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okimargarvez · 4 years ago

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TASK FORCE - 12

Original title: Task force.

Prompt: during the Doyle case, FBI Director calls five teams to catch him.

Warning: A.U., what if for S6, character’s death, crossover.

Genre: action, family, angst, romantic.

Characters: Penelope Garcia, Luke Alvez, Aaron Hotchner, Emily Prentiss, Jennifer Jareau, David Rossi, Derek Morgan, Spencer Reid, Phil Brooks, Kevin Lynch, Sam Cooper, Mick Rawson, Gina La Salle, Beth Griffith, Jonathan Simms, Jack Garrett, Clara Seger, Russ Montgomery, Matthew Simmons, Mae Jarvis, Mary Meadows, Owen Quinn, Jack Flicker, O.C.

Pairings: Garvez (Penelope x Kevin, Luke x O. C.), Hotchniss, Katt (slight), demily (slight), Mick x Gina, O.C. x O.C.).

Note: oneshot 74 in Garvez collection.

Legend: 💏 😘😈🔦🎲 🕶️🎈⚰️.

Song: La differenza tra me e te, Tiziano Ferro

Task force - Masterlist

See the notes for more informations.

GARVEZ STORIES

And if... my life occasionally wiped out... the uselessness of these insecurities... I wouldn't tell you...

*checkmate

She is not openly crying, but she is so close. -It cannot be true. I can’t believe. I don’t want to believe it.- she shakes her head, while her friend increases the grip on her hand, even though he is no less upset. -Why shouldn't she have told us?- Morgan would like to console her, but he can't. He's too busy cursing himself for not seeing the signs first.

-That's exactly the point, Penelope.- the older man explains to calm down her. -We are her family. And remember what Doyle's goals is?- awareness makes its way into her chest as she nods.

-We have to find her.- she looks above all at Hotch, who seems strange, different. But it will all be in her head, she sees things that are not there, perhaps she dreams of them as well. And it would also be easy to believe it, if she didn’t have certain marks, signs on her body, which persist in not wanting to go away. But this story is not in the least important now that they have lost Emily.

The last piece of the puzzle, the discovery of Lauren Reynolds' identity, also reaches the other teams, which for the occasion gathered in their initial formations. In the IRT, Clara is definitely the most upset. They worked together for years, she considers her as one of her best friends and she cannot understand how she could have been so blind, and above all why she didn't trust her. Once, perhaps for too many glasses of wine, she had told her they were like sisters. Jack tries to convince her that it wasn't her fault, almost unnecessarily.

Mick, who has notoriously always had a soft crush on Prentiss, lets out his anger by punching things. Gina tries to calm him down and finds no other way than to hug him. It is the first time it has happened in years and years of working together. Both remain puzzled by the sensations they feel, but don’t have time to deepen them.

In the remaining teams, it is those who have collaborated with her for a few days, since they are part of the same group, to be confused and most affected by the story. Someone even makes a joke, citing the film with Juila Roberts, but is soon sedated.

Four days have passed since that night and Luke was no longer able to even approach her. He saw her in passing, during some general meeting, but she avoided his gaze and vanished instantly. Phil snatched the truth from him, almost choking on his beer, but not the details. He gave him a pat so hard that he almost broke a bone. But he couldn't help it. This coldness on his part mortally wounds him, but he expected it. But when Vladimir tells them the latest discovery, Luke instantly senses the effect this thing will have on her and abandons the discussion before it's over. Dalia stares at Phil, convinced (rightly) that he knows what's wrong with Luke. Claudia manages to calm her down; she is the only one with this magical power.

Luke practically runs to her office, but freezes, recognizing the male tone and the nuances of anger in his voice. -But I know why you're doing it.- an evil, really bad laugh, thanks to which he would have already gained a punch, if only he had this guy in front of him. -You fucked with that man of the fugitive team, that seems to have come out of a Mexican comic book.- he doesn’t even feel particularly offended to be defined through a stereotype, indeed, he is almost happy, because he captures the only positive side of the thing: what there is among them it is so evident that even this jerk has got there. -What is his last name? Alvarez?- a crooked grimace paints the lips of the Latin hearing his surname wrong. He looks around, but no one is coming, so he keeps eavesdropping.

-It's Alvez, and whit whom I fucked or not, is no longer your business!- a noise, like something being pushed. He hopes that it was she who did it and not the other, because if he only dares to touch her hair... -We are not together or am I wrong?- his heart jumps for joy, considering that in a bizarre way she is defending him, and also... Them.

A snap, compatible with a slap. It takes him a while to understand that probably he has beat one hand against the other. -No, you're right.- another laugh that is half a sob. -Luckily I didn’t buy that ring.- Luke's eyes widen dramatically.

-What?- Penelope's upset cry is reflected in his stomach.

A series of sighs. An exasperating pause, before Kevin continues. -I wanted to make peace with you, take you out to dinner and ask you to marry me.- was he really ready to take that step? Was he really that close to losing everything? But inside he feels that she wouldn't have said yes anyway. -So, there would be no more breaks. It was fun, when we were younger…- he continues to explain, then he laughs again. -What a jerk I was.- at least he was able to say one right thing.

-Maybe it was fun for you, but certainly not for me!- he instantly recognizes the shades of pain in her voice. Somehow, for some strange, arcane reason, she really loves him. Not enough, or she wouldn't have ended up in his bed. And this is not a male chauvinist thought but a simple observation.

-Tell me, plum sauce, have you ever loved me?- he imagines them. He sees Kevin trying to take her hand, one last desperate attempt. But he also sees her reject him, free herself. -Because I find it hard to believe, given the speed with which you threw yourself into another's arms...- in fact melancholy quickly turns into sadness.

-I didn't throw myself in anyone's arms!- she protests and Lynch can't know she's telling the truth. It was he who captured her, and it was a hard fight to win.

An ironic laugh. Luke clenches his fists, looking around again. -Want to deny? Come on, Penelope, I saw the way you look at him and how he looks at you.- his heart begins to beat wildly. -You two had sex with your eyes during the meetings, but from the way you treated him today... in my opinion he also hit the target. - how the hell did he notice? Is it so obvious? Will his friends, his team, Dalia, have noticed it too? What about her team? Morgan? All the rest of the world, including Flicker? He believed he had been clever and discreet. Before he hit the target, as Lynch called it, they had exchanged short, stealthy looks at strategic moments. But he's right, that was a kind of foreplay.

A loud noise, of something or someone who is pushed and ends up against some wall, pulling down what is hanging on it. -Stop it, Kevin, I can't stand your tone anymore!- pain and anger continually exchange roles, in her voice. -That's why I don't want to go back with you.- Luke closes his eyes, savoring the moment. -Alvez has nothing to do with it. You men must always find a lover, a scapegoat to feel you have a clear conscience, don't you?- he imagines the grimace on her mouth and feels the urge to kiss her. -I'm sorry, it won't be like that. And yes, you were right not to buy the ring, because I would never have said yes!- as he had imagined. -Now, go out, please. I want to be alone.- it spends a few frightening moments of absolute silence, before he can hear the steps of the man coming towards him. He barely hides himself just in time. He has an absolute need to see her, but he respects her will. Loving often sucks.

TAGS: @martinab26 @thinitta @shyladystudentfan @pegasus-scifichick @paperwalk @inlovewithgarvaz @the-ellen-stuff @astressedwriter @symphonyashley @kofforever @myhollyhanna23 @tootsienoodles @centiaaa @penelopesluke @dumbdraws @onefail-at-atime @reidskitty13 @adorarapril @princesstreaclefanfic @glocknade111-blog @magiunific @fallen-novak @dreatine @hopelessdayydreamer @canadianfangirl @vickyd-2012 @baileysb1tch @futureperfectmedia-blog @makingmemories2019 @maguloser @letsplayeternity @tonysslut @strangerthings14 @yranidro @majo0803 @dragona56 @painterofhorizons @oh-chuck-help-me @avengvr @dittokld @rockyroadthepastryarchy @lizboo4 @boop-the-boop-barf @thepeggyofthegroup123 @thebroadwaybulimic @purplezombi

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northoftheroad · 5 years ago

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Hits and Hugs

"Call Me Master" By Frank Robbins, art Irv Novick and Dick Giordano. Batman # 215.

So, I know it's cuter to post pictures of Batman/Bruce hugging his kids than hitting them. But when you start looking, the discrepancy between how many times that Bruce Wayne has hit Dick Grayson, and how many times he has hugged him, it is staggering…

Let's be honest: Bruce seldom goes further than a hand on, or an arm over, the shoulder when it comes to being affectionate. And to be completely fair, there are fairly few times when Bruce punches Dick out of the blue. Most common, he is under some kind of mind-control. Sometimes, Dick is trying to stop him from being overly violent. Once, in the examples I have here, it's Dick that starts the fight, and for a while, Bruce chooses to evade, until he hits back.

In the 40s and at least a few decades after that, spanking or a box on the ear was considered legitimate disciplining. For some people, it still is. Which explains some of the incidents here.

I got an interesting comment to an earlier blog post, from atqh16. That the reason Bruce tends to get physical with Dick more often than the others is that he sees Dick more as an equal, not his kid. It's a good point. On the other hand, Bruce has admitted that Dick is like a son to him several times, from the Golden age and onward.

I could still buy that Bruce and Dick's relationship is complicated enough that Dick is both /like/ his son and more of an equal; Bruce doesn't feel he has to guard himself as much around Dick as the younger boys (not that he's doing a stellar job, these days. I would also like to add that I’m no expert on Jason; for all I know Bruce has hit Jason as Red Hood several times over the years).

I've left out a few panels that never were in continuity – a scene from a what if-tale and the hug from "All Star Batman and Robin the Boy Wonder" – as well as when it wasn't Bruce but something that looked like him. Also, a few times when Dick was mind-controlled and Batman had a legitimate reason to defend himself.

This post is about comic books, but off the top of my head, I can remember that a mind-controlled Batman fights Robin and the others in "Young Justice" season one, and he's also mind-controlled in "Batman: Bad Blood" when he fights Dick and (I think) breaks his arm. (Don't you also wish we sometimes could get a scene where Bruce feels terrible about this, and perhaps even apologizes...?)

If you know of something I've missed, please let me know so I can update! it would be nice if there were another hug or two out there...

"The Strange Case of the Diabolical Puppet Master". By Bill Finger, art Bob Kane, Jerry Robinson and George Roussos. Batman # 3. Batman is hypnotized (it should be noted that Dick knocks Batman out cold and carries him away, after this…)

"The Ghost Gang Goes West". By Bill Finger, art Bob Kane and Jerry Robinson. World's Finest Comics # 4. Batman wants Robin out of the way from a dangerous situation.

"The Isle that Time Forgot." By Joseph Greene, art Bob Kane, Jerry Robinson and George Roussos. Batman # 10. Birthday spanking...

"Your Face is Your Fortune." By Jack Schiff, art Bob Kane, Jerry Robinson and George Roussos. Batman # 15. Bruce doesn't like that Dick teases him about being too old to understand.

"The North Pole Crimes". By Bill Finger, art Bob Kane and Jerry Robinson. World's Finest Comics # 7. Dick is succumbing to the cold, Batman hits and taunts him to get him on his feet again.

"The Case of the Valuable Orphans". Writer unknown. Art Win Mortimer. World's Finest Comics # 24. It is a ploy to get Dick adopted into the house of suspected criminals.

Teen Titans # 53. By Bob Rozakis, art Juan Ortiz and John Fuller. Batman and the other mentors are under the control of the antithesis.

Teen Titans: Year One (by Amy Wolfram, art Karl Kerschl and Serge LaPointe). A retelling of Teen Titans # 53 (this episode is also retold in Teen Titans Secret Origins).

"Call Me Master" By Frank Robbins, art Irv Novick and Dick Giordano. Batman # 215. Bruce is under hypnotic influence. Dick tests his hypotheses by ordering Bruce to hit him.

The New Titans # 55. By Marv Wolfman and George Pérez, art George Pérez and Romeo Tanghal. After Jason's death.

The same scene in The New Titans # 57. By Marv Wolfman and George Pérez, art George Pérez and Bob McLeod.

Robin vol 4 # 86. By Ed Brubaker, art Jacob Pander and Arnold Pander. Batman hears the news that Jim Gordon has been shot and gets so violent with a criminal that Nightwing tries to stop him.

Batman # 600. By Ed Brubaker, art Scott McDaniel and Andy Owens. Bruce Wayne is accused of murder. He tells his coworkers that he doesn't intend to prove his innocence because Bruce is an ineffectual mask. Dick is upset and, to be fair, throws the first punch.

Superman/Batman # 55. By Michael Green and Mike Johnson. Art Rags Morales, John Dell and Drew Geraci. Bruce accidentally gets Superman's powers, but it also affects him mentally, for instance, he beats up Catwoman. Dick tries to stop him.

Nightwing vol 3 # 7. By Kyle Higgins. Art Eddy Barrows, Geraldo Borges, Eber Ferreira and Paulo Siqueira. Bruce is stressed by the Court of Owls, and he wants to get out Dick's talon tooth. Why he can't just explain it and remove the tooth with pliers is anybody's guess – not to mention that he manages to strike exactly the right tooth...

The same scene in Batman vol 2 # 7. By Scott Snyder, art Greg Capullo and Jonathan Glapion.

Nightwing vol 3 # 30. By Tom King, Tim Seeley and James Tynion IV. Art Javier Garron, Meghan Hetrick and Jorge Lucas. Bruce forces Dick to fight to make sure he's up to going undercover in Spyral.

The hugs:

"Bruce Wayne Loses the Guardianship of Dick Grayson". Batman # 20. By Bill Finger, art Bob Kane and Jerry Robinson. Bruce is upset because he is losing custody of Dick.

"How Many Times Can a Robin Die?" Batman # 246. By Frank Robbins, art Irv Novick and Dick Dillin. Robin is almost killed. And it's almost a hug, at least, isn't it...

JLA # 75. By Joe Kelly. Art Doug Mahnke, Yvel Guichet, Darryl Banks, Dietrich Smith, Tom Nguyen, Mark Propst, Wayne Faucher, Sean Parsons. Batman and several other superheroes were dead. Nightwing leads the JLA, and they manage to get the dead people back. (Perhaps it shouldn't count since Bruce is obviously not doing the hugging…)

Forever Evil # 7. By Geoff Johns, art Richard Friend and David Finch. Lex Luthor killed (stopped Dick's heart) to stop a bomb, but revives him (if it's because Batman loses it, or whether he would have revived Dick anyway, is open for discussion).

Batman vol 3 # 54. By Tom King, art Matt Wagner.

Flashback – Bruce comforts little Dick who has recently moved in. (New edition thanks to a comment :-) )

#Batman #Robin #Nightwing #Dick Grayson #bruce wayne

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83gigsof90semocore-blog · 5 years ago

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Post 4: The letter C

Welcome back! It sure wasn't yesterday, how have you been? I'm fine thanks, been a little busy myself and had to put this project on the backburner as you can probably tell. I alluded to being really busy in the last post and that's been pretty much true for all of the past year. Luckily, things are looking a bit better up ahead so I might actually start posting regularly soon!

Much has happened outside of the blog too. I toyed with the idea of moving this beuat over to blogspot (where all the real emo blogs are anyway) when it looked like tumblr was self-destructing for a hot minute. But in the end cooler heads prevailed and it looks like tumblr is just gonna keep existing albeit with less popularity. In the emo world, 125, Rue Montmartre, the first band I covered about a year ago are releasing their discography on vinyl and are now on spotify. All thanks to my blog, I'm sure. Don't be fooled by my modest follower count

I actually have quite a few prestigious readers. Most notably perhaps being Prof. Anders Ahlén, a man important enough to have his own wikipedia page.

C has been the longest letter so far by far clocking in at a mighty 6.56 GB as opposed to the average of 2.8. I've been listening to it in phases with sometimes a month or more in between so it hasn't really been a coherent experience. It has been a real slog though, which is part of why I gave up several times. This has also been a letter with a great number of "famous" emo bands. Because part of the purpose of this listening experience is to experience 90's emo "as it was" rather than colored by nostalgia or what is deemed worthy of attention by the internet discourse I'm disqualifying bands that are prominent in the emo canon from best name, song or image. I will however still do a quick write up on them for those of you not as familiar with emo, chances are I'll reference them in the future so do take notes.

Emo classics

Cap'n Jazz

It's almost impossible to tell the story of 90's emo without Cap'n Jazz. Among their members they have Tim Kinsella, who would later go on to play in Joan of Arc and Owls, his brother Mike Kinsella who would later play in American Football as well as Owls, Their/They're/There and Owen and also Davey von Bohlen who would later play in the Promise ring. When they formed in '89 they where just a bunch teenagers, Mike being just 12. They released their first album 6 years later which goes by the title Burritos, Inspiration Point, Fork Balloon Sports, Cards in the Spokes, Automatic Biographies, Kites, Kung Fu, Trophies, Banana Peels We’ve Slipped on, and Egg Shells We’ve Tippy Toed Over, but is simply referred to as Schmap'n Schmazz by fans. Most of the lyrics where supposedly written by Tim one night while high on mushrooms. They have a wonderful surreal dadaist quality to them with lines such as Hey coffee eyes, you've got me coughing up my cookie heart or You are colder than oldness could ever be. The music is chaotic and full of a warm messy energy. I am personally absolutely enamored with their cover of Aha's Take on me which I insist on putting in as many playlists where it makes some sense whatsoever. As you can hear, Tims vocals do absolutely not Morten Harkets heights (not an easy feat in Tims defense) and you can plainly hear a teenagers voice falseto-cracking and it's absolutely amazing somehow.

Cap'n Jazz really hit the spot of this awkward sensitive yet punk energy that from the start was very central to emo. Although Cap'n Jazz are a big helping sillier and more pubertal than, say, Rites of Spring.

One popular quip about the Velvet underground is the following:

The Velvet Underground didn't sell many records, but everyone who bought one went out and started a band.

I suppose Cap'n Jazz is a bit like that for emo although their presence was perhaps felt as strongest around 2010 with bands such as Snowing, Glocca Morra and in particular Algernon Cadwallader aping their style.

youtube

Christie Front Drive

I think part of the reason for Cap'n Jazz's status as a cornerstone band stems from their originality. Christine Front Drive is in contrast a very prototypical 90's emo band. They have a sound that borrows heavily from both post-hardcore and indie-rock with the slightly whiny vocals typical for the genre and era. On their song November they sing Still the same // Fucked for what you've done // Still over // Staged over // November's almost done // Still the same which I think is a nice cross section of their lyrics (most of the rest of the song are just variations on the same words with "remember" also thrown into the mix). The overall sound is slow, moody and a bit dreamy, very typical of their brand of emo. As easy as it is to find bands that sound similar to CFD, I dare say that they did it better than most and that this is what has earned them their spot in the emo cannon.

youtube

Cursive

Cursive formed in 1995 and has since been together on and off up to the present day, the drive only has music up to 2005 though. This includes their 2003 release the Ugly Organ which was released by Saddle Creek and is the only one I've heard before starting this project. By that point they had already moved away from their emo roots though, and I'm glad to finally have gotten around to their earlier stuff. The Ugly Organ is artsy, catchy and a bit baroque, but also definitely on the outskirts of emo to the point where I'd perhaps describe it as an indie/alternative album if I wasn't talking about them in the context of emo. This doesn't mean that it isn't worth a listen because it absolutely is. Their early stuff is more typical of what the rest of the drive is like with a sound more in the ballpark of CFD but much more punk, with a higher tempo and angrier vocals while still maintaining a somewhat whiny voice, introspective lyrical content and the cold, big guitar sound typical to this branch of emo.

youtube

My favorite band

Car vs Driver

youtube

So far I've generally picked bands that stand out a bit because in a long stream of relative sameness, that's what you end up paying attention to. Car vs Driver is however not one of theses bands that stand out but rather pretty typical of the emocore sound. They do it pretty well though. They are undeniably punk, but with more introspective lyrics and a slightly melodic edge, which is exactly how emo was first conceived. One some of their tracks like the featured Without A Day day even flirt a bit more with an alt-rock sound but they also have songs that are a lot more hardcore like Livid Step.

When researching them I half expected them to be a pretty substantial band that I had somehow managed to miss, but they're actually very unheard of, something which I consider to be a shame.

I did however find that the drummer of the band has a blogspot at beyondfaliure.blogstopt.com where he catalogs various bands he's been a part of. There is a collection of Car vs Driver flyers as well as two live recordings and this summary he wrote for their discography

Car vs. Driver began when I was 17 years old. By the time we played our final show, I was 19. This band was the music of my life during a period when people usually experience the greatest amount of freedom, which is what I think of whenever I listen to this music now. There were so many new experiences: living on our own, meeting new people, getting a new perspective on life. Our lifestyle in turn gave us a new perspective on expressing music, and we poured all of our energy and emotion into it. Music that now seems a world away – music from a different life. It’s hard to remember that everything about being in a band at that time was simply making a 7”, buying the cheapest van you could find, and touring the country for the summer. There was no infrastructure to build your music around, which also removed its barriers. Instead of running our band like a corporation, we played peoples living rooms and basements, engaged in kickball tournaments, made record covers out of manila envelopes, slept on top of our van, cooked pasta, and played with some of the most amazing bands in the process. Bands that epitomized the time – like Spirit Assembly, Policy of 3, Friction, Current, The Yah Mos, Assfactor 4, Frail, Hoover, Freemasonry, Scout, and Inkwell. The experience we had is something that could never be recreated, and I consider myself incredibly lucky to have been a part of that moment in time. Thank you Matt, Steve, and Jonathan for bringing this to me.

James Joyce August 2004

This compilation is dedicated to our faithful roadies Ashley Lawrence Moore and William Anthony Nation.

We froze, sweat, bled, argued, and laughed.

Amazing stuff in all, I can highly recommend clicking around their for a while if you, like me are a bit obsessed with the 90's emo scene.

My favorite band name

Christopher Robin

Christopher Robin is a screamo band that go pretty hard. The name is a funny contrast to this and the juxtaposition between childhood nostalgia and angsty screaming works really well.

youtube

My favorite picture

Featured is the cover to a demo tape by french screamo band Cather Mathra, which features songs such as Ils M'ont Oubliés (they forgot me) or Leur Révolution (their revolution). You can read more about them on psychoviolence, a blog dedicated to French punk & violence. I think that using a medieval (?) drawing for a cover is pretty cool, especially if you're a french screamo band.

Curiosly they don’t have any music on youtube, you’ll have to check out the drive if you want to listen to them. Tumblr has a limit of 5 embedded videos anyway, so that worked out nicely I suppose.

#emo #emocore #cap'n jazz #cursive #christie front drive #car vs driver #christopher robin #cather mathra

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jurrasicparkislove-blog · 8 years ago

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FA335 CREATIVE PROJECT

Hello Dino Lovers! Welcome to our blog!

What is Fan Fiction?

Fandoms provide interesting and inclusive opportunities for individuals to acknowledge and interact with movies, television shows, art, music, celebrities and so on. A particular outlet of fan interaction is fan fiction—fiction written about characters and settings from an original piece, created by followers and supporters rather than the creator themselves. Malin Isaksson describes fan fiction as:

“A creative and free text-type, open to possibilities of developing a story in directions not foreseen by the canon’s creators and for pairing characters who do not form couples in the canon, for example creating slash/femslash. However, the general rule in fan fiction is that writers respect the logic of that canon regarding plot, style and the characters personalities“ (Isaksson).

Within fan fiction, slash and femslash fiction—fiction written about same sex relations between characters—has grown into a popular sub-genre of fan literature. In this blog post, we will examine what slash and femslash fiction is, its history, and whom it is written by and for. We will explore this subject using the Jurassic Park franchise. Then, we will take a stab at writing slash and femslash fiction ourselves.

Jurassic Park

Jurassic Park and Jurassic World provide intensely interactive plots, fascinating character development and enchanting cinematography. It is apart of an enterprise that has inspired numerous sequels, adaptions, merchandise, amusement and even slash fiction. In fact, over the past 20 years its fan base has continuously grown into a thriving and inclusive fandom. As childhood fans of the original film, our love for Jurassic Park was reinvigorated with the 2015 release of Jurassic World.

So, lets explore fiction, fan-fiction and slash-fan fiction, shall we?

Why Fiction in General:

Before we begin, lets closely analyze human beings’ fascination with fiction more generally. Tooby and Cosmides (2001) argue that our involvement in fictional and imagined worlds appears to be “a human universal” (Salmon and Symon 94). In fact, they argue two possible explanations as to why humans create and consume fictional representations. First, “human engagement in fictional experience is a functionless byproduct of psychological adaptions that were designed by natural selection to serve other functions.” In other words, our engagement in fictional experience is not something we were designed to do, but rather something we are susceptible to doing (Salmon and Symon 95). The second explanation is “that human engagement in fictional experience is in itself an adaption; that is something we are designed to do” (Salmon and Symon 95). Whatever argument you may find more convincing, there is no doubt that human beings love interacting with fiction!

What is Slash Fiction?

At the surface, it is fan fiction written about characters of the same sex. Slash fiction originated in the 1970s. To be considered true slash fiction, “lovers must be an expropriated media paring, such as Captain Kirk and Spock” (Salmon and Symon 94). The term “slash” arose “from the convention of using the slash punctuation mark to unite the lovers’ names or initials” (Salmon and Symon 94). Interestingly, it is almost exclusively written by and for women (Salmon and Symon 94). Throughout slash fiction’s growth in popularity, nearly every cop, spy, adventure and science fiction TV series featuring male cast members were “slashed” (Salmon and Symon 94). In part, slash fiction’s growth in popularity was because of the creation of the Internet (Salmon and Symon 94). Lastly, Slash fiction arose spontaneously at the same time in the US, the UK, Germany, Australia, and Canada (Salmon and Symon 94). There is no doubt that slash-fiction is popular, specifically amongst female audiences, but the question remains why?

Why is Slash-Fiction so Popular amongst Women?

There are a number of theories that argue why slash fiction is so popular amongst female audiences. Ika Willis has said,

“Through my involvement in slash, I have developed terms and practices which enable me to live more comfortably in my body and with a sense of my own gendered identification(s), which works for me. In fact, slash has worked both to sustain my lifelong boy-identification and to solidify and strengthen my (in some ways more precarious) identification as a woman” (Willis 292).

Therefore, slash fiction provides an opportunity for individuals to explore sex, sexuality and gender, and the complicated intersection of these identities. In addition, Willis argues that we have a corporal body and felt body. The corporal refers to our literal and physical body and the felt body is metaphorical—whether you feel more masculine or feminine, or perhaps neither. Therefore, “an individual—cis or trans—may, in practice, experience a gendered disjunction” between these two bodies. (Willis 303). This disjunction can be explored within slash fiction and can help “strengthen” ones identification.

What is Femslash?

Femslash is a subgenre of slash fiction—fan creations written about lesbian relationships. It has gained increasing popularity amongst fan communities. Femslash as a phenomenon occurred later than slash fiction. While fans were slashing Kirk and Spock together since the 70s, female slashing became popular a few decades after. Malin Isaksson argues that femslash really grew in popularity in part because Buffy the Vampire Slayer portrayed such strong female characters. More generally, as women received stronger lead roles in Hollywood movies and TV shows, there was a greater opportunity to slash them together (Isaksson 3). Interestingly like slash fiction, the general authorship of femslash is also women. While we now know what slash and femslash fiction is, and that it is primarily written by women, the question still remains why? More importantly, why is there a stigma surrounding male authorship of slash and femslash fiction?

Who can Write Slash/Femslash Fiction?

Want the short answer? Anyone. But for some reason, there remains such an impermeable stigma around men who write slash/femslash fiction. But why? Sexuality and gender is non-binary; it is fluid, individual and intrinsically apart of our identities. For example, Alfred Kinsey understands sexuality on a spectrum and that the majority of humans are neither exclusively homosexual nor exclusively heterosexual. Instead, the majority of us are somewhere in between (Weinrich, 1). We work so hard to avoid boxes and labels—the options are no longer dichotomous. It is no longer just male or female, it is no longer just straight or gay. So, why does it matter who is creating a piece and whom is reading it? There shouldn’t really be stigma surrounding this. It is just fans taking part in fandoms in their own way. That’s why we are challenging this stigma, by writing a fan fiction that contains both slash and femslash fiction! Take a read:

The following fan fiction was written and created by us. We then edited our piece to include femslash as well.

Claire

Zara

Note: This Femslash takes place one year following the events of Jurassic World Lightening struck again waking Claire from a horrible nightmare. The constant routine of waking abruptly with flashes of dinosaurs ripping apart human flesh had become so familiar to her. She immediately rolled over in her bed expecting to beside the love of her life.

She was alone.

Thinking back, she could not remember a time where she slept through the night without waking up in a panic. She got out of bed and walked down the hallway, giving up any hope of more sleep. For some reason tonight her house felt more empty than usual. Everything was silent and lonely. Her constant need to clean and keep a perfect looking home made it seem lonelier. She had trapped herself in isolation when she moved away from everyone she knew. She found a house in Fairbanks, Alaska. This winter was especially cold.

She hadn’t seen Owen since the events took place. She feared that he would be upset with her for leaving without telling anyone. However, she could not go on lying to everyone after the horrible incident. More importantly, she regretted never having the chance to tell him about Zara.

Although Owen Always thought they were meant for each other, Claire knew he could never fulfill her need for connection the way that Zara did. Zara was the most beautiful woman Claire had ever seen. When she first began working for her she knew there was chemistry… and not just the kind that made dinosaurs come back to life.

Zara had the type of confidence that captured the room. It was as if all work in the office halted once she walked in; all eyes slowly wandering down her long legs. When Claire first saw Zara, she knew she had to have her. She was immediately drawn in. Her brown hair was perfect. Everything about her seemed too perfect to be true. It was in these first looks that Claire felt something she never had before; something she never thought she would ever feel with a woman.

Claire put the kettle on and prepared a cup of tea. She then grabbed her housecoat and decided to brave the cold winter night. Immediately she was surprised to see the beautiful Northern Lights illuminating the sky. She sipped her tea looking at splashes of glowing green across the sky. She thought it might be the most amazing thing she had ever seen. Then immediately she began to remember when Zara and her first spoke.

Once their eyes locked, it felt as if the whole world had become weightless. As they discussed their work she noticed she could not stop smiling. Claire and Zara’s eyes kept meeting and she noticed that Zara kept looking at her lips. Once she realized this was happening Claire blushed. She had never felt butterflies this strong with anyone before. However, she was too nervous and embarrassed to make a move.

Claire decided it was too cold and moved back inside to turn on the fireplace. Although she was lonely, her home in Fairbanks gave a sense of independence and sanctuary. She needed a simple life after living through the horrible deaths and fears at Jurassic World. Every article and news story across the world covered the story of the hundreds of injured and killed people in Jurassic World.

She checked her phone and noticed a missed call: Owen. It had been three months since the last time Owen had tried to call her. She began to cry. She never realized how much she missed human contact till this moment. The fire finally began to heat the house and she curled up on the couch. Through the frosted window she noticed the snow begin to fall.

The first time Zara kissed Claire her heart began to beat through her chest. Her arms wrapped around her body and held her close. She had never been so nervous. “Don’t be nervous” Zara whispered to her.

FIN

Grant

Malcolm

Note: This Slash Fiction takes place one year following the events of Jurassic Park Lightening struck again waking Grant from a horrible nightmare. The constant routine of waking abruptly with flashes of dinosaurs ripping apart human flesh had become so familiar to him. He immediately rolled over in his bed expecting to beside the love of his life.

He was alone.

Thinking back, he could not remember a time where he slept through the night without waking up in a panic. He got out of bed and walked down the hallway, giving up any hope of more sleep. For some reason tonight his house felt more empty than usual. Everything was silent and lonely. His constant need to clean and keep a perfect looking home made it seem lonelier. He had trapped himself in isolation when he moved away from everyone he knew. He found a house in Fairbanks, Alaska. This winter was especially cold.

He hadn’t seen Ellie since the events took place. He feared that she would be upset with him for leaving her without telling anyone. However, he could not go on lying to everyone after the horrible incident. More importantly, he regretted never having the chance to tell her about Malcolm.

Although Ellie always thought they were meant for each other, Grant knew she could never fulfill his need for connection the way that Malcolm did. Malcolm was the most beautiful man Grant had ever seen. When he first began working with him he knew there was chemistry… and not just the kind that made dinosaurs come back to life.

Malcolm had the type of confidence that captured the room. It was as if all work in the office halted once he walked in; all eyes slowly wandering down to his chest. When Grant first saw Malcolm, he knew he had to have him. He was immediately drawn in. His brown hair was perfect. Everything about him seemed too perfect to be true. It was in these first looks that Grant felt something he never had before; something he never thought he would ever feel with a man.

Grant put the kettle on and prepared a cup of tea. He then grabbed his housecoat and decided to brave the cold winter night. Immediately he was surprised to see the beautiful Northern Lights illuminating the sky. He sipped his tea looking at splashes of glowing green across the sky. He thought it might be the most amazing thing he had ever seen. Then immediately he began to remember when Malcolm and him first spoke.

Once their eyes locked, it felt as if the whole world had become weightless. As they discussed their work he noticed she could not stop smiling. Grant and Malcolm’s eyes kept meeting and he noticed that Malcolm kept looking at his lips. Once he realized this was happening Grant blushed. He had never felt butterflies this strong with anyone before. However, he was too nervous and embarrassed to make a move.

Grant decided it was too cold and moved back inside to turn on the fireplace. Although he was lonely, his home in Fairbanks gave a sense of independence and sanctuary. He needed a simple life after living through the horrible deaths and fears at Jurassic Park. Every article and news story across the world covered the story of the incident at Jurassic Park.

He checked his phone and noticed a missed call: Ellie. It had been three months since the last time Ellie had tried to call him. He began to cry. He never realized how much he missed human contact till this moment. The fire finally began to heat the house and he curled up on the couch. Through the frosted window he noticed the snow begin to fall.

The first time Malcolm kissed Grant his heart began to beat through his chest. His arms wrapped around his body and he held him close. He had never been so nervous. “Don’t be nervous” Malcolm whispered to him.

FIN

THANKS FOR READING

Works Cited

Griffin H. SOAP SLASH: GAY MEN REWRITE THE WORLD OF DAYTIME TELEVISION DRAMA. The Spectator. 2005;25(1):23-34. http://search.proquest.com.ezproxy.library.uvic.ca/docview/1496062665?accountid=14846.

Isaksson, Malin. "Buffy/Faith Adult Femslash: Queer Porn With a Plot." Slayage: The Online, International Journal of Buffy Studies 7 (2009): Web. http://davidlavery.net/Slayage/PDF/Isaksson .pdf

Salmon, Catherine, and Don Symons. "Slash fiction and human mating psychology." Journal of Sex Research 41.1 (2004): 94-100.

Willis, Ika. "Writing the Fables of Sexual Difference: Slash Fiction as Technology of Gender." Parallax, vol. 22, no. 3, 2016, pp. 290-311, doi:10.1080/13534645.2016.1201920.

Weinrich, James D. "Notes on the Kinsey Scale." Journal of Bisexuality, vol. 14, no. 3-4, 2014, pp. 333-340, doi:10.1080/15299716.2014.951139.

#jurassicpark #femslash #slashfiction #jurassicworld

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nofomoartworld · 7 years ago

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Hyperallergic: In Minnesota, Listening to Native Perspectives on Memorializing the Dakota War

Hock E Aye Vi Edgar Heap of Birds, “Building Minnesota” (1990) (photo courtesy of the artist)

MINNEAPOLIS — In 1990, Cheyenne and Arapaho artist Hock E Aye Vi Edgar Heap of Birds installed a public installation along the Mississippi River on the east side of Downtown Minneapolis called “Building Minnesota,” which recognized the Dakota men who were hung by the United States Government at the end of the US–Dakota War of 1862. Each of the white, metal signs contained one of the names of the men hung in the largest mass execution in the country’s history, known as the Dakota 38 + 2, including the two additional warriors who were hung later under the order of Andrew Johnson. The signs also each contain the phrase “Death by Hanging,” and the name of Abraham Lincoln, who signed the order for the execution, as well as two with Andrew Johnson’s name.

Not everyone loved the piece. Heap of Birds says that he received criticism because of the negative portrayal of Abraham Lincoln. “They thought it was a betrayal,” he said in a recent interview with Hyperallergic.

On the other hand, a remarkable phenomenon happened. After the piece went up, offerings on the artwork began to appear — sweat lodge ties, peace flags, eagle feathers, and other remembrances. “That showed how much people cared, and that they saw it as a religious, or a medicine place,” Heap of Birds said. The installation became more than a piece of art, but rather a place of healing and remembrance.

One of the ceremonial elders who performed the blessing to install the “Building Minnesota” sculpture in 1990 (image courtesy Hock E Aye Vi Edgar Heap of Birds)

“Building Minnesota” was a part of Heap of Birds’s 1990 exhibition, Claim Your Color, at the Walker Art Center. Twenty-seven years later, the Walker would again invoke the Dakota 38 + 2, but this time inspiring anger from the Native and Dakota communities.

This past May, Dakota people, the Native community, as well as local leaders decried the Walker’s decision to install Sam Durant’s “Scaffold” sculpture evoking the Dakota hangings in the Minneapolis Sculpture Garden. In response, both the artist and the Walker’s director, Olga Viso, wrote open letters apologizing for installing the piece, with Viso’s letter echoing Durant’s own assertion that “Scaffold” was not intended as a monument. Durant wrote that the piece “warns against forgetting the past,” and went on to say he had hoped that it would open dialogue and exchange, not only about the past but the future. Viso added that “Scaffold” “invokes white, governmental power structures that have controlled and subjugated nations and peoples, especially communities of color, throughout the history of the US.”

There’s no doubt that the piece “opened dialogue” and invoked critique of white power structures. The main white power structure criticized in this situation, however, was the Walker Art Center itself.

A view of the Minneapolis Sculpture Garden with Claes Oldenburg and Coosje van Bruggen’s “Spoonbridge and Cherry” (1985–88) at right and Sam Durant’s “Scaffold” (2012) at left (all photos by the author for Hyperallergic)

Durant’s piece perhaps acted as a kind of anti-monument, particularly in its setting at the Sculpture Garden in dialogue with Katharina Fritsch’s “Hahn/Cock,” which playfully mocks war monuments, as well as Claes Oldenburg’s “Spoonbridge and Cherry,” its own kind of tongue-in-cheek commentary on traditional monuments.

In “Scaffold,” Durant invoked seven different public executions in US history, including the Dakota 38 + 2, to make commentary about capital punishment. Rather than giving these traumatic events their own weight and remembrance, the artwork was a tool for speaking about a broader political issue.

Protest signs on the fence near Sam Durant’s “Scaffold” (2012) in the Minneapolis Sculpture Garden

Sam Wounded Knee, a Dakota man who joined others in occupying the sidewalk near the sculpture in protest, calling for its dismantlement, said the artist and the Walker should have asked permission from the Dakota community first, before referencing such a painful history. “Maybe they could have worked with us,” he said. “Yes, we want people to know our history here, but they need to come ask us first, and this is disrespectful. We wouldn’t have approved of this.”

When the Walker announced that the sculpture would be dismantled in May, the website indicated that the sculpture would be burned in the Fort Snelling area, where the concentration camp was located.

Dakota workers from Straight Line Construction dismantling Sam Durant’s “Scaffold” in the Minneapolis Sculpture Garden last weekend (photo by Sheila Regan/Hyperallergic)

However, Stephanie Hope Smith, the mediator who has been facilitating meetings between the Walker and the Dakota elders, recently indicated on her blog that the elders may decide not to burn the wood, and need more time to decide. Their next meeting is at the end of June.

Both of the public art pieces that the Walker presented in 1990 and 2017 referencing the Dakota 38 + 2 illustrated the need for remembrance of Minnesota’s awful history, which, to this day, festers like a wound both for the Dakota people and for the descendants of the white people who stole the Dakota people’s land and starved them, which caused the war. The atrocities done to the Dakota people in the war’s aftermath, besides the mass execution, included forcing thousands of them into a concentration camp in Fort Snelling, where over 100 died, and banishment from the state. (For more on this history, see the Minnesota Historical Society’s US–Dakota War website.)

The historic trauma that Dakota, along with other Native American groups, experience isn’t something that lives in the abstract. They continue to pay for wrongs done to them over centuries, and experience massive disparities in sectors across the board, including health, education, poverty, and employment.

* * *

Edgar Heap of Birds learned about the Dakota War when he was introduced to a song called “Water in the Rain,” a collaboration between folk singer Larry Long, Heap of Bird’s cousin, Mitch Walking Elk, who is part Dakota and part Arapaho, as well as Dakota elder and spiritual leader Amos Owen, who reads the names of the 38 on the song track.

“They gave me the music to listen to,” Heap of Birds said. “I knew Larry Long already and my cousin is Mitch Walking Elk, but I actually had a phone call with Amos. He talked to me about the names, and encouraged me to do the piece.”

Hock E Aye Vi Edgar Heap of Birds, “Building Minnesota” (1990) (detail) (photo courtesy of the artist)

At the time, Heap of Birds had planned to come to the Walker for his traveling exhibition of prints, Claim Your Color. Then, after he heard the song, and after Mitch Walking Elk gave him a large piece of pipestone — which Heap of Birds then shared with ceremonial priests of his own Chayenne tribe to make prayer pipes — he knew that he had to make his own offering back to the Dakota community, so he asked the Walker to add the public piece to his agenda, and the Walker agreed.

“It’s got to be that kind of locked-in, religious experience,” Heap of Birds said. “For me, to try to rise up and address that problem of the whole history of Mankato — it’s not art or a museum. It’s way beyond that, and if it’s not, then don’t bother. If you don’t have that, you probably shouldn’t bother with it.”

For the piece, Heap of Birds drew from Lincoln’s letter that spells out the names of the people who were ordered to be killed. (Originally 303 were sentenced to be hanged, most of whom Lincoln pardoned.) “You’ve got to have names to bring back to living people, so they can mourn for them and maybe heal themselves. And have a remembrance.”

Public art, Heap of Birds said, is an exchange with the public. Currently at the Walker, he recognizes a level of engagement happening between the museum, the artist, and the Dakota community, but considers it too late. “You do that in the beginning,” he said.

In addition, Heap of Birds says that there doesn’t just have to be one memorial. “There can be multiple memorials, from multiple vantage points,” he said.

* * *

Death spot of Little Crow, marker erected 1929 (photo by Sheila Regan/Hyperallergic)

Minnesota has its own memorials for the Dakota War, but some of the older ones especially are quite problematic. These markers paint the settlers who fought the Dakota as brave victims who defended themselves, without discussion of the broken treaties and ill treatment the Dakota endured which prompted the war; neither is there any mention of the mass execution, internment, and forced removal that followed.

One historical marker, erected in 1929 at the spot where Chief Little Crow (who escaped the hanging) was shot, glorifies the chief’s killer: “Chief Little Crow, leader of the Sioux Indian outbreak in 1862, was shot and killed about 330 feet from this point by Nathan Lamson and his son Chauncey July 3, 1863.” The marker does not mention that Little Crow’s body was mutilated, that his scalp was donated to the Minnesota Historical Society and put on display at the State Capitol. He would not be buried until 1971.

Fort Snelling: “Wokiksuye K’a Woyuonihan (Remembering and Honoring)” (photo by Sheila Regan/Hyperallergic)

In recent history, efforts have been made to tell a more balanced story, one that shares the Dakota perspective. In 1987, the Dakota community erected a monument in Fort Snelling Park in memory of the concentration camp that was once there. The wooden structure is made up of large logs of wood that fan out towards the sky from a circular enclosure. The top of the structure reads “Wokiksuye K’a Woyuonihan,” which means “remembering and honoring.” In the center is a circular plaque made of pipestone, placed there by Dakota elder Amos Owen of the Prairie Island Indian Community, which lists all of the bands that were interned at the site.

Thomas Miller, “Winter Warrior” (1987) (photo by Sheila Regan/Hyperallergic)

Another memorial sits at the actual hanging site in Mankato, containing memorial objects that have amassed over the years. First, in 1987, the Minnesota Historical Society and the Blue Earth County Historical Society, in collaboration with Dakota leaders, erected the statue “Winter Warrior” by Mankato-based artist Thomas Miller, featuring a Dakota warrior figure, to coincide with the “Year of Reconciliation” proclaimed by Governor Rudy Perpich. Ten years later, Reconciliation Park was established across the street, along with a second statute by Miller of a buffalo. Then, in 2012, for the sesquicentennial of the war, another monument was added to the park, evoking a scroll with a list of all the names of the men who were killed.

Martin Bernard (Sisseton-Wahpeton Oyate) and Linda Bernard, “Dakota 38 Memorial” (2012), includes poem by Katherine Hughes and prayer by Eli Taylor (photo by Sheila Regan/Hyperallergic)

Thomas Miller, “Buffalo” (1997) (photo by Sheila Regan/Hyperallergic)

Seth Eastman, a descendent of Little Thunder, one of the 38 executed in Mankato, participates in a group horseback ride to Mankato every year from Lower Brewel, South Dakota — a total of 330 miles. He found out about the annual ride from friends, and decided to participate in 2012, as a way to give back in some way. As the years have progressed, Eastman has learned more about the history of his people, and shares his knowledge with other riders who are willing to listen.

For Eastman, it’s not the memorial structures that hold the most power, but the site of the execution itself. “Just being in that area is really overwhelming,” he said. “I don’t know if people really understand what we feel as descendants of Dakota people. A lot of us descend from people who were killed and trophy hunted, who were executed by hanging.”

Eastman lives in Sisseton, South Dakota, where his ancestors were taken when they were banished from the state of Minnesota. “I’m still exiled, as you would say,” he said.

Plaque recognizing the first Reconciliation Ceremony between the Native American and Mankato Community on November 1, 1975, on the Blue Earth County Library grounds (photo by Sheila Regan/Hyperallergic)

Of the Mankato monuments, he said, “It’s something that we are coming back to. I hate to say a shrine, because we don’t have such things like that. But it’s a place, that we can come back to to remember, to do what we need to do.”

Eastman hopes monuments like the ones in Mankato can be educational tools. While the younger Dakota generations have learned the real history of the Dakota in tribal schools, public schools are a different story. He shared the story of one public school at the border of Minnesota, where a man dressed as Abraham Lincoln talked to the students and answered their questions.

“One of my nephews asked the question, ‘Why did you hang the 38?’ This man went on to tell him, ‘Oh, I only hung the bad Indians. The ones that killed and raped.’ Telling kids this, that we’re bad, it’s the same as how we’ve been portrayed in the media. That struck my core.”

For Eastman, the value of having monuments is that they can help with healing. “We are trying to move forward in a good way. We are trying to heal,” he said. “For us, the Dakota, but for all people — non-Dakota people, settler descendants — they too have that historical trauma as well. How can we all as a people move forward and have this as an educational thing? How can they reach out to people to be part of the healing process?”

While the scrolls at Mankato and Edgar Heap of Birds’s memorial are examples of memorials of the Dakota 38 that have provided meaning and healing for some in the Dakota community, there’s a clear need for mainstream institutions to create room for Dakota artists and voices to tell their own version of the story.

Dakota artist and curator Graci Horne, who helped organize a group of Dakota elders to protest “Scaffold,” attests that Dakota artists have already been telling their story, but too often, it falls on deaf ears. “Countless artists have done their own pieces that reflect the events of 1862,” she said. “The elders have put forth a documentary depicting what happened. There have been countless talks put on by elders regarding this and nobody listens.” Horne says it’s time for Native people to be given a platform to share their own version of events. “We have non-Native representation to represent our history,” she said. “That’s not right. We need more native people to represent our stuff.”

Hock E Aye Vi Edgar Heap of Birds will speak at the Walker Art Center (725 Vineland Pl, Minneapolis) at 2pm on Saturday, June 24 in conjunction with the exhibition Jimmie Durham: At the Center of the World.

The post In Minnesota, Listening to Native Perspectives on Memorializing the Dakota War appeared first on Hyperallergic.

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