIVE….all except for Dick. In the meanwhile, he was approached by Slade’s ex-wife Adeline Kane - who has an equally all over the place dynamic with Slade, like sometimes she’s his worst enemy and other times she’s manipulating events behind the scenes to help him without him knowing, because she still loves him…it basically just depends on who’s writing her, same as with Slade. Also, Kane is Adeline’s maiden name, she’s distantly related to Kate Kane aka Batwoman in some extremely complicated manner I can never remember, but that’s mostly just trivia. I can’t remember a time its ever been relevant to a story, and it has nothing to do with Slade’s interactions with Dick.

ANYWAY. Point being, so Adeline, who blames and hates Slade at this time for their son Grant’s death, along with their other son Joey, seek out Dick and offer their help rescuing the Titans and defeating Slade. Joey is a metahuman as a result of Slade’s altered DNA (he has regenerative powers and is actually immortal, due to experiments the army did on him while he was a soldier). So Joey was born with powers although they didn’t activate until he was a young adult. His codename was Jericho and his power lets him possess peoples’ bodies. He’s also mute, and I’m half expecting him to show up in YJ fairly soon. If not this season then hinted at by the end of it. Also wouldn’t surprise me if they had plans to have him be gay in the YJ universe. He’s a character who was coded as gay practically from his debut. Joey/Dick is actually probably Dick’s oldest and most enduring slash ship, for the record.

So Joey works with Dick to rescue the Titans and defeat Slade, who’s captured and goes on trial for kidnapping the Titans. Joey ends up joining the Titans in the aftermath, and Adeline’s yay good, this was my Sekrit Plan all along, I did all this solely in the hopes that you would end up a superhero and have positive influences and not end up a murdering douchebag of flexible morality like your dad cuz fuck that guy, am I right Titans?

Did Adeline really just do all of that because she wanted her son to have more friends? Like…idk honestly it could go either way. Like….it IS the kind of thing she would do, tbh, so its as likely she was telling the truth as it is she just wanted to screw Slade one last time to avenge Grant and then was like hey if I take credit for my kid ending up a Titan now, I could probably play the “you owe me one” card later if I ever need to. Addy does like handing out “you owe me one” cards, just to be safe. Never know when you might need one.

The thing all this has to do with Dick is like, so it basically ended up being Dick versus Slade in the big finale, while Joey was rescuing the others and helping them face off against Tara. And for whatever reason - with multiple takes on this offered by multiple writers in the decades since - something about Dick just stuck with Slade and he’s had a kinda fascination with him ever since. Like he’s always talking about how much more he could teach Dick than what he already learned from Bruce, trying to convince him he’s got a killer instinct that Bruce just suppressed and its holding him back, blah blah, like saying he’s good, but Slade could make him great, so he surpasses both Bruce and Slade. TBH, he spends WAY more time obsessing about Dick and getting Dick to join him than he bothers paying attention to his own kids. 

It really isn’t inherently sexual though, its a weird kinda pseudo father/son, pseudo mentor/mentee type thing. And its not entirely one-sided, because Dick at various times IS…tempted? Kinda? Like whenever Dick’s having some kind of crisis of conscience, or he’s pissed at Bruce or is questioning the effectiveness of superheroes or why they do the things they do or what does it all matter blah blah blah like omg I love you Dick, I really do, but sometimes you are such a drama queen, my god, blast some My Chemical Romance, experiment with drugs and chill out already, its not that deep. (LOL I kid. Well mostly). But point being, every once in awhile something happens that puts Dick in a funk and makes him second guess himself, and he spends like….a month being convinced he should reinvent himself as the anti-Bruce, that’s the solution, and this usually sends him in search of Slade except he’s always like ‘OH FANCY MEETING YOU HERE, THIS IS TOTALLY RANDOM AND NOT ON PURPOSE’. 

And Slade likes to take any opportunity to try and convince him like BE A BAD GUY DICK, KILL PEOPLE FOR MONEY, ALL THE COOL KIDS ARE DOING IT. Except inevitably Slade does something that pisses Dick off and Dick snaps out of it and is like NO, IM A HERO AND THIS IS BAD, I REMEMBER NOW AND I’LL NEVER JOIN YOU, YOU’RE NOT MY REAL DAD I HATE YOU! And then they fight again, but with swords, not words, and then they’re like crap, we’re too well matched, this is going nowhere, you’re a worthy opponent, the only one I can truly respect, blah blah and then they call a breather and Slade’s like hey kid, wanna grab a beer and Dick’s like yeah but only if you promise not to kill anyone. And Slade’s like ugh fine.

And then Slade’s all, look kid, its been fun but its time you went home to your real family and your real life, this isn’t you, you’re a hero, I can’t try and turn you into something you’re not, its Wrong. And Dick’s like….umm yeah, I know, I literally JUST said that, how hard did I hit you? And Slade’s like NO SHHH, DONT TRY AND ARGUE, GO, YOU GO NOW, GO ON, LIVE YOUR LIFE, YOU DONT BELONG HERE IN THE DARK WITH ME, YOU’RE ONE OF THE GOOD ONES, GO BACK TO YOUR OWN KIND.

And Dick’s like no seriously dude, I already called my dad to come pick me up, what are you even on right now, are we having the same conversation?

Slade, sobbing paternally: I HAVE TO LET YOU GO, ALL I EVER DO IS HURT MY KIDS, I’M A TERRIBLE FATHER, ITS NO WONDER JOEY HATES ME.

And then Dick awkwardly slips out while Slade’s mid monologue, with his head thrown back yelling up at the sky and shaking his fists like WHY GOD WHY IS THIS THE WORLD WE LIVE IN WHY - because the thing about Slade is he’s actually even MORE of a drama queen than Dick, he just hides it better. Most of the time. But seriously tho.

Anyway yeah, this is like…a pattern with them basically. And Slade’s like, you’ve inspired me, I see in you the man I could’ve become, maybe even that I can still be, and he like doubles down on his personal honor code and becomes a Mercenary With A Heart for a couple years and even helps out the Titans every now and then (basically just whenever Dick’s in trouble and he goes on a killing spree, like NOBODY IS ALLOWED TO MURDER MY KIDS BUT ME - also by this point in time, Joey had died because Slade literally killed him, I forget why, it was a dumb story, but its okay Joey came back, its not like his name is Uncle Ben. But yeah, killing his kids is kinda a thing with Slade too, and he’s very proprietary about it).

And then he falls off the wagon and is like fuck, I forgot how much I like murder, ugh, you should have never tried to make me change, THIS IS WHO I AM, and Dick’s just like….I literally do not know where you’re getting these conversations from, like am I there when you think we’re having them, am I just blacking out…do I need to see a doctor??? And Slade’s like YOU WILL RUE THE DAY YOU EVER MET ME, GRAYSON, FROM NOW ON I AM THE TITANS’ MORTAL ENEMY and runs off all dramatically while Dick’s like…..wut, and all the other Titans are like srsly, dude, what is WITH you too, and Dick’s all I DON’T EVEN KNOW, HE’S JUST LIKE THAT.

In all seriousness though, ultimately my take on their dynamic is that for Slade, Dick’s a combination of seeing himself and Grant in Bruce and Dick’s dynamic, and its like….all about his regret and missed opportunities. Like, he tends to be super judgey of Bruce and critical of how he trains (and raises Dick) and passive aggressively like *I* would never do that and Dick just kinda lifts an eyebrow and is all, you’ve literally killed two of your three kids. 

But like, Slade kinda views himself as the anti-Batman and thus Dick is inadvertently cast as Grant, but its like Slade can never decide if he thinks Bruce is actually holding Dick back from his full potential and he wants to push Dick the way he thinks Bruce refuses to, or if like, he blames Bruce for getting Dick involved in this life, the same life that got Grant killed, and wants to protect Dick from Bruce and from the same thing happening to him. So its this weird mix of Slade manipulating Dick sometimes and pushing him way further than even Bruce ever does and saying its for his own good, but also randomly mixed in there are these bouts of extreme protectiveness, and there’s like zero rhyme or reason to which he is on any given day and there’s never any way to predict where Slade will land and so it always fucks with Dick’s head in a big way, he’s like…I’m getting whiplash.

And then on Dick’s end, like, the thing about Dick like I’ve mentioned before is he’s a huge people pleaser? Like he’s a very empathetic caretaker type personality who sinks a huge amount of his identity into being everything for everyone, to the extent that he tends to lose sight of himself in the process, sometimes. And he’s also a perfectionist who was raised with the most demanding father of all demanding fathers ever, and has a lot of abandonment issues and insecurities that Bruce’s mutant power is to trip over and set off in the worst possible ways.

And so I think the reason Dick keeps seeking Slade out every now and then is not because he ACTUALLY wants to ever take Slade up on his offer and genuinely become his apprentice or partner and like, turn his back on how he was raised. I think the point of it for Dick is the fact that each and every time he ends up affirming for himself no, wait, this ISN’T actually what I want, I just needed to be reminded of that, to remember that. That he always pulls himself back before going too far. And at the same time, I do think on some level he likes that Slade is this kinda constant in his life, that at the end of the day Slade is like…so fixated on his potential and his achievements and his worth as a fighter and a hero, because like….Dick Grayson is a person who craves validation but will never ask for it ever. 

And he’s one of those people who everyone is just so USED to liking without even thinking about it that it never occurs to them when talking amongst themselves about how great he is, that they forget to say this to his actual face? And so he never hears it? And never asks for it, because gasp, then people might think he’s needy, and that would be bad, so he mostly just goes and sulks in his apartment about how nobody likes him and he’s terribad. Except for Slade. Slade always compliments him on what a good fighter and what a good planner and what a good leader he is, so hmm wonder what he’s doing. He hasn’t committed any crimes in six months and I can’t find any reason to track him down and bring him in? Ugh, that asshole. Okay, ummm, I guess I could tell him I’m thinking of turning evil again, I haven’t done that in a couple years, he’d probably buy it.

And then later Bruce is pacing around the Batcave wrathfully shaking his fist, like “Damn that man and his sick hold over my son, if only I knew how he keeps getting his hooks into you!”

And Dick basically shrugs and plays games on his phone. “He mostly just tells me I’m special, and that’s nice to hear.”

Bruce, still pacing and ranting and fist shaking: “What kind of evil genius is he, how master a manipulator he must be to be able to get inside your head and upend your normal views of right and wrong, to make you entertain these ideas of working with him, learning from him…”

Dick: No its seriously just the saying nice things about me bit. I like that.

Bruce: If only I had a code word or phrase I could use to snap you out of whatever brainwashing he seems to be able to affect you with any time you come near him, perhaps some kind of alien tech….

Dick: You could try “I’m proud of you, son.” I mean if you’re taking suggestions.

Bruce: There’s also the possibility of a magical component to consider, blast, I hate working with magic so of course he WOULD do something like that, ugh I suppose I could ask Zatanna or Jason Blood for help there…

Dick: Cool cool, well this has been a fun and productive chat as always, so you keep doing…all that…and meanwhile I’m gonna go ponder my fixation on father figures who are 100% more committed to obsessing over their failures as a parent than like…actual parenting of their actual kids.

Bruce, ten minutes later: Dick? Where are you? DID SLADE GET TO YOU AGAIN? RIGHT UNDER MY NOSE? CURSE THAT MAN AND HIS UNNATURAL SKILLS, HOW DOES HE DO IT??!?

Anyway, that’s Slade and Dick. There’s also the whole Renegade thing, when Dick asked for Slade’s help in infiltrating the Society of Super Villains in his fake villain identity as Renegade, with you know, lots of Slade trying to corrupt him and also trying to murder any supervillains who looked as his not!son the wrong way. 

And then there was the time Slade brought his daughter Rose to Dick to train and said he couldn’t teach her himself because his track record with training his kids and them not ending up dead is like, not good, and he’s superstitious or something? Idk, I forget his logic, it was probably bad though.

And Slade was like, I only trust you to be a competent teacher for my daughter, I want you to teach her everything you know! Except for like, being a hero. None of that nonsense. I FORBID you from trying to make my daughter into a hero or the deal is off. (The deal being that if Dick did this, Slade would not do crime in Dick’s city for a year).

And Dick was like, you got a deal. I will train Rose but there will be NO trying to make her a hero, I swear. /he said while crossing his fingers behind his back because duh.

And Slade was like okay, fine, you got a deal, I will absolutely still do crime and be villainous but only in every place except for Bludhaven specifically. /he said while crossing his fingers behind his back because duh.

And then Dick tried to make Rose a hero and then Slade blew up Bludhaven and that was definitely a thing, so…yeah.

In summation, Slade and Dick are weird but also very interesting but also if we get another rehash of the Renegade/apprentice arc aka the Teen Titans cartoon adaptation of that story aka the single most popular Dick Grayson fic trope of all time, like….I swear I will probably get a brain bleed.

[totalrockfiend]

Motorhead Top 5 Album Power Ranking

How to describe Motorhead... A genre busting act that cross-pollinated the no f*cks giving attitude of punk and the relentless drive of metal, inadvertently blazing the trail for thrash and speed metal that were soon to come

I mean, what more can you say about a iconic band with such a powerful resume? 

Not much! Which is why I’m restricting my personal commentary on these legendary antiheroes to a... 

Motorhead Top 5 Album Power Ranking!

Why just weigh in on just their top 5 albums? With 22 studio albums, 15 live albums, and 16 complication albums, how else can you wrap your arms around such a prolific discography?

Plus, I love a good “top 5 album” ranking. That’s always where you get to the real cream of the crop. Especially with long-running band boasting 10 or more releases.

So, without further ado, let’s dive in!

Overkill

Crafted by the “classic line up” of Lemmy, “Fast” Eddie Clark, and “Philthy Animal” Phil Taylor, not sure how anyone could dispute that Overkill is clearly Motorhead’s best album? (Then again... There’s no accounting for taste ;---)

From the opening double bass roll of the incomparable title track onward, this pummeling record, released a decade ahead of it’s time, laid out the blueprint the for what would soon become thrash and speed metal. And in turn, inspired a gang of multi-platinum artist to come, including Anthrax, Megadeth, and the mighty Metallica, among many more future headbangers. 

Bastards

While Lemmy, Clark + Taylor may have comprised Motorhead’s “classic line up,” there’s little doubt that the later Lemmy, Phil Campbell, Michael "Wurzel” Burston, and Micky Dee incarnation served as the band’s most musically adept unit. 

And nowhere is this fact in more evidence than on the band’s 11th studio record, Bastards. Released in 1993, amid the grunge maelstrom overtaking heavy rock, Bastards is unapologetically metal.

Raw, driving, and relentless, Bastards’ tracks like On Your Feet or on Your Knees, Death or Glory, and Born to Raise Hell rock as hard, if not harder, than any tunes in the band’s considerable playlist. 

And the acoustic ballad (yup, there’s and ballad, and yup, it’s acoustic), Don’t Let Daddy Kiss Me, showcases a socially conscious side of Lemmy many Motorhead fans may not have expected.

Overnight Sensation

Released three years and two albums after Bastards and crafted sans former rhythm guitarist Wurzel, Overnight Sensation is nearly equal to the aforementioned album. And only ranks a step behind for being a slightly over-polished.

As I’m certain most Motorhead aficionados would agree, the band’s rawest, most unvarnished efforts are ultimately their best. Thus, while this shined up piece of work sounds stunning, it gets a few points off for being just tad too shiny.

Never-the-less, Overnight Sensation is totally rockin’ record, and features the Lemmy-Campbell-Dee lineup at its very best!

Ace of Spades

Though Overkill, a better album all around, preceded it, Ace of Spades is in many respects the record that really started it all for Motorhead.

Including the band’s most well known track, the title tune, Ace of Spades, the album is, in all honesty, Overkill Part II. Just not quite as stunning or punishing as the prior release.

But all of this said, Ace of Spades is truly a stone cold metal classic that holds up today. The record roars out of your stereo speakers in the 2020s every bit as raucous as when it originally dropped in 1980.

1916 (click to listen)

A transition album of sorts, 1916 marks Motorhead’s last record with the Lemmy, Phil Campbell, Wurzel, and "Philthy Animal” Phil Taylor line up, as Taylor would jump ship after this outing.

Though not the heaviest or best rendered Motorhead release, the album does feature some exceptional songwriting by one Mr. Lemmy Kilmister. 

Stand outs include the title track, 1916, a historical piece addressing the appallingly bloody “war of attrition” fought along the European Western Front in in World War I; ballads like  Love Me Forever and Angel City; and stomping rockers like I'm So Bad (Baby I Don't Care) and the excellent Ramones tribute,  R.A.M.O.N.E.S.

What Say You???

Well, I’ve thrown down my Motorhead Top-5 Album Power Ranking...