#AND ACCEPT WHEN STUFF IS REVEALED THAT RECONTEXTUALIZES LITERALLY EVERYTHING ABOUT THEM

[bidokja]

"han yoohyun sucks as a younger brother" i have not said this phrase in years, like literally years, but how about you meet me in the fucking pit

[gunnerpalace]

So how would you rewrite it? I think you said something about doing that?

That would be the subject of Hyperchlorate Part III. (Part II again being detailing everything that went wrong, and Part I being going over what made the story unique.)

In essence there are the four major changes I would make to Bleach:

Radically expand upon (and show, don’t tell) character relations in the story. We are repeatedly told that so and so are friends, or family, or colleagues, or whatever, and we essentially never see it (outside of Tatsuki and Orihime at the very beginning). It’s critical to caring about and interlinking the characters and seeing them grow and develop. For example, someone made a point that the Xcution arc demonstrates Ichigo’s bonds with Soul Society are stronger than with his own friends. That’s true, and you can see it in the Japanese cultural context of him using their first names (even for Toushirou!) whereas he keeps calling Uryuu and Orihime by Ishida and Inoue. There’s a definite social distance there. But it’s a subtle thing. And it really needs to not be subtle. There needs to be a lot more interactions between characters; plenty of characters literally never interact at all, and plenty of characters look fucking terrible for their apparent gross negligence that serves zero point other than to maintain the Mystery Boxes (here’s looking at you, Isshin, Ryuuken, and Kisuke).

Recontextualize everything after the Soul Society arc. I am not opposed to certain places, people, or concepts (e.g., Hueco Mundo, the Espada, Fullbring, the Soul King, etc.) but the way they were introduced and handled was, frankly, garbage. Arrancar, at least, were set up rather early on. The rest… was a bunch of ex nihilo shit. It came out of nowhere with no setup. I also don’t really enjoy the thematic inversion of Hueco Mundo seemingly purely for the sake of subverting expectations. So, I would restructure everything that happens after that point in gross detail.

Refit, standardize, and clearly and consistently implement and allude to the grand plot. If there was going to be some grand purpose to the Bleach universe, it needed to be made clear textually, not just thematically, throughout the story. It needs to be set up to the reader, if not to the characters, very early on so they “get” what everything is building toward. That absolutely was not done.

Having a real ending that actually involves our protagonists making a substantive change. I’ve definitely been over this before.

That’s all well and good, right? So what sort of things would I actually look to change?

As an example of the high-level stuff… In terms of narrative, internal consistency, and plot, the whole Substitute Shinigami thing makes no fucking sense. It makes literally zero sense that Ginjou was the first one in several thousand years, and Ichigo was only the second. It makes zero sense that a technique to transfer powers to humans exists and is taught at the academy, can be known to have a “low chance of success,” and then made a crime when it’s happened a grand total of two times, unless it was all a long con just to catch Ginjou, and in that case it’s dumb because he doesn’t matter. (We’re supposed to believe Soul Society allows Hollows to run roughshod everywhere but they’re really obsessed about catching this one dude but not enough to actually task anyone powerful to go do it? No, none of that makes sense.)

It also doesn’t make any sense that there are only a grand total of 6,000 to 7,000 Shinigami to patrol its nebulously defined area of responsibility. (Is it the whole world? Is it just Japan? If the latter, are there other Soul Societies? If the former, where are the foreigners? Sure seem to be a lot of people who look foreign, but they all have Japanese names and speak Japanese in a manga that clearly at least recognizes Mexico. Why would foreigners accept a feudal Japanese afterlife? This is another small example of what I mean by the grand plot being fucked.)

It also doesn’t make a lot of sense that the only Shinigami worth a damn are Captains, Lieutenants, and the occasional Seated Officer. (This is canonical, by the way.) Almost all of them are total trash who would lose to the most basic bitch Hollow, let alone an Arrancar. Meanwhile, your average Quincy can mop the floor with all three.

You know what would make a lot more sense, and work better with what’s on paper? Here are some ramblings from my notes on this subject:

i think it’s sorta like… you wanna mirror the structure of the Hollows; Shinigami as a whole are like Menos, although they are almost all Arrancar (there could be some very low-ranked/new Shinigami who do not have shikai, these would be the “rookies”), whereas substitute Shinigami are like masked Hollows, with some overlap into Gillians/Menos Grande

- Captains (General Officers) are at the level of the Espada (with obvious differences among them correlating to Espada generated from Vasto Lordes and Adjuchas)- Lieutenants (Staff Officers) are at the level of the Privaron Espada and some of the stronger fracciones- Seated Officers (Officers) are at  the level of most fracciones and wild Adjuchas [sometimes from the 4th Seat up are more on the level of the above, e.g., Ikkaku and Yumichika]- Unseated Officers (NCOs) are at the level of weak fracciones, or on the order of holding off a Gillian- Substitute Shinigami (Enlisted) are at the level of individual Hollows

Substitute Shinigami are basically what Soul Society sets up to deal with the Living World rather than directly intervening, because “they have better shit to do;” they’re probably set up like a secret society of beat cops, and yeah, if the Shinigami proper notice spiritually sensitive people while setting up new districts or maintaining their assigned ones, they shank'em and induct'em (usually these people attract Hollows anyway so it’s a “become one of our grunts or die” type deal; maybe if they refuse, the Shinigami kill them instead for shirking their duties?)Hollows aren’t the only spooky thing running around in the night either; they’re probably relatively rare, and other weird shit like revenants and ghosts are more common

i also have some notes here about how it’d be cool if Substitute Shinigami were like, an established thingand were expendable gruntswith actual Shinigami being rather more elite, even if they’re not seatedlike it’s XCOM with supernatural shithaving shikai should be a big fucking deal; even knowing kidou should be like, impressiveyour average Hollow should be equivalent to a Substitute Shinigamian unseated Shinigami should be like a Menos Grandea Shinigami good at kidou and a weak zanpakutou should be like a weak Arrancara seated Shinigami should be like a medium Arrancar and know shikai for surelieutenants should be like Privaron Espadaand captains should be like the Espada (or higher)

I could go on, but I think you get the idea. My first big change to Bleach would be dispensing with the concept of substitutes as being rare. They should be the main interface for the human world (and expendable, and have a high turnover rate). Rukia being there should be A Big Deal. (Have her sent there specifically to monitor things, like a Commissar? To look for Grand Fisher? Whatever.)

Ginjou, were he to exist, would then need a different backstory, but that would be real easy to build out.

As an example of additional character interaction, I’ve already detailed my idea that Kisuke and Yoruichi should be Rukia’s surrogate parents. (And solving the problem of when Rukia got the Hogyouku.)

As another example, it has never made sense to me that Rukia is the one that stays to fight Shrieker while she tells Ichigo to take Karin home. Rukia knows her powers are iffy at best, and should know better. She damn near almost dies (along with Chad) for no reason other than… ??? For dramatic tension and to reveal Chad can attack Hollows, I guess. Even Ichigo calls her out on it. It should’ve been flipped, with Karin revealing things to Rukia and learning about her, and that should be built into Karin repeatedly noticing the two of them (which was never, ever paid off in any fashion whatsoever). This is just one example of more moments of character interaction outside of fights.

As an example of reworking things, I like the ideas of turning the hunt for Aizen into something more like Apocalypse Now, that Aizen kidnaps Karin and Yuzu instead of Orihime, and that his hideout is deep in Rukongai instead of Hueco Mundo:

in one of these posts, @icchiruki was like, Aizen shouldn’t have run off to Hueco Mundohe should’ve run into Rukongaiand that’s geniusbecause it makes him more sympathetic because they have a legit reason to be aggrieved with Soul Societyand also lets us see the other side of the coinwhich, conveniently, leads toward my idea of the HM arc as being more like Heart of Darkness/Apocalypse Now, with Aizen as the equivalent of Kurtz out among the Montagnardsand also lets there be some spooky eldritch shit like whatever was going on with Ukitake and folk belief in TYBW, but less out-of-nowherebecause it’s pretty clear that whatever’s going on with the divine in Bleach is fuckin’ weird and Lovecraftianwhich can tie into that other bit of work i was doing with “where does all this come from anyway”so you stitch it all together and pull the seams snug and you get an actual expansive worldthen you keep the focus squarely on Ichigo, Rukia, and co., as they navigate through itthe further out into Rukongai you go, the weirder it should get; Shinigami should also routinely get sent to Hueco Mundo (both of these being the more important shit they gotta deal with) and recon and do stuff there; Hueco Mundo itself should be less empty wasteland, more kind of weird dark mirror of Soul Societylike a Kill Six Billion Demons type deal

These are just examples. I could go on.

tl;dr Make Bleach much longer and more personable and personally relatable, show your hand on some of the mysteries and backstories much earlier, and make it simultaneously more fuckin’ weird and more human.

[davidmann95]

All-Star Superman #2

A scant year to the day since part 1!

All evidence to the contrary I actually have always wanted to go back to this, especially since I keep getting asked if I’ll do so and it stirs my omnipresent sense of guilt over my lack of productivity, and also the last year has not resulted in a mass turnaround of people realizing it’s a for-real good book and not just comfort food so this remains necessary. This isn’t going to be quite as in-depth as the first go-around - both that as the introductory issue and that as the introductory recap had a lot of groundwork to lay - but still plenty to cover, as this issue sets up Lois and Superman’s arcs for the series, which is rooted (amazingly, especially right off the bat, given the book’s reputation of being about how amazing Superman is) in how badly Superman’s let his fears and shortsightedness poison the most important relationship in his life.

If the first issue is the big classic Superman material - Superman saving the day from the monster! Lois and Clark and the rest of the Daily Planet crew! Lex Luthor’s sinister schemes! A ticking clock to doom! - this scales all the way down to the uncomfortably, stiflingly intimate. Classic archetypal Superman stuff gives way to the most Silver Age issue: casual huge ideas, relationship drama, misunderstandings, last-minute reveals that recontextualize the entire issue, and baaaarely latent psychodrama bubbling up at the edges. In service of that the visual framing here is not unlike a stage play, a limited set of physically connected locales as a pair of figures bounce off one another. Quitely and Grant’s work is therefore comparatively subdued next to issue #1, keeping to traditional panel layouts and wide or medium shots with a background color palate of mostly blacks and whites and grays with a handful of other colors popping out...until Lois starts to lose her shit at the end of the issue and we get close-ups and full black and white panels and eerie glowing and dutch angles and that unsettling abstract image of her clenched teeth, as the story starts to squeeze us like Lois’s gut.

She’s right to be unsettled for that matter; she’s alone on Superman’s turf (the one issue where that’s the case other than #6, and that one’s about how Smallville stopped being his home), the weird antiseptic alien lair of the ultimate super-hobbyist, and all the baggage of their relationship is spilling out into the open as she has less and less reason to think the best of this odd man who’s been lying to her for years. Unlike the Silver Age tales this is referencing, she’s absolutely on the money with her complaints about him: he’s been dicking around with her forever and thinks it can all be okay now (His little “What?” on the second page when she bursts his bubble says it all), and he’s awkwardly overcompensating trying to fix it.

While the Fortress tour serves to peacefully acclimate us to how utterly bizarre Superman’s world really gets past the traditional rescues (the little cubic starfield we don’t know the meaning of yet, trophies are floating rather than physically suspended, the glowing flowers in Lois’s room, “The Phantom Zone map room’s pretty dull unless you can see radio-negative anti-waves”), Superman himself is...humblebragging isn’t the right way of putting it, but it feels like he’s working way, way harder than he ever will again in this book to be cool and impressive and assuring. He’s a dope in love, but he can tell something’s up and that super-brain of his isn’t putting the obvious pieces together, or noticing that this is just putting her off further and further until, like Bluebeard’s wife before her, she stumbles through the threshold of the door she was never meant to, even of course in the end he’s still Superman and there’s a perfectly good reason. Not a good enough reason, however, for her accusations at dinner to not hit home - his mind may be expanding, but he’s still way up his own ass here in a genuinely unpleasant way that’ll be elaborated on momentarily. For now he’s left stammering that she should trust him and it’s limp and phony, especially compared to his big entreaty for someone to trust him in #10 (which’ll be right after he finally comes clean with her); while Superman may not be considered a savior figure by his friends in here the way he often is in the mainline comics Lois seems to be the only one who doesn’t look up to him at least a little bit, but that clarity means she’ll call him out where no one else will.

Across the next two pages it’s all laid out, and we get to the roots of where things have gone wrong between the two of them. Lois is paranoid, certainly, the panels are literally squeezing in on her, but with Superman seeming so out-there and alien like never before she would have every right to be even sans alien chemicals. But notably there remains throughout a part of her assuming the best of him wondering if maybe this is just another big misunderstanding or that he’s simply been mutated by the solar overexposure. And in her heart of hearts, she admits that maybe she wants this to be another big damn trick with a completely sensible justification, because the alternative is that this is the new normal and she has to accept that he’s a flawed mortal man. It’s ugly and it’s mean - especially since she likes Clark - and it’s human as hell in the worst, most understandable way. It’s not going to be until said mortality is staring her in the face that she’ll be able to accept it.

Superman, meanwhile...someone could write a thesis on these panels as an articulation of the Superman/Clark dynamic. The Mirror of Truth is actually preexisting, centerpiece of a Jerry Siegel/Curt Swan joint in Action Comics #269 that was later adapted into the Superman newspaper strip where Lois uses it to figure out Superman is Clark Kent until he tricks her into believing the mirror can lie, after which he tosses it in a volcano; here it’s survived, and curiously shows him as Superman rather than Clark, when in the original tale it displayed Kent even though that was fully the era of Clark as a disguise. In here too it’s Superman who’s the ‘true’ identity of the two and which this time is reflected in the mirror, yet as in #1 it’s Clark who says what he’s truly feeling. In that light, the final panel of the abandoned glasses reads like nothing so much as Superman using the mirror as affirmation that the truth of the solemn, steadfast Superman identity gives him licence to deny the uncomfortable emotions his squishy human farmboy side is dredging up, ‘lying’ to him in a way he had to fake in the source material. Those emotions however knock right on the door of what he can’t grasp here: Clark’s so wrapped up in his own head trying to do the ‘right’ thing that he’s overlooking how his attempts at self-sacrificing selflessness are hurting the people around him. Throughout the series he’ll come to rely on others, first at his lowest points with Jimmy and the Bizarros, until at last he comes to invest true trust in Lois, and the Kandorians, and Leo Quintum, and even Lex.

For now though Lois is deep in a hole, a brief but memorable meeting with the Unknown Superman of 4500AD - everything Superman seems to be becoming to her even before she wonders if it’s literally him, cryptic and masked and with a big ‘ol question mark right on his chest instead of the familiar comforting logo, even his gutbuster of a question reinforcing his distance from a recognizable human experience - leading her all the way to reimagining her Silver Age ideal happy ending of marriage and family with Superman as a Cronenbergian horror. It’s still a Superman story, it turns out he had the very best reason possible for wanting to keep her in the dark, but right through to the end he remains just a little condescending in his reassurance, and his gift of essentially bringing her up to his ‘level’ isn’t going to solve the problem. While the next issue lets us see the two of them properly in love, it won’t be until the elephant in the room comes out that they can come to terms.

Additional notes

* God Quitely is so good. Look at the way the seatbelt curves in the first panel! Lois’s bemused little disbelieving smirk!

* Pages 2-3: Aurora Borealis?!

* Lois is the only character other than Superman who gets to have actual narration (in both cases as looks at their in-text writing), the only one whose viewpoint is thus privileged in the same way as his.

* The key is the realization of this series’ aesthetic in a nutshell: the old-school idea in a sleek, shiny, clever new way that doesn’t take away from the fantastical toyeticness of it all. For that matter, the key is the centerpiece of a later bit with Superman that could be fairly described as the long-term goal of the book book as Morrison’s hoped-for perennial: “One day some future man or woman will open that door, with that key. When they do, I want them to know how it felt to live at the dawn of the age of superheroes.”

* This is A. The first note of a larger DC universe existing offscreen, something that I’ll go into more when discussing #8, B. A brilliant, concise, fun little summation of his place in Superman’s world, and C. Absolutely hilarious given Morrison suggested in his exit interview that this could be seen as much later on in the same universe as All-Star Batman & Robin The Boy Wonder, which entirely rewrites the tone of that moment.

* Already discussed the key but the muscles in Superman’s hand tensing a bit at picking it up is another great detail.

* The glimpse of the Fortress here is excellent: the statues of his friends and enemies instead of pictures because he does things bigger with the yellow electric something crackling at the end of it, the off-model but curious-looking robot appearing to glance at Kandor (are it and the bigger robot with the seats on top of it trophies, or Superman Robots with different designs tasked for specific purposes?), the classic Bad Penny Good For One Crime, the Legion time bubble that establishes his time-traveling credentials for later, the Titanic where he and Lois will dine when their relationship hits a proverbial iceberg, and most strikingly the space shuttle Columbia, his apparent rescue of which I have to imagine is a reference to Astro City’s Superman analogue Samaritan debuting by averting the Challenger disaster.

* It’s next issue that has my actual favorite Superman/Lois moment of all time, but “When we’re married fifteen years, when I’m sagging and he looks just the same, will he still meet me and say things like...” “These are for you. I picked them on Alpha Centauri 4.” is right up there.

* The technological aesthetic of the Fortress is so different than P.R.O.J.E.C.T., sleek and solid and cleanly-lit and antiseptic, beautiful and advanced but a little cold in its own way. As stuffed with wonder as this place may be, there’s something hauntingly empty about it, suiting both the tone of the issue and as a physical embodiment of Superman’s emotional state. The one part that goes against it is the forbidden room, it even has beakers and test tubes to sell the mad scientist vibe...though if you were to stretch it, it much more close resembles the human technology seen at P.R.O.J.E.C.T., and this is meant as a gift for one.

* The cosmic anvil made it along with the key into the CWverse, Lois used it in Elseworlds! I may not be expecting All-Star quality from the upcoming Superman and Lois, but it’s good to know the powers that be are using it as a reference point (beyond how it inspired Supergirl’s take on Cat Grant, a connection I discussed in a post that seems to have vanished into thin air). The whole page is perfect, Superman at his most joyfully benign and beautiful and godlike; it’s the one bit where Lois’s skepticism cracks a touch watching him feed his adorable little Lovecraftian abomination from beyond the stars.

* While he never appears physically aside from a statue Brainiac hovers over this series from beginning to end in name and deed, the ominous ultimate enemy of Superman’s past, the great trial overcome even as the scars forever remain. Morrison mentioned in the exit interview that he didn’t appear in here because he and Quitely already used him as the villain of JLA: Earth 2, but that if he had it would have borrowed Superman: The Animated Series’ take on him as a Kryptonian AI gone rogue. Personally I like his place in here as-is, a little totem parallel to the Justice League references indicating the breadth of Superman’s history between putting on the cape and Luthor’s final scheme.

* A pair of minor notes: Lois points at Superman with the pointy fork when asking him pointed questions, and while it’s not immediately clear on first read she does in fact ask the Unknown Superman exactly 3 questions (“Kal Kent?” “Will Superman and I ever marry and have children?” “What do you mean?”) before he replies with his own, as promised.

* “Oww.” and “Tickles.” literally could not be more perfect Superman moments.

* Worth taking a moment to marvel at just how many future plot elements are seeded here. There’s the obvious bit of Superman thinking about having a partner setting up the next issue, but we also for issue #6 have our first look at Kal Kent and Lois wondering “What if (the Unknown Superman) was really (Superman)?” when Clark will indeed pose as him, for #10 we get our first look at Qwewq, and for #11 not only is the Sun-Eater introduced but so is Robot 7′s malfunction as a result of Luthor’s tampering.

* The structure of the series according to Morrison is a solar cycle, beginning and ending at midday with nightfall in the center. If last issue was the sun at its brightest we begin the descent here, with Superman remaining larger-than-life and ultimately trustworthy but with his classic persona and habits held to an additional, unflattering degree of scrutiny.