#Comics are fictions and a power fantasy...i start treating it like that and that actually made it more easier to accept these stories more

[damian-lil-babybat]

I was expecting for Jon to ask permission and consent first from Jay before doing a move or declaring romance-tinted intentions to Nia, if this is what it is (like what a respectful poly relationship woud do)...I mean what's wrong if he got this conversation with Jay, instead? That would be 100% better imo. Same outcome, more respectful & honest to boot. But I guess they didn't do that, orz

Guys, I don't know if I'm reading too much into it but isn't this kinda cheating? Because this seems to me Jon is getting romantically involved with Nia. Because you really can't tell me this is just "friendship".

They might not be doing anything severe but being emotionally involved with someone, in a romantic way, is still cheating.

Help idk maybe im exaggerating 😭

[dalishious]

The Sanitized Lore of Dragon Age: The Veilguard

Tevinter is the heart of slavery in Thedas. This lore has been established in every game, novel, comic, and other extended material in the Dragon Age franchise to date that so much as mentions the nation. But in Dragon Age: The Veilguard, when we are finally able to actually visit this location for the first time… this rampant slavery we’ve heard so much about is nowhere to be found. It’s talked about here and there; Neve mentions The Viper has a history of freeing slaves, as does Rook themselves if they choose the Shadow Dragon faction as their origin, for example. But walking down the streets of Minrathous, you’d never know. Because Dragon Age: The Veilguard, for all its enjoyment otherwise, has one glaring issue: It’s too clean.

The world of Thedas is full of injustices. Humans persecute elves, fear qunari, and belittle dwarves. Mages of any race are treated like caged animals in most places. The nobility is corrupt. Although, Dragon Age has not always handled these injustices well, mind you. Many, many times I’ve found myself frustrated with moments that just feel like a Racism Simulator. But what makes it worth it, is when you can actually do something about it. These injustices are things that a good-aligned character strives to fight back against, maybe even for very personal reasons. Part of the power-fantasy for many minorities is that this fight feels tangible. I cannot arrange the assassination of a corrupt politician in real life, but I sure can get Celene Valmont stabbed to death in Dragon Age: Inquisition, for example. Additionally, these fictional injustices can be used to make statements on real life parallels, like any source of media. For example, no, the Chant of Light is not real, but acting as a stand-in for Catholicism, through a media analysis lens we can explore what the Chant of Light communicates on a figurative level.

When starting Dragon Age: The Veilguard and selecting to play as an elf – this should be unsurprising to anyone who is familiar with my bias towards them – I was fully prepared to enter the streets of Minrathous and immediately get called “knife-ear” or “rabbit”. But this did not happen. I thought perhaps it was just a prologue thing, but returning to Minrathous once again, there was not a single shred of disapproval from any NPC I encountered that wasn’t a generic enemy to fight. And even the generic enemies, the Tevinter Nationalist cult of the Venatori, didn’t seem to care at all that I was a lineage they deemed inferior before now. This is a stark difference from entering the Winter Palace in Dragon Age: Inquisition and immediately getting hit with court disapproval and insults. Are we now to believe that Tevinter has somehow solved its astronomical racism and classism problems in the ten years since the past game? Or perhaps are we to believe all the characters who have demonstrated Tevinter’s systemic discriminatory views were just lying or outliers? Because it makes absolutely no sense at all for this horribly corrupt nation to not have a shred of reactivity to an elven or qunari Rook prancing around. But here were are, and not a single NPC even recognizes my character’s lineage. And because this is so different from every single past game, it feels weird.

As an elf, you have the option to make a comment about how “too many humans look down on us” in one scene early in the game. You can also talk to Bellara and Davrin, the elven companions, about concerns that people won’t trust elves after finding out about the big bad Ancient Evanuris… but this is presented as if elves don’t already face persecution. It’s all so limited in scope that it could be all too easily missed if you are not paying very close attention, and coming into the game with pre-existing lore knowledge.

All this made it easy to first assume that the developers simply over-corrected an attempt to address the Racism Simulator moments. And if that was the case, than I would at least give credit to effort; they did not find the right balance, but they at least tried. However, the sudden lack of discrimination against different lineages in Dragon Age: The Veilguard is not the only sanitized example of lore present.

In Dragon Age: Origins, Zevran Arainai is a companion who is from the Antivan Crows; a group of assassins. He discusses in detail how the Crows buy children and raise them into murder machines through all kinds of torture. The World of Thedas books also describe how the Antivan Crows work, echoing what Zevran says and expanding that of the recruitment, only a select handful of those taken by the Crows even survive. When you start Dragon Age: The Veilguard as an Antivan Crow, you immediately unlock a re-used codex entry from the past, “The Crows and Queen Madrigal”, that says the following:

“His guild has a reputation to uphold. They are ruthless, efficient, and discreet. How would they maintain such notoriety if agents routinely revealed the names of employers with something as "banal" as torture.”

Ruthless, efficient, and discreet. Torture is banal. This is what the Crows were before Dragon Age: The Veilguard decided to take them in a very different direction. The Antivan Crows in this latest game are painted as freedom fighters against the Antaam occupation of Treviso. Teia calls the Crows “patriots”. And while I can certainly believe that the Crows would have enough motivation to fight back against the Antaam, given that it is in direct opposition to their own goals, I cannot understand why they are suddenly suggested to be morally good. They are assassins. They treat their people like tools and murder for money. Even as recent as the Tevinter Nights story Eight Little Talons, it is addressed that the Antivan Crows are in it for the coin and power, with characters like Teia being outliers for wanting to change that. It makes the use of the older codex all the more confusing, as it sets the Antivan Crows up as something they are no longer portrayed as.

I personally think it would have been really interesting to explore a morally corrupt faction in comparison to say, the Shadow Dragons. Perhaps even as a protagonist, address things like the enslavement of “recruits” to make the faction at least somewhat better. (They are still assassins, after all.) Instead, we’re just supposed to ignore everything unsavory about them, I suppose…

We could discuss even further examples. Like how the Lords of Fortune pillage ruins but it’s okay, because they never sell artifacts of cultural importance, supposedly. Or how the only problem with the Templar Order in Tevinter is just the “bad apples” that work with Venatori. I could go on, but I don’t think I have to.

It is because of all this sanitization, that I cannot believe this was simply over-correction on a developmental part. Especially when there is still racism in the game, in other forms. The impression I’m left with feels far deeper than that; it feels corporate. As if a computer ran through the game’s script and got rid of anything with “too much” political substance. The strongest statements are hidden in codex entries, and I almost suspect they had to be snuck in.

Between a Racism Simulator and just ignoring anything bad whatsoever, I believe a balance is achievable; that sweet spot that actually has something to say about what it is presenting. I know it is achievable, because there are a few bright spots of this that I’ve encountered in Dragon Age: The Veilguard too. For example, some of the codex entries like I mentioned, and almost all the content with the Grey Wardens thus far. It is a shame there is not more content on this level.

Dragon Age: The Veilguard is overall still a fun game, in my opinion. But it’s hard to argue that it isn’t missing the grit of its predecessors. The sharp edges have been smoothed. The claws have been removed. The house has been baby-proofed. And for what purpose?

-----

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[sokkastyles]

Hi,

I've liked your takes on Azula. Personally, while i like her as a character (specifically as an antagonist), i've never really liked Azula. Perhaps that's why i have trouble picturing what a redeemed Azula would actually look like. I was wondering if you had any ideas on what kind of person Azula would be, post some kind of redemption.

Hi, and thank you!

As far as liking Azula, the way you describe feeling about her is how you're supposed to feel about her. She's a good character, but she's not supposed to be likeable as a person. Something that I think is a problem in fandom culture is that people get caught too much in character likability. To me it's a really weird way of looking at fiction, but it's oddly common in fandom spaces, the idea of whether x character is someone you would want to be friends with or date in real life, when most characters are not meant to be interpreted that way, they're meant to be interpreted as part of a story. Azula isn't a likeable person, but that's okay because she isn't supposed to be, and she's not auditioning for my friendship or anything, she's a fictional antagonist in a story, and she does her job.

On your question about a redeemed Azula and what that would look like, this is a really interesting question, and I feel like most people who talk about this get it wrong. I see a lot of sad baby Azula who feels immense guilt over her actions. On the flip side I see "redeemed" Azula who never feels remorse for anything and continues to treat the people around her like garbage, but they have to put up with her because she's "redeemed" now. I also see a lot of people proposing a redeemed Azula who gets to be a mary sue wish fulfillment fantasy - she is the most powerful bender, the most intelligent, funnier than Sokka (an actual take I've seen) and all around better than everyone. Which is a weird take on redeeming a character for whom one of their primary flaws as a villain was thinking that they were better than everyone.

To start thinking about redeemed Azula and what she would be like as a person, look at Zuko's redemption arc. One of the best ways to redeem a character and keep them recognizable is to take those flaws that made them a villain, and portray how they can also be virtues.

For example, one of Zuko's primary established traits early on is his dogged determination. It was one of the things that made him a villain, but it's also one of the things that pushes him towards redemption and building a new identity for himself. His ability to endure and get back up again helped him through his struggles even when it was hard, even when he had to give up a lot of what previously drove him and search for a new drive.

One of Azula's primary traits as a villain is her intelligence and quick wit. She is hypercompetent and ambitious. She's extremely observant and uses those skills to manipulate things to her advantage. I said long ago that I'd love to see an Azula redemption that takes those skills and refocuses them on something that leads her towards a path of goodness. One of the things that happens in the comics is that she notices that Zuko is struggling with being fire lord. She tells him in "The Search" that he doesn't really want it, and there is some truth to that. She's able to pick up on something true about his character because she knows him so well, and like previously, she's able to use that to manipulate him.

But what if she were able to use those powers of observation for good? What if, instead of manipulating people, she were able to use her ability to understand people and what motivates them to help them? There's only so far you can understand other people before you start to empathize with them, and it's hard to hate people if you really understand them.

I imagine Azula post-canon, struggling with the new world she finds herself in, not sure of her own identity. She starts out with trying to pick up the pieces of her old life. Zuko is fire lord, but she knows exactly where his reign is going. She was always able to think three steps ahead of him. He can't see the enemies in his own council. She knows exactly whose ear she would have to whisper in to bring her brother down. But along the way she can also see so many other possibilities opening up. Zuko would succeed in getting this new ruling passed if only he realized what this certain councilman wanted. She tells him so one day just because she's bored, and to both of their surprise, Zuko actually ends up taking her advice, and it works. Of course, Azula didn't want that to happen, it's just that she could have if she'd wanted to. But after that, Zuko eventually makes her a part of his council, and the more he trusts her with information, the more she buys into it just to see what would happen. Eventually Azula finds herself committing acts of kindness just because she can. She can see all the possibilities so easily, how to improve or destroy someone's life at a whim, and this amuses her. A curious thing starts to happen, though. The more Azula ends up, sometimes despite her own judgement, helping others, the more she finds that people actually like her. They come to her for advice. A young woman comes to her one day asking how she can get a certain powerful nobleman who her family wants her to marry to leave her alone. He is wealthy and well-connected, but she has heard rumors that he is disrespectful and aggressive to women. This man, he has secrets as well, and Azula knows exactly what strings to pull to get this man removed from Caldera's court permanently.

Along the way, the more Azula realizes about the people around her, the more she starts to see through her father's bullshit. The more she starts to build relationships with others, the more she realizes how empty the relationship with her father was. In fact, her father was the one keeping her isolated all along.

Eventually, she becomes a force to be reckoned with in her own right, except now she has something else to fight for and has also learned not to take herself so seriously. She doesn't strive for perfection anymore, but she's still known to be ruthless to those who cross her or those she cares about, and will have a biting word for those she dislikes. She would be fiercely protective of the new network she created for herself.

I also don't like the redemption scenario of Azula the hermit who goes off and does her own thing. There is some truth in the idea that redemption doesn't necessarily mean forgiveness from the ones you've hurt, but I don't see Azula being happy alone. One of Azula's main flaws is thinking that she's better than everyone else, and her tragedy is that she ends up alone. Her redemption, therefore, has to come through living for others. Isn't that what redeems all of us in the end?

[cartoonus-maximus]

I've been seeing a weird amount of posts lately from comic bros being mad about nothing, actually. They see one incredibly un-serious panel and they start frothing at the mouth, acting like one single joke made in a some random issue of "Overpowered Heroic Antihero Man" in the '90s is single-handedly responsible for the industry's downfall.

And it's like... friends. This is a superhero comic. They are inherently silly. They can be used to tell serious stories, tapping into topics such as drug addictions, PTSD and other mental struggles and illnesses, domestic terrorism, and so on. Superhero comics can be used as vessels to tell serious stories and that's great, but that's not what they are at heart.

Superhero comics are incredibly un-serious and extremely silly. Some of the flagship guys are a dude who unironically dresses as a bat and fights clowns, a guy who sticks to walls and throws fourth-grade level humorous quips at his enemies, characters dressed like American flags so you know they're American, and characters who are aware that they're fictional characters and regularly break the fourth-wall.

I'm not saying these things are bad. In fact, these are things that I personally really like about the genre - that you have the ability to take an incredibly silly premise and tell a story with it. It's great.

But you can't treat the medium like a single piece of wacky humor is the worst thing to ever happen to it. I mean, have you seen the Golden Age comics? The medium was built on wacky humor.

Basically, superhero comics were largely born out of some young mens' personal power fantasies, with lots of quippy humor, characters with silly personalities and powers, and, whether you like it or not, the medium has largely stayed silly. If that makes you unhappy because for some reason you've been suffering under the delusion that comics are serious, well-written literary masterpieces, and that liking them makes you cool... you picked up the wrong hobby.

[adjit]

3 6 12 :3

3. What were your top five books of the year?

MMMMM picking a top 5 is hard. To be clear, I only keep track of the new novels I read, not rereads or any other forms of fiction (comics, manga, webnovels, webcomics) and I'm not a super prolific reader, so I'm only coming in with about 30 books read this year. So I'm kinda gonna fudge this one.

That being said I did actually read the Murderbot Diaries this year (in January) so I could just list those. I won't but I could.

Anyway. I barely read new books so none of these are even new this year but they're NEW TO ME.

So, dubious if this is a top 5 of the year, but 5 books that I read and enjoyed this year, in no particular order:

Network Effect by Martha Wells (I can list one Murderbot, as a treat), A Memory Called Empire by Arkady Martine, A Marvellous Light by Freya Marske, The House in the Cerulean Sea by TJ Klune, and Piranesi by Susanna Clarke.

This year I've been working my way through queer scifi/fantasy, getting recommendations based on those, and then recommendations based off of those, so almost all of my reads have been along the same lines. I want to try to change it up more next year but it is what it is I'm having fun.

6. Was there anything you meant to read, but never got to?

I never really plan that far ahead tbqh. I have a lot on my tbr pile but it's all kinda "sometimes in the future...". There are 3 books I'm still finishing, but...hopefully will finish before the year's end (Dark Heir by C.S. Pacat, These Are Not The Trinity Papers by Vale Zalecki, and A Closed and Common Orbit by Becky Chambers).

And I'm waiting for my holds to come in on The Loop by Jeremy Robert Johnson, A Power Unbound by Freya Marske, and The Final Empire by Brandon Sanderson. Actually that last one you recommended to me 2 years ago and I'm still working on it. So I think that's the real answer here. I'M WORKING ON IT this time in audiobook form.

12. Any books that disappointed you?

Tomorrow, and Tomorrow, and Tomorrow hands down. It was...fine, I didn't dnf or anything, I just deeply deeply disliked the main character that the narrative hinged on being universally beloved, so it kept pissing me off. That doesn't mean that the book wasn't good but it was super hyped up before I started it, so expectations were high and it felt like a letdown.

[immaturityofthomasastruc]

Do you any suggestion for Super Sentai?plz

*cracks knuckles*

Well first off, if anyone wanting to get into Super Sentai watched Power Rangers growing up, I’d check out the series whatever season you watched was adapted from to see how things went there in comparison to how they were in the United States. So if you grew up with the original Mighty Morphin’ Power Rangers, watch Kyoryu Sentai Zyuranger. If you don’t know what the Sentai the season you grew up with is called, I’d check out RangerWiki, which provides a lot of information on both franchises.

I’d also recommend checking out a few episodes of the very first Super Sentai entry, Himitsu Sentai Gorenger. Not all 84 episodes, mind you, but I’d just watch a few to see where Super Sentai got its roots from, because the team football attack gets referenced a lot further down the line. Yes, you read that correctly.

But for individual seasons for beginners, it’s harder for me to answer. Super Sentai has varied aesthetically and tonally across its 45 year run. Some shows are dark and gritty, while others are light-hearted and goofy. Some shows have a vehicle motif, while others use animals for a motif. So the seasons I’m going to talk about will cover all kinds of tones and themes across the years. I also haven’t seen every single entry, so these are the ones I’ve seen that I recommend for beginners.

Denshi Sentai Denziman (1980-1981, 51 Episodes)

Centuries ago, the evil Vader Clan conquered and decimated the Denzi Civilization. In the modern day, the talking dog IC awoke from his slumber when the Vader Clan began their invasion of Earth. So IC recruits five people to become the Denzimen to defend their planet and stop the Vader Clan once and for all.

The first three seasons of Super Sentai were very experimental, but Denziman was where Toei started to get an identity for Sentai down. Not only would the black visors and sculpted mouthpieces become a staple for Sentai’s (and by extension, Power Rangers) suit designs, but this was also the first season to really start a few Sentai traditions. It was the first season to have female villains, the first to use a transformation device for the heroes, the first time the monsters grew to fight the team’s giant robot.

The Denzimen, while not really going through any character development, are still very likable characters, especially Denzi Blue/Daigoro (played by legendary tokusatsu actor Kenji Ohba). The villains are also a lot of fun, a real improvement from the first three villain groups, who were all basically Earth-based terrorist organizations and/or death cults. The Vader Clan is full of villains who are just as entertaining to watch as the heroes, especially Queen Hedrian, played by the late Machiko Soga, who would later go on to play Witch Bandora, the character Rita Repulsa is adapted from in Power Rangers. There’s not that much of an ongoing for most of the series, and it can get pretty goofy at times, but it’s still a really good show.

Choushinsei Flashman (1986-1987, 50 Episodes). 

Five infants are abducted by the Reconstructive Experiment Empire Mess to use as test subjects for experimentation, but are saved by benevolent aliens from the Flash Solar System. They all spend the next twenty years in the system developing their combat skills and special powers until they decide to head back to Earth to fight Mess themselves as the Flashmen, despite the warnings of their alien caretakers.

The 1980s are usually referred to by fans as Super Sentai’s golden age, with a string of great seasons thanks to famed writer Hirohisa Soda. Flashman is no exception. While Denziman tended to have more stand-alone episodes, Flashman is more story-driven. Later on, there’s a really dark plot twist that I don’t want to give away. Admittedly, some of the special effects can be dated to showcase the Flashmen’s powers in addition to stock footage being reused a lot, but the action and camerawork are still fast-paced and rarely do the fight scenes get boring.

The villains are the kind you love to hate, and their actors all give great performances, especially the late Unsho Ishizuka (the Japanese voice of Professor Oak) as Great Emperor La Deus. This is easily one of the darker Super Sentai entries, but if you don’t mind that, I highly recommend it.

Choujuu Sentai Liveman (1988-1989 49 Episodes). 

At an academy for the finest minds in the world, three of the students feel their talents are being wasted on designing a satellite to conduct scientific research. They soon join up with Great Professor Bias, leader of the Armed Brain Army Volt, who takes them all under his wing as his students and generals. Before they leave, they kill two students, leaving their three friends traumatized. Two years later, Volt begins its plan to conquer Earth, but the three friends of the two victims developed their own technology to fight them as the Livemen in the two years since they last saw their former classmates. Bias’ students have developed their own abilities through mutating their bodies, starting a conflict between some of the most intelligent youths in the world while figuring out what Bias’ evil plan is...

Some Sentai fans consider this to be even darker than Flashman at times due to the themes discussed. Unlike earlier seasons, the heroes have a more personal connection to the villains, and act as foils to them in terms of morality. The show also has some surprisingly deep themes at times, deconstructing the harsh standards the Japanese have for education and the effects they can have on people. Seriously, the main villain, Great Professor Bias, sets up a competition for his generals as a way to advance his plans, treating it like a high academic honor. 

This series also has some amazing special effects for the time. This was the first Sentai series to have an animal motif, so they go all out by using one of the most complicated models for his giant robotic lion, a stunning innovation for special effects. It was also the first series to introduce the gimmick of combining two robots, which is a genius marketing tactic when you think about it, motivating kids to buy both robots to combine them. Even putting those technical aspects aside, this is still one of the most iconic Super Sentai seasons, and a must-watch for beginners.

Choujin Sentai Jetman (1991-1992, 51 Episodes)

An elite soldier is chosen for a top-secret military project meant to turn him into the leader of a team of supersoldiers called the Jetmen. After he gets his powers, the satellite base is attacked by the Dimensional War Party Vyram. Not only are the four remaining “Birdonic Waves” meant to empower the rest of the Jetmen scattered across Earth, powering four civilians instead, but the soldier’s fiance is killed in the process. So he has to recruit the rest of the Jetmen and form a competent team to stop the Vyram from conquering their dimension.

A lot of Precure fans view Heartcatch as the best series in the entire franchise, and many Sentai fans view Jetman the same way. It was a huge success in ratings and toy sales, which actually helped to save Super Sentai from cancellation after the disastrous sales and ratings of the previous series, Chikyuu Sentai Fiveman. It also had some elements that made it stand out from earlier Sentai seasons. While I’ve talked about how Marinette was forced to become Guardian against her will while the show doesn’t acknowledge it, this show actually does point out that almost the entire team is a group of civilians with no combat experience. Earlier episodes are not only spent assembling the team, but also training them to better fight the Vyram and pilot their giant robot.

The series introduced a love triangle for three of the Jetmen, and while controversial among fans, was very popular with Japanese mothers, who were rumored to find Gai/Black Condor very attractive and begged Toei to not kill him off. The love triangle, while arguably one of the weakest parts of this show (but still better written than the Love Square), was part of the main theme of the team being more conflicted, showing they weren’t all best friends all the time.

This extended to the Vyram, who also tended to fight with each other over their plans to conquer the Earth. Sure, there was the occasional villain in earlier seasons who tried to overthrow the big bad, but this was the first time we had a whole group of villains trying to one-up each other. The best way to describe the Vyram is if the cast of It’s Always Sunny in Philadelphia were supervillains who were still competent at their jobs.

The series is also incredibly dark, and is often seen as the darkest Sentai has ever gotten. There’s a lot more violence and blood than usual, and a lot more onscreen deaths that aren’t just limited to the villains. Humans are actively killed or hurt in the crossfire, and it shows just how painful this war is. And because of all of that and many other reasons, this is seen as the peak of Super Sentai. If you have to watch a single Sentai series, watch Jetman.

Ninja Sentai Kakuranger (1994-1995, 53 Episodes)

During Japan’s Sengoku Era, a team of five ninja sealed away the leader of an army of Youkai, rendering their kind powerless. In the present day, one of the few surviving Youkai tricks two bikers, who are actually descendants of two of the ninja in the past, into undoing the seal and giving all of the Youkai their powers back. Another descendant of the ninja recruits them into taking on the legacy of their ancestors to fight the Youkai, becoming the Kakurangers.

The 1990s were when Super Sentai was starting to delve more into fantasy elements rather than just science-fiction, and also started to take on a more light-hearted tone. Kakuranger is no exception. It’s a lot more goofy than the other entries, even using comic book-style graphics during its fight scenes. There’s also a narrator who appears to explain the history of the Youkai of the week, a detail I really like. While this show is still unashamedly goofy, it still gets more serious in the second half, but never loses its comedic moments entirely.

Like with Jetman, Kakuranger shows the reality of drafting two civilians to fight a war against the supernatural, with only one of the first three Kakurangers knowing how to fight. That Kakuranger in question, Tsuruhime/Ninja White, is easily one of the best Sentai heroines of all time. Not only was the first female and non-Red to lead a Sentai team, but she was only fifteen years old while the other Kakurangers were in their twenties. Marinette could learn a lot from her, and no, that’s not an insult. Tsuruhime is a complete badass, and a team-up with Ladybug would be the coolest thing ever.

What was I talking about? Oh yeah, watch Kakuranger.

Kyukyu Sentai GoGoV (1999-2000, 50 Episodes)

The demonic children of the Grand Witch Grandiene begin causing natural disasters to bring destruction to Earth in order to revive their mother. In response, five rescue workers who also happen to be siblings are recruited by their estranged father to become a team dedicated to saving lives from the Psyma Family’s actions.

Did anyone ever watch Rescue Heroes as a kid? Imagine that show, but with the intensity turned up to eleven. This show is epic, with amazing action and some of the coolest giant robots in Sentai history. One of their robots is a giant train armed to the teeth with guns. Even putting aside the action, this show does a great job at highlighting all the dedication rescue workers have to their jobs by showing a lot of rescue scenes in addition to having GoGoV fight the Psyma. It even teaches the audience about firefighters from Japan’s Edo Period. There’s really not a lot of shows that explain what rescue workers were like in the past, which shows just how invested this show is in teaching people about rescue workers.

While this wasn’t the first Sentai series to feature a team of siblings (the first being the aforementioned Fiveman), I think it managed to capture the dynamic best. Family is a key theme of the series, with the healthy relationship between GoGoV contrasting with the more toxic environment the Psyma Family has.

This is easily one of the most action-packed Sentai series ever made. It is literally Fire Force twenty years before that anime premiered, and it is AWESOME.

Tokusou Sentai Dekaranger (2004-2005, 50 Episodes)

In the not-too-distant future (Next Sunday, A.D.), the universe has come together to the point where Earth has made contact with several intelligent alien civilizations. However, intergalactic arms dealer Agent Abrella starts to help out the extraterrestrial criminals on Earth, called Alienizers, by providing technology and giant robots to them because he enjoys profiting from crime, and dreams of a world without the police. In response the organization Special Police Dekaranger, or S.P.D., brings together a team of officers to apprehend the Alienizers.

You want to see space cops doing space cop stuff? Then this is the show for you. Admittedly, this isn’t the most story-driven show, but is instead carried by its characters, who go through a lot of development. The Dekarangers have one of the best team dynamics in Sentai history. All of them are very likable characters, and it’s a lot of fun to see them interact. But the best character in the show goes to the Dekarangers’ boss, Doggie Kruger/Dekamaster, a dog alien who becomes a Dekaranger himself, labeling himself The Watchdog of Hell. That has to be the coolest title any superhero has ever had. Dekamaster is another one of the greatest Super Sentai characters ever, taking down a hundred goons in his first battle by himself.

I haven’t even gotten to Agent Abrella, one of the coolest Sentai villains of all time. He’s obsessed with profit and chaos, and he’s easily one of the most sadistic main villains compared to his predecessors. He isn’t some evil emperor who wants to rule the world. He just wants to raise hell and make a quick buck from it. He’s also voiced by Ryusei Nakao, the Japanese voice of Frieza from Dragon Ball Z. That’s another appeal of Sentai, the voice talent. A lot of big-name voice actors have voiced characters, like Mao Ichimichi and Kotono Mitsuishi. Hell, the currently ongoing Kikai Sentai Zenkaiger has Yuki Kaji of Attack on Titan fame voicing one of the main characters.

Dekaranger is easily one of the most popular Sentai seasons out there, as it has a lot of additional material. Not only did the Dekarangers get a theatrically released film like many other seasons before it, they teamed up with two separate Sentai teams, some of them cameoed in the anniversary series Kaizoku Sentai Gokaiger, they got a reunion movie ten years after its finale, four of the Dekarangers guest starred in another Sentai series two years after that, Uchu Sentai Kyuranger, which served as a prologue to a team-up with another Toei hero, Uchuu Kenji Gavan, and then that led into the Dekarangers cameoing in another Kyuranger movie meant to be an epilogue to that series.

Yeah, this is why I haven’t talked about the Sentai movies in this post. You don’t have to watch any of these unless you really enjoy Dekaranger, which you should at least check out. It’s slow at times, but it’s still a lot of fun.

Engine Sentai Go-Onger (2008-2009, 50 Episodes)

The Banki Clan Gaiark have traveled from their home dimension of Machine World and chosen Earth as their new home, but they have to pollute the planet to serve as an ideal living space for their kind. In response, sentient animal-themed vehicles called the Engines choose five humans to partner up with, the five humans in question becoming the Go-Ongers.

Unlike most of the shows I talked about, Go-Onger is incredibly goofy, and I love it. The characters are all incredibly likable, both the Go-Ongers and the Engines. While Sentai had touched upon the idea of treating the mecha as sentient beings, this was one of the earliest series to actually have their partners talk, leading to some interesting character dynamics. The villains are also really fun to watch. While they’re about as competent as Team Rocket at times, there are moments where you actually feel bad for them, especially towards the end of the series.

It’s also really funny. Granted, comedy is subjective, so you may not find the same things as funny, but there are a lot of funny moments in this show, all helped by the actors giving amazing performances. Go-Onger can get extremely wacky at times, like in Episode 31. I’m not going to say what happens, you should watch it for yourself.

What makes the humor really work unlike the last attempt at a comedy-focused Sentai, Carranger, it didn’t really feel mean-spirited by portraying the heroes as idiots by claiming to be “parodying” Sentai. Yes, the Go-Ongers can be dumb at times, but they still take their jobs seriously when they’re not goofing around. There’s not really much I can say about Go-Onger other than it being a bunch of dumb fun. If you’re in the mood to start off with something more light-hearted, I’d check it out.

Samurai Sentai Shinkenger (2009-2010, 49 Episodes)

For centuries, generations of samurai have waged a war against a race of demons from the underworld called the Gedoshu. After their leader was temporarily sealed away for several years, the Gedoshu begin another invasion of the surface while trying to flood the Sanzu River, which grows through human misery. In response, the current generation of samurai, the Shiba Clan, assemble to fight the Gedoshu as the Shinkengers.

This was actually one of the first Sentai seasons I ever watched, as my first Power Rangers season was Samurai. And yeah, while Samurai is a really bad adaptation, I’m here to judge Shinkenger on its own. Admittedly, there are a lot of qualities that can be chalked up to cultural differences, like the whole honor code samurai have and certain plotlines you’d see in a jidaigeki film. The Shinkengers themselves are all very likable characters, and you can really relate to their struggles of being forced into this war (again, handled a lot better than what’s going on with Marinette). All of them have different responses to their situation. Some of them dedicate themselves to wholeheartedly following their lord (Takeru/Shinken Red) or being more vocal in their hatred of their duties.

The villains are also really interesting. Sure, the big bad is pretty boring, but the side villains are just so twisted they really steal the show. Takeru/ShinkenRed gets a rival who serves as a perfect foil to him, representing the idea of why one fights. Even the concept of the Gedoushu is pretty terrifying. Demons from another world hellbent on causing misery to flood our world with their water, which I must point out, is deadly to humans. They’re not my favorite villain group, but they’re a close second.

There’s also some clever plot twists that happen late into the series that I don’t want to give away. Sure, you might have a hard time getting used to the Japanese culture at first, but Shinkenger is still a great series.

Kaizoku Sentai Gokaiger (2011-2012, 51 Episodes)

The Zangyack Empire invades Earth and because of their army reaching across the universe, they become the greatest threat the planet has ever had. In response, the previous thirty-four Sentai teams unite to fight them. They succeed, but the attack they used to wipe out the battle fleet stripped them of their powers. A few years later, a group of space pirates come to Earth in search of “The Greatest Treasure in the Universe”. While the pirates couldn’t care less about stopping the Zangyack, they still have to deal with them while searching for the treasure, which is somehow connected to the previous thirty-four Sentai teams. Also, the pirates form their own Sentai team, the thirty-fifth Sentai team in particular, the Gokaigers, who have the ability to TRANSFORM INTO ANY OF THE PREVIOUS SENTAI TEAMS.

For Super Sentai’s 35th anniversary, Toei wanted to go big this time. While the previous two anniversary seasons only had movies that paid tribute to Sentai as a whole, this was the first season where the anniversary aspect was in the premise alone. 

The interesting thing is that the series was changed last-minute, and it was totally for the better. See, in March of 2011, Japan’s Tohoku Region was devastated by an earthquake registering at a 9.1 on the Richter scale. To this day, it was the largest earthquake ever recorded in Japan’s history, and that’s not even getting into the tsunami it caused the same day. What does this have to do with Gokaiger? In response to the tragedy, several tokusatsu stars including Super Sentai alumni took to social media to encourage kids to stay positive, and even asked some of Gokaiger’s showrunners if they could reprise their roles in an episode. Originally, there were going to be some cameos from past Sentai heroes, but it would only be limited to the ones whose powers would upgrade the Gokaigers’ giant robot. After this, there were a lot more cameos from Sentai alumni in the latter half of the series. Out of Gokaiger’s 51 episodes, 24 of them were tributes to past seasons. And that’s not even getting into all of the cameos in the movies too.

This was another one of the first Sentai seasons I ever saw, and it really helped me get into the franchise as a whole. It manages to explain things to people who haven’t seen certain seasons, while paying tributes to said seasons and making clever homages older fans will understand. Admittedly, the show does spoil the endings of the older seasons like Liveman and Jetman, so keep that in mind before starting this one.

Even outside of the tributes, the Gokaigers are some of the most memorable characters Super Sentai’s had in recent years. While they aren’t exactly evil, they start off not really interested in protecting Earth and care more about getting the Greatest Treasure in the Universe. The only reason they fight the Zangyack in the first episode was because their lunch was interrupted. A team of anti-heroes in Super Sentai hasn’t really been done before. Even then, there’s an interesting dynamic where some of the Gokaigers have more of a moral conscience than the others. And as the series goes on, they start to care more about protecting the Earth, even if they don’t admit it.

It’s just a really good show, and even if it isn’t your first, I’d check it out.

Zyuden Sentai Kyoryuger (2013-2014, 48 Episodes)

When the alien entity known as Deboss invades Earth during the prehistoric era, another bird-like alien named Torin empowers several dinosaurs into the mighty Zyudenryu to fight off the invading force. After a brutal final battle, Deboss was sealed away, but his army of followers was still growing. In response, Torin started to recruit several humans throughout time into the modern day to become the Kyoryugers.

While Gokaiger was the first Sentai I ever watched, Kyoryuger was the first Sentai I watched every week as it aired, so it has a special place in my heart despite its middling reputation. Yeah, Kyoryuger has been criticized for starting the trend of Red Senshi stealing all the screentime, and while that can easily be applied to later entries like Shuriken Sentai Ninninger and Kishiryu Sentai Ryusoulger (the latter basically made Red and Gold the only ones to pilot the giant robots while the others watched), I don’t think it's as bad as everyone says it is.

There is just an amazing cast of characters here. It’s the first Sentai to be composed of ten rangers (while Dekaranger also had ten, three of them were just one-offs), and it does a really good job at balancing them all out. Yes, Daigo/Kyoryu Red does get a handful of power-ups and can be the focus at times, but the other characters all have their own distinct personalities and are just a blast to watch. I’d honestly recommend watching a few episodes of this show to get an idea on how to do an ensemble cast. If I end up doing the whole “tokusatsu has better toy tie-ins than Miraculous” thing, expect me to talk about how Kyoryuger introduces its new characters and giant robots.

And then there’s the soundtrack. Oh my God, the soundtrack. Sentai tends to have banger songs for their seasons, and Kyoryuger is no exception. “Vamola! Kyoryuger”, “Solid Bullet”, “Kyoryu Gold! Iza!”, “Yuuki Bakuretsu”, “Chou Shinka! Kyoryu Beat”, “Houkou! Bragigas”, and “Senkou no Brave”. So many of these songs are incredibly catchy, and I haven’t listed all of them. The show has a bit of a music motif, so it makes sense for there to be a lot of insert songs.

The one major flaw I have to point out is that you kind of have to watch the theatrical movie (which is only slightly longer than an average episode), in order to understand some of the plotpoints for the season’s endgame, but other than that, it’s still a really good season to start off on.

Mashin Sentai Kiramager (2020-2021, 45 Episodes)

The Dark Empire Yodonheim attacks the planet Crystalia, with the king’s brother betraying him and siding with the enemy. The kingdom’s princess is sent to Earth to recruit five warriors to fight the Empire. The chosen five all possess “Kiramental”, a way of weaponizing their imagination, which they use to defend the Earth’s radiance.

Precure fans might remember this being the season where Cure Star met the Red to promote the latter’s season (actually referring to Cure Star as his sempai), and I can kind of see why. A lot of fans have jokingly compared this season to Precure because of the gemstone motif and focus on creativity, with Juru/Kiramai Red acting like a Pink Cure according to some of the comments I’ve seen in Sentai discussion forums.

This is the most recent season to finish as of this post, and it’s already gotten a lot of praise in terms of writing, characters, story, and managing all of these during the COVID-19 Pandemic and having to adapt to losing five episodes in the process. The characters are very likable, the Red is one of the better ones in recent years with him being more timid compared to the more hotheaded ones, and the villains are also amazing, and some of the best in recent years. Episodes can range from funny to tragic to just plain awesome in terms of writing, with seemingly innocent filler episodes being the source of major bombshells and plot twists. 

Honestly, there’s not much I can really say about this show other than check it out for yourself.

But these are just my recommendations. If you do some research and see a season you like, I’d go for it. If anyone else wants me to do these for Kamen Rider and Ultraman, I’d be happy to.

Sorry this took so long.

[bogkeep]

hmmmmmmmmmm maybe i’ll write an Introspective Musing Post about my relationship to religion and their depiction in stories because i’ve pondering about this topic lately

so for those who are reading this and DON’T know what’s been going on...  there’s this webcomic i fell in love with some years ago, about six years actually, that depicts a post-apocalyptic fantasy/horror adventure set in the nordic countries. it had, and has still, some very uncomfortable flaws regarding racial representation, and the creator has historically not dealt very well with criticism towards it. it’s a whole Thing. my relationship with this comic has fluctuated a lot, since there are a lot of elements in it i DO love and i still feel very nostalgic about, and like idk i felt like i trust my skills in critical thinking enough to keep reading. aaand then the creator went a teensy bit off the deep end created a whole minicomic which is like... a lukewarm social media dystopia where christians are oppressed (and also everyone is a cute bunny, including our lord and saviour jesus christ). which is already tonedeaf enough considering there are religious people who DO get prosecuted for their faith, like, that’s an actual reality for a lot of people - but as far as i can tell, usually not christians. and then there’s an afterword that’s like, “anyway i got recently converted and realized i’m a disgusting human being full of sin who doesn’t deserve redemption but jesus loves me so i’ll be fine!! remember to repent for your sins xoxo” and a bunch of other stuff and IT’S KIND OF REALLY CONCERNING i have, uh, been habitually looking at the reactions to and discussions around this, maybe it’s not very self care of me but there’s a lot of overwhelming things rn and it’s fantastically distracting, yknow? like, overall this situation is fairly reminiscent of the whole jkr thing. creator of a series that is Fairly Beloved, does something hurtful, handles backlash in a weird way, a lot of people start taking distance from Beloved Series or find ways to enjoy it on their own terms, creator later reveals to have been fully radicalized and releases a whole manifesto, and any and all criticism gets framed as harassment and proving them right. of course, one of them is a super rich person with a LOT of media power and a topic that is a lot more destructive in our current zeitgeist, and the other is an independent webcomic creator, so it’s  not the same situation. just similar vibez ya feel as a result of this, i have been Thinking. and just this feels like some sort of defeat like god dammit she got me i AM thinking about the topic she wrote about!!! i should dismiss the whole thing!!! but thinking about topics is probably a good thing so hey lets go. me, i’m agnostic. i understand that this is a ‘lazy’ position to take, but it’s what works for me. i simply do not vibe with organized religion, personally. (i had the wikipedia page for ‘chaos magic’ open in a tab for several weeks, if that helps.) i was raised by atheists in a majorly atheist culture. christian atheist, i should specify. norway has been mostly and historically lutheran, and religion has usually been a private and personal thing. it turns out the teacher i had in 7th grade was mormon, but i ONLY found out because he showed up in a tv series discussing religious groups in norway later, and he was honestly one of the best teachers i have ever had - he reignited the whole class’ interest in science, math, and dungeons and dragons. it was a real “wait WHAT” moment for my teenage self. i think i was briefly converted to christianity by my friend when i was like 7, who grew up in a christian family (i visited them a couple times and always forgot they do prayers before dinner. oops!), but like, she ALSO made me believe she was the guardian of a secret magic orb that controls the entire world and if i told anybody the world would burn down in 3 seconds. i only suspected something was off when one day the Orb ran on batteries, and another day the Orb had to be plugged in to charge. in my defense i really wanted to be part of a cool fantasy plot. i had no idea how to be a christian beyond “uuuuh believe in god i guess” so it just faded away on its own. when i met this friend several years later, she was no longer christian. i think every childhood friend of mine who grew up in a christian family, was no longer christian when they grew up. most notably my closest internet friend whose family was catholic - she had several siblings, and each of them took a wildly different path, from hippie treehugger to laveyan satanist or something in that area. (i joined them for a sermon in a church when they visited my town. my phone went off during it because i had forgotten to silence it. oops!) ((i also really liked their mother’s interpretation of purgatory. she explained it as a bath, not fire. i like that.)) i have never had any personal negative experiences with christianity, despite being openly queer/gay/trans. the only time someone has directly told me i’m going to hell was some guy who saw me wearing a hoodie on norway’s constitution day. yeah i still remember that you bastard i’ve sworn to be spiteful about it till the day i die!! i’ve actually had much more insufferable interactions with the obnoxious kind of atheists - like yes yes i agree with you on a lot but that doesn’t diminish your ability to be an absolute hypocrite, it turns out? i remember going to see the movie ‘noah’ with a friend who had recently discovered reddit atheism and it was just really exhausting to discuss it with her. one of these Obnoxious Atheists is my Own Mother. which is a little strange, honestly, because she LOVES visiting churches for the Aesthetic and Architecture. we cannot go anywhere without having to stop by a pretty church to Admire and Explore. I’VE BEEN IN SO MANY CHURCHES FOR AN ATHEIST RAISED NON-CHRISTIAN. i’ve been to the vatican TWICE (i genuinely don’t even know how much of my extended family is christian. up north in the tiny village i come from, i believe my uncle is the churchkeeper, and it’s the only building in the area that did not get burnt down by the the nazis during ww2 - mostly because soldiers needed a place to sleep. still don’t know whether or not said uncle believes or not, because hey, it’s Personal) i think my biggest personal relationship to religion, and christianity specifically, has been academic. yeah, we learned a brief synopsis of world religions at school (and i remember the class used to be called ‘christianity, religion, and ethics’ and got changed to ‘religion, beliefs, and ethics’ which is cool. it was probably a big discourse but i was a teen who didnt care), but also my bachelor degree is in art history, specifically western art history because it’s a vast sprawling topic and they had to distill it as best they could SIGHS. western art history is deeply entangled with the history of the church, and i think the most i’ve ever learnt about christianity is through these classes (one of my professors wrote an article about how jesus can be interpreted as queer which i Deeply Appreciate). i also specifically tried to diversify my academic input by picking classes such as ‘depiction of muslims and jewish people in western medieval art’ and ‘art and religion’ when i was an exchange student in canada, along with 101 classes in anthropology and archaeology. because i think human diversity and culture is very cool and i want to absorb that knowledge as best as i can. i think my exchange semester in canada was the most religiously diverse space have ever been in, to be honest. now as an adult i have more christian friends again, but friends who chose it for themselves, and who practice in ways that sound good and healthy, like a place of solace and community for them. the vast majority of my friends are queer too, yknow?? i’ve known too many people who have seen these identities as fated opposites, but they aren’t, they’re just parts of who people are. it’s like... i genuinely love people having their faiths and beliefs so much. i love people finding that space where they belong and feel safe in. i love people having communities and heritages and connections. i deeply respect and admire opening up that space for faith within any other communities, like... if i’m going to listen to a podcast about scepticism and cults, i am not going to listen to it if it’s just an excuse to bash religion. i think the search for truth needs to be compassionate, always. you can acknowledge that crystals are cool and make people happy AND that multi level marketing schemes are deeply harmful and prey on people in vulnerable situaitons. YOU KNOW???? so now’s when i bring up Apocalypse Comic again. one of the things i really did like about it was, ironically, how it handled religion. in its setting, people have returned to old gods, and their magic drew power from their religion. characters from different regions had different beliefs and sources. in the first arc, they meet the spirit of a lutheran pastor, who ends up helping them with her powers. it was treated as, in the creators own words, ‘just another mythology’. and honestly? i love that. it was one of the nicest depictions i’ve seen of christianity in fiction, and as something that could coexist with other faiths. I Vibe With That. and then, uh, then... bunny dystopia comic. it just... it just straight up tells you christianity is literally the only way to..?? be a good person??? i guess?? i’m still kind of struggling to parse what exactly it wanted to say. the evil social media overlord bird tells you the bible makes you a DANGEROUS FREETHINKER, but the comic also treats rewriting the bible or finding your own way to faith as something,, Bad. The Bible Must Remain Unsullied. Never Criticize The Bible. also, doing good things just for social media clout is bad and selfish. you should do good things so you don’t burn in hell instead. is that the message? it reads a lot like the comic creator already had the idea for the comic, but only got the urge to make it after she was converted and needed to spread the good word. you do you i guess!! i understand that she’s new to this and probably Going Through Something, and this is just a step on her journey. but the absolute self-loathing she described in her afterword... it does not sound good. i’m just some agnostic kid so what do i know, but i do not think that kind of self-flagellating is a kind faith to have for yourself. i might not ever have been properly religious, but you know what i AM familiar with? a brain wired for ocd and intrusive thoughts. for a lot of my life i’ve struggled with my own kind of purity complex. i’ve had this really strange sensitivity for things that felt ‘tainted’. i’ve experienced having to remove more and more words from my vocabulary because they were Bad and i did not want to sully my sentences. it stacked, too - if a word turned out to be an euphemism for something, i could never feel comfortable saying it again. i still struggle a bit with these things, but i have confronted these things within myself. i’ve had to make myself comfortable with imperfection and ‘tainted’ things and accept that these are just, arbitrary categories my mind made up. maybe that’s the reason i can’t do organized religion even if i found one that fit for me - just like diets can trigger disordered eating, i think it would carve some bad brainpaths for me. so yeah i’m worried i guess! i’m worried when people think it’s so good that she finally found the correct faith even if it’s causing all this self-hate. is there really not a better way? or are they just trusting she’ll find it? and yeah it’s none of my concern, it’s like, i worry for jkr too but i do not want her within miles of my trans self thANKS. so like, i DO enjoy media that explores faith and what it means for you. my favourite band is the oh hellos, which DOES draw on faith and the songwriter’s experience with it. because of my religious iliteracy most of it has flown over my head for years and i’m like “oh hey this is gay” and then only later realize it was about god all along Probably. i like what they’ve done with the place. also, stormlight archive - i had NO idea sanderson was mormon, the way he writes his characters, many of whom actively discuss religion and their relationship to it. i love that about the books, honestly. Media That Explores Religion In A Complex And Compassionate Way... we like that i’ve been thinking about my own stories too, and how i might want to explore faith in them. most of my settings are based on magic and it’s like, what role does religion have in a world where gods are real and makes u magic. in sparrow spellcaster’s story, xe creates? summons? an old god - brings them to life out of the idea of them. it’s a story about hubris, mostly. then there’s iphimery, the story where i am actively fleshing out a pantheon. there’s no doubt the gods are real in the fantasy version of iphimery, they are the source of magic and sustain themselves on slivers of humanity in exchange. but in the modern version, where they are mostly forgotten? that’s some room for me to explore, i think. especially the character of timian, who comes from a smaller town and moves to a large and diverse city. in the fantasy story, the guardian deity chooses his sister as a vessel. in the modern setting, that does not happen, and i don’t yet know what does, but i really want timian to be someone who struggles with his identity - his faith, his sexuality, the expectations cast upon him by his hometown... i’m sure it’s a cliché story retold through a million gay characters but i want to do it too okay. i want to see him carve out his own way of existing within the world because i care him and want to see him thrive!!! alrighty i THINK that’s all i wanted to write. thanks if you read all of this, and if you didn’t that’s super cool have a nice day !

[prettywordsyouleft]

To Be Continued - Part 4

Summary: As an author, you had created Brian Kang for your current trilogy series to represent the ultimate man that everyone would love, along with Charli Evers - your female protagonist. What you hadn’t expected was for him to find a way out of the story and begin shaping up your world instead

Pairing: Brian Kang x female writer (ft. Park Sungjin)

Genre: writer au / romance / fantasy

Warnings: fictional characters coming to life / a bit of angst here and there / Sungjin as a cop (or does that only affect me?) >_>

Word count: 2262

Preview | 1 | 2 | 3 | 4 | 5 | 6 | 7 | 8 | 9 | 10 | Epilogue

When you eventually came around again, you let out an immediate giggle when you found yourself on your living room’s couch, a pair of concerned eyes peering down at you. They widened with your sudden noise, blinking some to try and figure out why you had laughed.

“The hallucinations are continuing,” you mentioned with another laugh, this time sounding more desperate than the first.

“I’m really here, though.”

“Of course, you are.” Sitting up, you flinched when Brian’s hand reached out to help you do so, your focus snapping down to where he had touched you. It had felt normal, as if a human had supported you just now.

But this wasn’t humanly possible. No one ever in the history of mankind had written a novel and their characters came to life!

… Had they?

“Stop overthinking it,” Brian mentioned, observing you carefully.

“Do you read thoughts too?”

“No.”

“Then I truly did well to create you as someone who can pick up on most moods and emotions,” you replied, nodding again as you chuckled. You then clasped your face within your hands and whined loudly. “I’m going insane!”

“You will go mad if you keep this up,” Brian pointed out, and you peeked through your hands, stilling from your dramatic outburst. Staring at him, you lowered your barrier slowly and took him in.

There was no plausible explanation for how this had happened. And yet, you were there when it did. Nothing made sense, aside from how well your description had brought Brian to life. You marvelled the man over, instinctively reaching out to touch the mole on his neck. Directing your gaze up to his, Brian tipped his head with encouragement.

“Keep exploring,” he urged. His permission seemed to snap you out it, your hand returning to your lap hastily. Brian sighed. “This wasn’t how I imagined our first meeting.”

“No?” you asked, a little detachedly. Your mind was still whirling at a fast pace over all of this.

Could you have come across this man before in your life and subconsciously modelled your character off of him? That still didn’t explain how Brian had gotten into your home in the first place. You were grasping at straws here, trying to rationalise the situation.

Even if you were a dreamer by nature, this was something else.

“Should I explain how I came to exist?” Brian offered, and you nodded once before holding up your hand to stop him.

“Wait. I need to some supplies first!” you announced, getting up with a bit of a wobble and headed back to your office. Snatching your phone and a pen and paper off the desk, you dashed back into the living room, where you stopped suddenly, Brian staring back at you.

He’s still here, you thought to yourself in disbelief, walking at a much slower pace back to the couch Brian now sat cross-legged upon. You eyed him warily as you sat down.

Looking at your supplies, Brian smirked. “What are you planning to do?”

“Take some evidence,” you answered, quickly snapping a photo with your phone’s camera. Brian was disorientated, leaning away from you as you took another two.

“Can’t I at least prepare for the photos first?”

“Don’t go giving me any crap about needing to present your best side. The Brian Kang I created doesn’t have one. He looks good all over,” you muttered, opening the gallery and clicking through the photos you had taken. Even if the pose was awkward, he still looked handsome.

You laughed incredulously once more. He actually appeared in them. After inspecting them as well, Brian rolled his eyes. “I’m not a ghost. Of course, I’d appear in them.”

“Okay,” you said, opening up the voice recording app on your phone and placed the device between you both. Brian shot you a look of annoyance, and you challenged it back as you picked up your pen and paper. “Now, you can start.”

“I think I began to have conscious thoughts at the end of Encounter,” he admitted, and you scribbled down the title of your first novel with him, circling it for effect. You blinked away from your note-taking to look up at him.

“What do you mean? Conscious thoughts?”

“Well, you’re the writer, aren’t you?” Brian smiled, and you tried not to become too captivated by how perfect it was. “I’m not supposed to do anything unless you direct me to, right?”

“Sometimes the story seems to write itself, but I’m still in some control of it.”

He nodded. “The end of the story meant there was nothing else for me to do. Whilst I was frozen in place, my mind continued. Why did everything stop there? Who was I and why couldn’t I continue to live through all this?”

“You had thoughts like that then?” Brian nodded, and you let out a shaky breath. “Woah.”

“Then you must have started Captivated because, for some time, I was too busy fighting my way through to Charli. However, it would be during the scenes where I wasn’t present that I would find myself wondering why I was chasing her around. Just who was she to me? Even though I could move, and my reactions felt sincere, I couldn’t fathom why it had to be her. My life was already hard enough, and yet I was forever looking towards a girl who came from another world than I had.”

You smiled fondly. “Charli Evers is the daughter of a conglomerate in power of changing the nation. Meanwhile, you’re her bodyguard from a less than desirable background.”

“Let’s not visit my dark past right now, shall we?” Brian mentioned with some unease, and you nodded before you gasped. Brian frowned. “What?”

“You really do know the story!”

“When are you going to stop freaking out over my existence? Don’t you want the so-called proof?” he wondered with an impatient tone, causing you to snap your mouth shut. Brian sighed before continuing. “As I waited for scenes to change, I realised I couldn’t understand my world at all. Why did I have such a troubling back story? Surely, if I were real, no one would have faced what I had in one lifetime, let alone in ten years of my life.”

You didn’t quite meet his eyes then, looking at his shirt button that was undone to avoid the accusing tone that was laced within his latter sentences.

“And of all the men in the world, why was Charli so drawn to me?”

“That’s how star crossed lovers work, Brian,” you told him in a quiet voice. He merely scoffed and you gaped at him. “Look, I’m sorry that for you to be seen as a troubled protagonist I gave you some hard experiences but this is my story and it’s loved by thousands around the world.”

“Really?!” he asked as his eyes shot open, soon shaking his head. “The outside world is really strange.”

“You’re telling me,” you mumbled as you looked him up and down again. Brian cocked his head to the side, and you waved him off to carry on.

“It was then when I started to try and find ways not to do as I felt I had to. And there were a couple of times where I succeeded.”

“The gala!” you mentioned, and Brian smirked with acknowledgment. “I had such a hard time reshaping my plans because you stubbornly wouldn’t seem to get into the right mood!”

“That’s when I realised the people around me weren’t real.”

“They’re very much so real in that world!” you countered, and Brian shot you an unamused look. You glowered at him. “I haven’t worked hard all year as I have for you to sit here and say my characters aren’t realistic!”

“I didn’t mean they weren’t realistic, simply that they’re what you just called them, characters.”

“Be careful, you’re one too,” you grumbled, and Brian clapped his hands together. You gaped at him once again. “You do that when you want to keep Charli on topic! Are you treating me like her right now?!”

“You’re going off on a tangent. I offered you my side of things, and you’re too busy trying to defend people who don’t even know what they really are.”

“I once watched a TV series about characters in a comic book coming to their senses,” you murmured, turning pale. “How did that end again?”

“Y/N.” Glancing up at Brian, he shot you a comforting smile. “Please let me finish before you start trying to find ways to blow this out of proportion.”

“Because talking to you right now and being in your presence is completely logical.”

“I’ll ignore your sassy remark,” he warned and cleared his throat. “I started to grow aware of your presence. As if you were in the background of each moment pulling all the strings. I yearned to know more about you, and sometimes I would hear you talking to yourself about the scene you were struggling with.”

“You heard me?”

Brian nodded. “Quite often over the last couple of months, I believe it’s been.”

“How did you find your way to getting out here and helping me when I was sick?”

“Admittedly, I guessed there was at least a script somewhere controlling us. Then you got sick and left your computer on. It was the first time you had left the document open like that.”

“So let me guess. Whilst I slept, you found a way to find the script, realised there was another world outside of yours and reached out for it.”

“You called me out, Y/N.”

“Okay, now we’re really getting to the implausible here.”

Brian didn’t react to your disbelief. Instead, he stared at you in earnest. “Don’t you remember? You wished for me to help you take you to bed.”

“You… picked up on that?” you breathed out incredulously, and Brian couldn’t help but allow some amusement to curl up his lips further.

“Dream men are just that, Y/N. Brian Kang would never exist in this world,” he recited as if he had heard it in the past. Your hands rose to your mouth when you realised you had said that. Brian grinned. “Be careful about what you wish for, Y/N. Looks like I can exist in this world after all.”

You needed some fresh air, and after telling Brian so, you dashed out into your backyard, blinking rapidly when you realised how late into the night it was. Staring up into the inky world above, you tried to find some clarity within your situation.

Brian, in some form, seemed to exist. And he had not only looked after you when you were ill but had been messaging you somehow from within your computer. The document seemed to change because of his influence and all of this had started with your lack of energy to follow your usual pattern of shutting down the device at the end of the night.

Glancing back towards your house, you shivered. Had you left it open earlier, could there have been a chance Brian would have somehow come through the screen then?

“The concept of him coming out of such a small laptop is laughable,” you told the universe above, and yet it didn’t show you any signs to debunk the evidence you had either.

Although you were troubled and had so many more questions for the man inside your home, there was a sense of comfort that came the longer you spent your time with him. You had done so for countless months so far as his writer, and after the initial shock of the situation, you realised he felt like a home to you.

You then gasped noisily. Could this have happened with Jinyoung in Destined too, had you let it? Were all your characters out there holding different truths than the ones you had given them or was Brian the only one?!

Marching back inside, you walked into your office and opened up the first Destined document. And then you raised your hands to the heavens and nodded firmly. “Come out, Park Jinyoung!”

“What on earth are you doing?” a voice called from the doorframe, and you squealed with fright, stumbling over your desk chair and reached out for the table to save yourself. Brian’s hands quickly encircled your waist and pulled you upright, breathing heavily after moving to your side so fast to save you.

Staring up at the man who held you, you searched his face for signs of this being a trap. Perhaps the warning bells were muted in your mind the longer you appreciated Brian. He truly was the biggest self-indulgence you had succumbed to. And as you took him in for the umpteenth time tonight, you realised he was incredibly dangerous for you.

There was a reason you had dreamed him into existence in the first place. He was the person you had wanted to fill your world. And now that he was here, physically here, and holding you, some of the parts in his story didn’t need to add up anymore.

“You okay, Y/N?”

“You saved me,” you spoke, and Brian nodded.

“I wouldn’t let you fall if I could stop it,” he told you, his lips spreading out into the most beautiful smile you had ever witnessed in your life before.

You knew in that moment that you would blur every line there was to make sure Brian Kang didn’t go back to wherever he had come from.

You wanted him to hold you like this forever.

_________________

Part 5

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[itsclydebitches]

YYH Recaps: Koenma Appears

Welcome to episode two, everyone! Before we get to the recap proper, I want to continue down Nostalgia Lane for a moment. Remember how last time I mentioned a Hiei bookmark I used daily back in middle school? Well, I tore through an old "treasure box" I created as a kid (a collection containing everything from a shark tooth to a small book on witchcraft. You know, the important things every child needs) hoping to find it... but I didn't. It's a hard life we lead.

However, I did find some other YYH relics that I thought you all might enjoy seeing. Behold — and, if you'd like, laugh at — my collection:

First up is a picture of young Toguro and Genkai that I wanted to use as my bookmark, but found that it was too wide. For the record, I didn't (and still don't) care about Toguro much, he was just the byproduct of finding a cool Genkai picture. Not shown is the back of the image with the names of my classmates because I made them all sign this along with our yearbook.

God bless my friends for putting up with me.

Second is a collection of very pretty trading cards that I ordered from god only knows where. I have vague memories of not finding any at my local comics shop and convincing my mom to let me order on The Olde Internet. Did I want the trading cards to trade them? Absolutely not. They exist to sparkle and make my heart happy.

Finally, I've saved what is perhaps the best for last. Now, you have to understand that grade to middle school age Clyde did not have the education that she would receive later on, which includes a knowledge of the ephemeral nature of fanworks and the importance of accurate record keeping. What this means is that I have absolutely no context for this. No author, no explanation... just the image itself.

Was this a standalone fanart? A part of a fic? Some specific request or just the will of the artist? I cannot answer these questions. I tried a reverse image search (which is, admittedly, the extent of my tech skills) and you know what the single hit I got was? "Fiction." Thanks, google. So yeah, I can only assume that my child self considered Kurama giving a de-aged Hiei a bubble bath adorable enough to save, but the artist wasn't important enough to jot down for future viewing. Sorry about that, mystery artist. And, as should go without saying, if anyone does know where this came from please let me know! Though I suspect that this is a case of a YYH-specific site closing down and the fanworks getting lost along with it. That happened a great deal before the age of AO3 when volunteers decided to put their time and talent towards saving fanworks of all sorts... 

But enough of all that. Let's get to recapping!

As we established last episode, Yusuke and Botan are on their way to the spirit world to kickstart Yusuke's ordeal. Watching this after over a decade of consuming other media, I really appreciate that Yusuke acts like a human person and asks lots of questions about this. When Botan is cryptic for the sake of the audience — we're going to see "the person" who can explain everything — Yusuke is justifiably like, and what person would that be?? I mean, this is also a way to establish basic facts for the viewer and it simultaneously feeds into Yusuke being someone who is difficult for the sake of being difficult — "If someone wants to say something, they should come to me!" — but it's just nice to see a character who doesn't accept cryptic BS because the story needs them to. If Botan gives an unclear, but ~dramatic~ explanation, Yusuke is going to call her out on that.

So she explains that they're going to see King Yama and Yusuke is all whoa whoa whoa, there's royalty involved? Suddenly, he's not so adamant that they come to him. 

Botan tries to reinforce this rare spark of humility and demands that Yusuke be on his best behavior from here on out.

Pff. Yeah right.

But “he can send you to oblivion forever if he wants to!” is a suitable enough threat to cow Yusuke for now. Which is interesting considering that a few hours ago he was happy to accept hell as his rightful ending. Granted, we could argue that there's a big difference between hell and oblivion — a character may not be afraid of punishment in the same way they are a lack of existence — but I'd say this ties more into Yusuke's development at the wake. Now that he's accepted that people care for him and that he should strive to return to them, the threat of having it snatched away actually means something. Even if that line is otherwise positioned as a comedic moment.

Botan flies them through a portal where we see the River Styx below and Yusuke comments on how big everything is. At first I was like, "What are you talking about? You were just flying over some major city in fictional Japan, wasn't that big too?" but this line makes more sense when they reach the palace and you realize that yeah, it's big. As in, the camera blurs while tilting down its length to show how insanely tall it is. Yusuke and Botan are tiny gnats at the gate's entrance.

"Oh man, what a pad!" Yusuke says and sure, that's one way to look at it lol.

Botan announces that she has a "new arrival" and the gates open for them, but so far there's no one else around. One part of me wants to question the time and budget put into this scene because shouldn't there be, like, thousands of people? Even just waiting outside? The idea that this is the hub of the underworld and that Botan is responsible for ferrying all the souls, yet she is guiding just this one (1) dude for a solid day is, from a world building perspective, kind of nuts. But beyond the need to develop Botan as a character (she can't be a part of the story if her job is treated realistically, with all the endless work that entails), I think this choice functions rather well from an atmospheric perspective too. Meaning, this moment is supposed to be rather tense for Yusuke. He just died, just found out the afterlife exists, just discovered a desire to get his life back, and is now about to meet a King who can toss him into oblivion if he's rude — which Yusuke always is. So this is a Very Dangerous Moment and their relative isolation feeds into that. As does the setting. Yusuke flinches back from the hallway, saying that it looks like a giant throat, so he is now literally walking into the belly of the beast. 

Suddenly, the size of the palace isn't an indicator of awesome wealth, just general intimidation. Also, check out the spikey purple mountains in the background and the harsh reds of the scene, especially compared to the soft yellow of the river. All of it is designed to create an, "Oh shit" reaction in both Yusuke and the audience.

Yusuke's image of King Yama matches these surroundings:

Oh wait! Wrong character ;)

He's massive, red, shadowed, and poses a formidable threat. And how does Yusuke deal with threats? By fighting them! Even those he can't hope to beat. Remember, this isn't a situation where Yusuke has any power here, but he still desperately holds onto the possibility that he might. What if he gets off a punch on King Yama's nose? Then goes for his eyes? Yeah, that'll work! 

Overlooking the fact that it absolutely would not — Yusuke's fantasy conveniently skips how he escapes Yama's clutches — what exactly is Yusuke hoping to accomplish here? Somehow take over the entire underworld? Escape as a ghost and live out his afterlife in hiding? We don't know and that's because Yusuke doesn't know. He doesn't think ahead, he just obeys this instinct to fight. An instinct that, crucially, overrides everything else. Botan has already told him that all Yusuke needs to do is be polite and everything will be fine, but it's not even that Yusuke believes that he can't achieve that; that he knows himself too well and, fearing a slip, starts planning for a potentially inevitable confrontation. There are simply no plans outside of battle plans. Yusuke just hears about someone vaguely intimidating and his brain jumps straight to, "How do I beat him in a fight?" no matter the odds, or that other options are readily available to him. Again, much of YYH's characterization occurs though its comedy, so outside of the general humor of witnessing this fantasy, it actually does a stellar job of reinforcing precisely who Yusuke is. In life the only thing he had going for him was his ability to fight. It was his one joy, his one skill, arguably the one good thing he did if we frame those reflexes as "saving" the kid... so is it any wonder that fighting dominates his every thought? It's all he knows.

And, as we'll see down the line, that single-minded obsession is very useful to the spirit world.

For now though, Yusuke finishes his absurd plans to take down King Yama and Botan asks what in the world he's muttering about back there. Which is an unintentionally hilarious line because by the end Yusuke is not muttering, but full on shouting. Botan. How did you not hear him?

Not important. They reach the next door and we get our first inkling that all is not as Yusuke (and we) expect when Botan leans into an intercom to say that they've arrived. Tech in a fantasy spirit world? This feels not only out of place, but rather... mundane? That's the point. When the doors open Yusuke expects his super scary monster, but gets... a whole lot of monsters that aren't scary at all!

The underworld is run by various demons (or ogres), though their looks are contrasted with the harried office worker personalities they've got going on. Someone is running by with a comically tall stack of papers. Someone else is shouting into a cell phone. The first two demons we see cross paths, looking like they're about to punch one another, just as Yusuke expects... except they're just dramatically getting out of the other's way, worried not about the hierarchy of this realm, but the fact that someone is behind schedule. The nerve!

"This place is a madhouse!" we hear somehow shout and yeah, that's the joke. The afterlife is just as chaotic, overworked, and — ultimately — boring as any human office. For all the strangeness of seeing hundreds of demons, this is familiar.

Which, alongside Botan's bubbly nature contrasting assumptions about the Grim Reaper, is one of the first instances of YYH undercutting the viewer's expectations in terms of looks. No one entirely looks the part they play in this tale and if you're trying to teach people to look past surface characteristics... there are worse ways to do it. Horrifying creatures with horns and sharp teeth? Nah, they're just chill dudes trying to do their job. Cutesy girl who looks like she belongs in a mall reading magazines? Nah, she's the Grim Reaper. Terrifying delinquent with a spine-chilling reputation? Nah, he makes faces at kids and saves them from cars.

Of course, the "nah" isn't accurate either. These are monsters with horns, Botan is a cutesy girl, and Yusuke is a delinquent with that reputation. The message isn't so much that people look like Thing A, but get to know them and you'll discover they're actually Thing B, it's the idea that you can be A and B (and C, D, E...) simultaneously. People — or rather, seemingly simple archetypes — can, in fact, embody multiple characteristics at once.

We'll get our third example in just a second.

Yusuke makes a comment about this being the "dead people stock exchange" — accurate — and Botan leads him to a more ornate door past all the desks. It's clear they've arrived at King Yama's office, since she's bowing and formally presenting him to... someone. Yusuke looks around for the giant beast he's imagined, only for a tiny voice to hail him from the ground.

Looks are deceiving!

“This is Yusuke Urameshi and he’s honored to meet you." Botan knows what's up. She knows Yusuke isn't going to express anything of the sort without some prompting. Too bad he's busy cracking up at this apparent child running the show. Side note: Yusuke has a fantastic laugh.

He even goes so far as to accuse Botan of lying to him.

“Why would I lie about such a thing?!”

“Why would the spirit world be run by a toddler?”

It's true! That’s a legitimate question! I love that Yusuke asks questions. The "toddler" goes on to explain that he's actually the "mighty Koenma," son of King Yama, though he's lived fifty times as long as Yusuke, "so watch your mouth." Assuming Koenma knows and/or remembers how old Yusuke is — fourteen — and is good at math, that puts him at seven hundred years old. He looks good for his age!

"And in addition to knowing the secrets of the universe," he says, "I am quite potty trained."

You've gotta love Koenma.

Yusuke's attitude changes drastically once they get down to business. Koenma produces an egg, saying that Yusuke's ordeal is to hatch it and face what comes out. The hatching part isn't difficult, all he needs to do is keep it on his person. The challenge is in the fact that this egg will feed off his spirit energy and that energy in turn will change what kind of creature develops. If his spirit is wicked and cruel, so will be the beast and it will devour Yusuke upon hatching.

However, if his spirit is good and kind, the beast will become a sort of guardian, guiding him back to his living body.

Note though that throughout this conversation the egg is always a "beast." It's a "monster." It's not necessarily intentional, but there's a strong bend towards the negative here in the description that really emphasizes the whole "ordeal" aspect. Koenma briefly reassures Yusuke that he can remain a ghost if he prefers, but he's already made up his mind. Despite another threat of being lost to a void — this time through spiritual digestion — Yusuke takes the egg almost without hesitation.

He regrets it later though.

"I can't believe I did that."

Can we blame him? I'd be nervous about some egg feeding off the energy of my soul too and I'm a former, almost straight A student (damn you, math) with no life-altering regrets and a general desire to put as much good into this world as I'm able. I’m boring. But what if those occasional, mean little thoughts you have add up? What if the prejudices you're still unlearning stack against you? Does the egg care about what you do, or only how you feel about the act? This sort of test would eat me alive!

Maybe literally. 

Good thing Yusuke doesn't have time for an existential crisis!

Just as he's beginning to regret this decision, Botan points out that it won't matter if he passes if he doesn't have a body to return to. Now, why wouldn't he have a body? Maybe because his mom is set to cremate him tomorrow.

Whoopsie.

Yusuke is, understandably, distraught. We get another excellent exchange:

“Botan, is there any way for ghosts to communicate with living people?”

“Yes.”

“SO ARE YOU GONNA TELL ME?”

I swear, Yusuke is the only smart protagonist. I mean, he's dumb as a sack of bricks at times, but that's neither here nor there. Bless this fictional boy for reacting like an actual person. 

Botan explains that people are more attuned to the spirit world when they're asleep, so Yusuke can deliver a message to someone in their dreams. Seems easy enough. They first head to Atsuko, but find that she's raging drunk and nowhere near sleep. 

"You fool!" she yells. "No one gave you permission to die!" Atsuko continues to yell about how plenty of people survive car accidents, so why couldn't you? "Were you mad at me, Yusuke? Didn't I raise you right?"

Botan comments on how sad the display is. Yusuke's response?

“The only thing that’s sad is now she’s got one more excuse to act that way."

Y'all, that's some mature shit for a goofy shonen anime. Yeah, Yusuke recognizes that, while she's obviously heartbroken, his death has just given her another reason to do what she's been doing for years: drinking herself into a stupor. Toss in Atsuko putting the blame on Yusuke — "No one gave you permission to die!" — plus the belief that she did do a good job — "Didn't I raise you right?" — and it paints a rather bleak picture. This is by no means an uncommon theme. Negligent parents, whether they're framed that way or not, are pretty common in shonen series, but it's still rather jarring to re-watch this as an adult and go, "Oh. The situation’s like that." It's honestly a lot when you remove it from YYH's otherwise humorous, casual context.

Yusuke heads to Keiko's next and finds her sound asleep, commenting on how her room looks more "girly" than when they were kids. Check out that smile!

He's about to try and deliver his message, but Keiko is in the midst of a nightmare. “She’s crying… what’s wrong?”

Oh my god. Remember how I just said Yusuke is also the densest protagonist around? Example A right here. You just died, you fool! You just saw Keiko collapse at your funeral. What do you think is wrong??

We get a peek at Keiko's dream where she is — shockingly! — thinking of Yusuke. He's far out of reach, walking away and unresponsive to her calls. Keiko soon trips and Yusuke disappears completely.

Luckily, she has the real thing at her bedside. Yusuke tries talking to her and at first it's unclear if this supernatural stuff is really working. That is, until Keiko murmurs about how heavy he is.

Reassured, Yusuke delivers his message that Keiko needs to help Atsuko pull herself together and, most importantly, call off burning his body. We get this very soft and pretty background to establish their yet unspoken feelings for one another, though Yusuke gets close with, “I’m coming back. I don’t want to see you cry anymore" as he brushes her tears away. Aww.

Keiko wakes, thinking at first it was just a dream, but no, "I'm sure I felt it."

The next morning she heads to Atsuko's to explain the dream, only to first hear that Atsuko had a dream too, this one about Yusuke "living in some other world full of ogres and he kept knocking them down until he became their leader." It sounds absurd, of course, but it brings Atsuko some comfort to think of her boy in a place like that and Keiko backs down. Right, she'd only had a comforting dream too.

Now, there are two important parts to this exchange. The first is that this is an excellent example of how you let the characters drive the story, rather than forcing the characters adhere to the plot you've come up with. Meaning, in the latter situation, our cast would have needed to have their personalities twisted and the viewer's suspicion of disbelief tested to give Yusuke what he needs: a sleeping family member willing to believe his message. But it absolutely makes sense for Atsuko to be drunk rather than sound asleep, so Yusuke can't rely on her. Likewise, it absolutely makes sense for Keiko to be asleep, but not believe the dream once she's woken up. After all, how many times have we been persuaded by something in the dead of night only for things to look more logical and less likely in the morning? The characters act both like themselves and like people who do normal, people-ish things, which means that Yusuke runs into more conflicts. That's good! It not only raises the tension and stakes — now he has less than a day to convince someone — but makes his inevitable success feel that much sweeter. A less well written show (cough-RWBY-cough) would have had the characters change their personalities, behave in unlikely ways, or just come up with a sudden, contradictory solution because Yusuke needs to keep his body. Instead, Yusuke actually has to work for that within the bounds of the rules established and the likeliness of each plan succeeding. The first one fails? Move onto plan #2.

Second, this dream of Atsuko's has some cool implications within YYH's world. Meaning, we're about to learn in just a moment that some people are naturally more aware of the supernatural than others, even when they're not asleep. We'll also see down the line that spiritual awareness tends to run in families... so perhaps Atsuko possesses more than the average mother? I'm not saying it's necessarily intentional on the author(s) part, but we can choose to read this dream as evidence of spiritual awareness — true insight into the world Yusuke was just in and the fantasies he'd had about conquering it — rather than just a coincidental joke for the viewer. After all, Yusuke gets his own spiritual awareness from somewhere...

(Okay, so there's totally another, canonical reason for that, but we can have both!)

So, as Yusuke puts it, “This dream business isn’t gonna cut it.”

“There’s always the final method," Botan says.

“You always this vague?”

I am literally living for these interactions.

Botan explains that the more extreme form of communication is possessing a living person, but there are two rules attached: it has to be someone you know and the vessel has to be someone who is quite spiritually aware, as discussed above. Atsuko isn't a contender because the story hasn't acknowledged that she might be sensitive, that's just my own headcanon now. Yusuke outright says, “In that case I’m screwed. There’s no one like that!"

Cut to good old Kuwabara.

At first it looks as if he's just oh so conveniently sensing a spirit right when the audience has learned he has this power, but in reality it's Yusuke and Botan flying behind him that sets it off. Again: this show is pretty good about keeping things internally consistent, rather than making choices because That's Just How Stories Work, I Guess. Kuwabara's friends note that he's acting strangely and I love this detail that apparently one of the guys is new to their group because the other two need to explain that this is the "tickle feeling." Ever since Kuwabara was a boy he's been able to sense the dead around him. Some nice, some... not so nice.

He looks directly at Yusuke — even though he's not able to see him — and declares that what's following them is “A puny low-level ghost, like a haunted racoon or something.”

I'd support Yusuke's anger more if he hadn't just exclaimed his surprise that Kuwabara serves a purpose 😂

Yusuke is pissed enough though to proclaim that he won't do it, nuh-uh, no way is he possessing this guy's body. Botan's response is one of my FAVORITES in the WHOLE SERIES:

"Here's my impression of Yusuke: look at me, I’m burning!”

Literally 75% of this series is just about a found family sassing one another and I love it.

Obviously this helps Yusuke remember his priorities and he grudgingly agrees to the plan. Botan prepares Kuwabara's body somehow — idk, spiritual magic or whatever — and warns Yusuke that he only has an hour to find someone and warn them because a human body can't handle possession any longer than that. Sure. I buy it.

So Yusuke takes control and please ignore the incredible ethical issues here. The show will never acknowledge them again. 

He blurts out, “Hey, check it out! I’m inside Kuwabara, feeling smooth!"

Istg I don't remember the series being this unintentionally gay. I don't even ship Yusuke/Kuwabara and I'm digging the possibilities here lol.

Back on track, his friends drag him with, “Looks like he’s back to normal” because again, 75%. What's not normal though is Kuwabara (Yusuke) suddenly charging down the street to leave them behind. He heads straight to the restaurant where Keiko's parents work, demanding to see her. They're rightly concerned about this stranger barging in and screaming for their daughter.

Upon asking who he is/why they should tell him, Yusuke makes his biggest mistake: “Because it’s me, you guys, I’m Yusuke!”

Obviously the time limit and raw emotion of knowing who he is has outweighed the knowledge that, you know, no one would believe that. Yusuke has spent the last two days bopping around as a ghost and familiarizing himself with some of the afterlife's insanity. The knowledge of what's normal for everyone else — AKA, not dead boys appearing in strangers' bodies — is not at the forefront of Yusuke's mind.

So, Keiko's parents react accordingly! The father in particular is disgusted by this claim, going so far as to threaten Yusuke with his knife and outright insult Kuwabara's looks: “Yusuke was never ugly like you… we were close family friends with that boy!" His wife chimes in that this kind of joke is particularly heinous on the day of his funeral. Between Atsuko drunkenly blaming Yusuke for his death and Mr. Takenaka grieving for what he might have been, this is one of the few times we see someone just sad for Yusuke's passing, exactly as he was and without regrets or criticism. "We were close family friends with that boy" paints a nice contrast to the delinquent persona Yusuke was cultivating.

As he's thrown out of the restaurant he says, “We should have special passwords for times like this!” Fun fact, my family does! Well, not this exact situation lol. I was given a password as a child to memorize in case my parents ever needed to send someone else to pick me up or interact with me in any way. If the stranger didn't know the password, I was to kick up a fuss. I rest easy with the knowledge that this password would not doubt assist me if I was ever in Yusuke's position!

With Keiko's parents a bust, Yusuke starts sprinting to everywhere she frequents with the hope of running into her. Or at least he tries. 

Yusuke is suddenly waylaid by a group of nameless teens with a bone to pick with Kuwabara. And you know what? I like it. I wonder how much of my praise stems from coming off of RWBY Volume 8, but it's just so nice to watch a story where the plot — simple as it is — hangs together. We've established that Kuwabara is a street fighter. Last episode we watched him start a fight with Yusuke. Yusuke is on a time limit. Now Kuwabara's tendencies have created a new hurdle for Yusuke!

Needless to say, Yusuke kicks butt, even in Kuwabara’s body. 

As one guy is passing out he says, “Man that hurt! I didn’t think anyone could throw punches that hardcore except Yusuke Urameshi."

Yusuke: “Darn, giving Kuwabara a good name." LOL

You think this challenge is finished though? Nah. Over the course of about half an hour Yusuke encounters a comical number of people trying to get even with Kuwabara. 

As always, I like the nods towards this writing decision to help justify it, with Yusuke wondering how Kuwabara has pissed this many people off. If you want to pull off something that has a low chance of happening, it can help to give the characters a "Seriously?" moment. If both they and the audience are on the same page over how ridiculous this situation is, the audience is more likely to accept it once the character does.

By the time Yusuke escapes his hour is nearly up. However, thanks to some coincidental plotting, he spots Keiko's friends just across the street! 

YYH does a decent job of making its characters feel like they have their own lives outside of what's immediately happening on screen and we get a good example of that here. We pick up the girls' conversation partway through, both of them worried about Keiko's state of mind and, given that we'll see in a second that Keiko was in the store with them, it implies that something happened to reignite this worry. They're off enjoying their day, doing their own thing, there was an event we're not privy to, and now we catch the response to that. It just helps make the characters feel more well-rounded even though they are, at their core, one-dimensional background characters who don’t even have names yet.

Case in point: the one girl is still concerned with their image. "People are starting to say things!"

Yeah, your friend's childhood friend just died. Hopefully they're saying, "Poor thing."

Anyway, Yusuke runs up to ask where Keiko is only for both girls to run away screaming. Turns out his face is messed up from the numerous fights and Keiko's friends are easily scared. 

Luckily, Keiko comes out just a second later and Yusuke is faced with the challenge of how to convince her in, oh, about five minutes. Remember, we've already established through Keiko's parents that just saying, "I'm Yusuke" doesn't work. That's why he hesitates. It's not just drama for the sake of drama, he's stuck.

“I’ve known her my whole life, there must be something between us that only I would do!”

Yeeeeaah. About that 😬

Suddenly inspired (I suppose that's one way to put it...) Yusuke runs up behind Keiko and grabs her breasts. “Keiko, nice uniform! They’re so squishy!”

It goes without saying that, like flipping her skirt up, this isn't okay. More specifically, the problem lies in the story framing this as a joke for the audience, something to laugh at despite Keiko's discomfort, rather than the concept of two childhood friends actually be that comfortable with one another. But, as already established, this is one of the more ehhhh aspects of Yusuke's characterization that, luckily, will mostly disappear as the story goes on.

Note though that the show clearly wants us to think highly of this. Not just as a "joke," but as a smart solution to his problem and more evidence of their inevitable relationship — the background becomes the same soft, bubbly background we saw during their dream conversation. And, admittedly, it does work. Keiko instinctively slaps Yusuke hard enough to knock him to the ground and he starts laughing, saying that he doesn't care what anyone on the street says, she hits the hardest.

What I do like about this is that the assault isn't the only thing Keiko bases her faith on. Not only has she already had the dream, we get to see Yusuke from her perspective, showing all the mannerisms she picks up on by superimposing Yusuke's real body over Kuwabara's. Indeed, she says as much: “I knew it was you from the first time you spoke…and it’s not just your stupid gags, or how you laugh. There are ways you move and speak that in a hundred years I wouldn’t forget."

Catch me crying in this club!

Knowing she believes him and that he's almost out of time, Yusuke reiterates his message: please don't burn my body and also keep Mom on track. Only, you know, it's phrased far better than that lol. As he speaks, both Yusuke's and Kuwabara's voices overlap until the latter grows fainter and only Yusuke's voice remains. His body too. It's a nice touch, avoiding the awkwardness of Keiko having this moment with a stranger, even if that is what's happening on some level.

“I know I’ve been a bum to you at times, but please wait for me."

His hour up, now we can get the awkwardness! Kuwabara comes out of his weird trance thing to find Keiko crying against his chest. Wow, he thinks, this girl must be really into me! 

God, to have the confidence of Kuwabara.

Of course, Keiko quickly realizes it's not Yusuke anymore and slaps him too for cuddling her closer. My favorite thing is that when she does this a crowd INSTANTLY appears. I mean they TELEPORT in. We needed an audience for Kuwabara's shame and YYH delivered, all logic be damned.

“Um, sorry about that!” Keiko yells as she runs away, because she's a good person who recognizes that weird spirit things just went on and Kuwabara isn't actually to blame.

“No, that’s okay. I probably deserved it," Kuwabara responds because he's also a good person and I didn't appreciate him nearly as much as I should have as a kid.

Keiko runs all the way to Atsuko's place where she finds her dressed for Yusuke's funeral. She blurts that Yusuke might still be coming back and Atsuko goes, "He already has." Turns out she opened his coffin to "smack him one more time for leaving me" — yikes — and found that his heart had started beating again, just as Koenma said it would. 

Being in a shonen anime, they apparently decide to just trust Keiko's message rather than, idk, taking him to a hospital or something.

The camera tilts up to show that Yusuke has been watching all this, including that both women break down again and comfort one another. Aww. How heartwarming.

What's less fuzzy though is this mysterious egg. Yusuke takes another look and finds that it has developed a heartbeat too, presumably in time with his body's. He theorizes that he did decent things today, right? But Botan (teasingly) points out that he did beat up a lot of other kids. Rather than getting angry, Yusuke remains uncharacteristically pensive, emphasizing the magnitude of what this means for him. He's got to get it right.

No pressure or anything! We'll have to see how Yusuke balances his karmic scales in the next episode. Until then, I'll try not to put all my TV time into Star Trek: Voyager :D 

See you then!  💜

[runolllo-fanboygirl]

---------------------------------

I'm going to start by clarifying that these are messages I got in response to my post here /// LINK /// After this, I'm not replying to messages about this kinda thing in a long time. Talking about sexualization and such other topics is important but I'm not in a state to be made the center of it. Please, don't come to my inbox asking for discourse, go and create your own posts if you want to raise awareness or vent.

And now to answer to these new asks:

FIRST OF ALL: while I love the way Murata draws men, robotic stuff, monsters... I actually HATE the way he draws ladies! I prefer their proportions in the OPM anime and games. Murata is literally SO BAD at drawing women compared to the level of expertise he has drawing men, and it's all ‘cos he keeps drawing ladies "the h0rny way". We all know this, let's move on.

"He's drawing all the monster girls sexualized" Did the fact that Manako's genre reveal deconstructs the trope "the default is male" totally go over your head? That Psykos's reveal as a woman running the whole MA was a big deal for this same reason as well? There are a bunch of female monsters… you just assume they're all male unless you see big b00bs and then complain about that very fact. They literally made a whole point about this specifically!

"He changed Mizuki's shorts to p4nties to please fanboys" I liked the shorts better too (just because I find her whole character design a bit more balanced that way) so that change bothered me as well, but the "p4nties" are actually standard athletic wear for competition. Shorts are not. Technically, she’s drawn more accurately now.

"Sports Bras don't work that way he just wants to draw b00bs" neither do the shirts and bodysuits the guys are wearing. You can see all their muscles and manb00bs and cr0tch lines, just as much as with Fubuki and Tatsu's hero outfits and Mizuki's top.

"But when the boys are drawn that way, it's not to please the ladies, it's male power fantasy" THERE IS NO HETEROSEXUAL MALE POWER FANTASY BULLSHIT THAT CAN POSSIBLY EXPLAIN THE WAY MURATA DRAWS GAROU, FLASH, SONIC, STINGER AND SOME OF THE OTHER GUYS. The fact is that the way he draws eye candy of them appeals to other collectives other than the cis het men and he knows exactly what he's doing. Period.

"He constantly draws sexualized art of Mizuki to please the fanboys" Why exaggerate so much? This is simply not true. She's a woman in athlete wear, most of the time she's either standing up talking or fighting, no weird angles or anything. There is like 1 sexy cover of her, the back cover with all the girls in bikinis and then that infamous watermelon sequence. That's all the sexualization you are talking about.

"Mizuki only gets so much screen time because of how much p0rn of her there is" oh yeah Mizuki got a grand total of, like, *drum roll* 1 chapter and a half dedicated to her! Wow! Which is NOTHING taking into consideration how dense Garou's arc is and the fact that they will need at least 2 seasons of the anime to finish it.

But think about this: OPM desperately needed more female presence, in special with the prospect of finishing Garou's arc in the anime. Making anime is hard and COSTLY. Most of the people who is going to watch the anime haven't read the manga and they'll be like "what the heck there are no female characters in this anime for like 3 seasons?" and there is no team that's going to risk it working with such prospects. We know why.

Of all the expansion that Garou's arc got in the manga adaptation (and later in the anime), one of the most sensible and balanced decisions was to add more ladies. They put all those monster ladies for season 2, and then for season 3 we get Manako and Mizuki having some strong presence, Shadow and Kamaitachi there a bit in the back too. It benefits the pace and balance of both the manga and the future season 3 so immensely because Fubuki, Tatsumaki and Psykos take a LOOONG while to be relevant during Garou's Arc… in special with all the filler the manga put in between (but all that filler is of the S-Class boys getting development and a reality check which is kinda important too lol).

Point is: the screentime Mizuki got was VERY necessary to balance things in between of all the relentless Garou fights and the boys being boys. Sure Mizuki is beautiful and sexy and all, but really EVERYONE was waiting for a new female character that was relevant, likeable, fun… and on top of everything, it's so rare to see a strong 2m tall girl in fiction in general, not even just anime. Everyone got instantly excited about her because she's exactly what we needed AND MORE. And sure, people draw p0rn of her like they do with most other popular characters, what did you expect.

"The ladies are always more sexualized-" YES, in the OPM manga, the ladies are a little more sexualized than the men –but not by much AND not during plot stuff. By that I mean that most of the so called "sexualizing the girls" happens in the covers, back covers and promotional art very exclusively, and not during the story itself. HOWEVER, a lot of the sexy men bits do happen during the story, curiously.

 In the anime though, there is almost zero ladies fanservice (which makes sense since there is almost no female presence in the first 2 seasons anyway). Yet it's full of naked dudes, sometimes for a good reason, but mostly just so we can look at them being sexy and silly.

 I personally don't care if the man candy and ladies fanservice is not perfectly even in Murata's manga adaptation, because there is enough of both in his work, as well as other official OPM stuff like the anime and games to bring a very nice balance in the s3xy department.

 "The way the women are dressed-" Most of the background ladies are wearing skirt uniforms and shit, but all the relevant ladies primarily dress in nothing you can call "sexualized" except for maybe Tatsumaki with her strong leg game. To recall:

 Lilly wears the same as the men of the Blizzard Group; Twin Tail just dresses like a jester; Mizuki is the first to show so much skin, but she's still wearing real standard competition wear for athletes. All the other sportwomen (Hornet and Swim) and martial artists (Shadow, Suiko, Lin Lin) wear standard clothes for their respective professions too. Sure we've seen Shadow wearing some, uh, ninja bikini thing under her ACTUAL work clothes, but for actual fights she's fully dressed and surprisingly not stuffed in a tiny nylon bodysuit that rips like stocking, like all the ninja men in the series do lmao.

Fubuki and Tatsumaki are, like, the only ones wearing dresses and they can because they use psychic powers anyway. Fubuki doesn't even show ANY skin, ever! She just happens to have big b00bs! Kamaitachi is the other one wearing a "skirt" but it's similar to what Japanese martial artists would wear, too.

So, again… all this sexualization we are talking about is not even happening anywhere except in Murata's covers and some promotional art. ONE is famous for treating ladies very fairly, even if Murata tries very hard to exploit the sexy out of every single of the ladies ONE creates. All these ladies have their own agenda and personality that have nothing to do with being pretty or f*ckable. In fact, in-universe, no one ever mentions if the heroines are beautiful or sexy and no one ever talks about liking them for those reasons (except for Lilly and Erika who are gay for Fubuki and Tatsumaki respectively, amazingly enough no hetero characters mention it). I think the first time we've ever seen a relevant character talking about dating another relevant character is when Suiryu told Saitama and Suiko to date (but Suiryu is the resident h0rny fuckboy of the series, if someone was going to say something so stupid for all the wrong reasons, it was going to be him).

For being an adult series, a seinen that parodies shonen tropes and all, OPM is seriously very tame in the sexy ladies department. For this series, the sexy is just a luxurious accessory, just one more little thing. It's always pretty weird when people get so angry and disappointed about a new sexy girl cover or a couple of compromising panels, like they don't know what to expect.

 "He only draws that way to please the h0rny fanboys" Murata IS a h0rny fanboy himself and draws shit that appeals to him as much as he feels he’s allowed to insert in the series. Please remember he's the insane fanboy that reached up to ONE to beg him to continue One Punch Man and offered to make a manga adaptation to promote OPM.

From the moment Murata started drawing OPM, the tone of the manga was set and never changed: lots of blood and guts, comical and non-comical nudity, irreverence, sexy angles, Genos ripping his shirts off, ninjas in body suits that rip like they are nylons… people in shirts, tanktops and dresses so tight you can see all their muscles, boobs and even belly buttons whether they are men or women or otherwise… h0rny chapter covers, stupidly h0rny monsters…

Just reading the manga to the point where Genos and Mosquito Girl first appear, you know what you are in for with OPM. I don't know what some fans are expecting to see in OPM next, but I'm going to take a wild guess here and say: you should expect more of the same.

 At the end of the day, the manga is Murata's work with ONE, and if he likes drawing h0rny ladies more than boys, that's how things are! This is just 2 guys with their passion project. I don't expect of them the same as if there was a bigger team with a big budget behind the series, like it happens with many games and shows. In this last case, I would be a lot stricter about all this, because with more resources you're expected to do better things.

[duhragonball]

I think I’m just gonna ramble a bit-- nothing earthshaking-- so here’s a nice, unrelated picture of Cooler to set that up.

I managed to get through Camp Nano in April with about an hour to spare.  I’m still frustrated with my pacing, because I’ve gotten pretty good at finishing the November writing goals with time to spare, but I always end up falling behind on the shorter goals I try to do during the rest of the year.   July is up next, so I’m kind of hoping I can turn this around by then.  

April was difficult all over, so I’m trying to use May to chill the fuck out.    Somehow I find that hard to do.  Like if I’m relaxing, I just get bored or feel unproductive.  That’s one reason I’m writing this post.    I just want to get some thoughts out of my head so I can move on.

For whatever reason, I got sucked into watching YouTube videos about the Nostalgia Critic and his various blunders from 2012 to present.   That sounds pretty sad now that I write it out, because I never followed the guy that closely, so I keep forgetting the hellacious filming schedule discussed in the Change the Channel movement happened years earlier, and the movies themselves were ridiculed as debacles, so it’s not just one bad year, more like nine or ten.   Anyway, watching all of this has given me some stuff to think about.  

I think I first heard about the NC when he started doing that “feud” with the Angry Video Game Nerd.   They did some videos together teasing a crossover, and then they finally went through with it, and it wasn’t terrible, but I had no idea who the other guy was.    It was like Batman teaming up with some indie comics character you never heard of.  Batman doesn’t need the rub.   From the beginning, I got the sense that Nostalgia Critic was the one driving this concept.  Once I heard about Channel Awesome and all these YouTube reviewers crossing over with each other, I was sure of it.  

Looking back on it all, I get the sense that NC has never really had much of a creative agenda.   His early work involved “reviewing” movies by playing long clips of them to recap the plot, and then making some snarky commentary.  Not the worst format, except he kept getting copyright strikes from YouTube, which was why he started his own website to host his videos.  Over the years, it feels like people have begun to recognize the flaw in that format.  Past a point, you’re not really “reviewing” anything.  It’s more like an MST3K style thing, only shorter and less authorized.  

Years ago, I used to read this site called “The Agony Booth”, which sort of did the same thing but in text.   Before YouTube really got going, the only way to lambast a movie or TV episode properly was to meticulously describe it in prose, with the occasional screenshot here and there.   Nostalgia Critic probably represents a point where people realized they could do the same thing in video form, except it starts to cross the line from commentary to something else.   Siskel and Ebert never did a blow-by-blow synopsis of a movie.    Reviewers like the Agony Booth crew did, because they were often discussing old material, and couldn’t show it to you or assume that you had seen it yourself.   A lot of NC’s early stuff was the same deal, where he’d recall something from his childhood and rewatch it to see how it holds up in the present.  So I’m sure a lot of his content covered old, out-of-circulation things.   But he’d do more recent stuff too, and the attitude surrounding YouTube at the time was that you could pretty much do whatever you wanted as long as you kept it under ten minutes. 

Anyway, the Channel Awesome thing looked like an alliance of similar YouTube reviewers, and they kept appearing in each other’s stuff, and then they did the anniversary movies, which were basically “mega crossovers” with all of them appearing together in the same... story, I guess?   At the time, I wrote the whole thing of as a masturbatory power fantasy.   Comic books did crossovers like these all the time, and YouTube seemed to have hundreds of “reviewers” and “personalities” who would put on silly costumes and carry toy weapons like they were about to fight Thanos instead of discussing the ALF cartoon.   The second Channel Awesome movie was about high fantasy tropes, and the third one was a space opera, so that seemed to support my assumption.

From watching all these videos about the movies, though, it looks more like each one was mostly about the Nostalgia Critic talking all his “friends” into another one of his kooky schemes, and they all just sort of go along with it, even though they know him to be a self-centered jerk.   Then the third one ends with NC quantum-leaping out of the story itself and meeting Doug Walker, the guy who writes and plays the character.   They try to sell the audience on the idea that NC had some sort of character development across the three movies, and he decides to sacrifice himself to save the day or something.   This was touted as the finale for the character.   Except it turned out later that Doug Walker wasn’t just playing a self-centered jerk, he really was a self-centered jerk, because he treated the others like crap during the filming and didn’t tell any of them that he was killing off their website’s top draw.

That leads into Demo Reel, the series Doug Walker introduced to fill the void.   From what I’ve seen, it sure looked like he wanted/expected this to be a big hit, and he killed off his biggest meal ticket to make this happen.  But everyone hated it.  I think the pilot episode asks the question “What is Demo Reel?” about three times.   Each time, the answer makes less and less sense.   “Demo Reel” the show is about a studio named “Demo Reel”, run by Donnie DuPre, a self-centered jerk who seems to think there’s big money to be made in plagiarizing movies.   The whole thing is just a flimsy plot device to explain why Doug Walker and two other actors would bother making a no-budget parody/re-telling of three Batman movies smooshed together.   There’s no real-world or fictional reason for three people to do this, it’s just that Doug Walker wanted to make a YouTube video about Batman, but he didn’t want to use the NC format, and he couldn’t just talk over a Batman movie without getting in trouble with Warner Bros.   And I guess just... dressing up like Batman and making jokes needs some sort of context, so that’s where the Demo Reel concept comes in. 

What really annoys me is that Demo Reel has this “mockumentary” thing going on at the same time, so you end up watching their parody movie and the scenes where they make the parody movie, and you get these interview segments where they talk about talking about making the parody movie.   It’s like “The Office” except every character is completely delusional.   They’ve all convinced themselves that this is a really good idea, and I guess the joke is that this is a really stupid job and they must be pretty stupid to work at it.   

No one knows where Demo Reel was originally headed, because it was so reviled by the audience that it got cancelled in five episodes, ending with the revelation that Donnie DuPre was the Nostalgia Critic all along, in some sort of amnesiac state.    Or maybe that was the plan all along, I’m not sure which scenario would be dumber, honestly.   New Coke was a sincere effort to phase out the original Coca-Cola formula, but it was such a failure that everyone thinks it was a brilliant ploy to make consumers appreciate the original.   So who knows?

Anyway, this started the next phase of NC, where he would just remake scenes of whatever movie he’s covering that week, a la Demo Reel.    I don’t know if that’s just a strategy to avoid YouTube copyright strikes, or a stubborn refusal to give up the core concept of Demo Reel, or what.  Then he got around to Pink Floyd’s “The Wall”, and everyone crapped on that, big time.   I haven’t seen the original movie or his “review”, but from what I gathered, Doug

a) basically did a shot-for-shot remake of the movie, only shorter and cheaper.

b) spent the whole video lambasting the movie and the band for making it.

c) offered his parody songs for sale on iTunes, calling them a “love letter to Pink Floyd.”

The big question is: Why did he put so much work into making the thing when he had so little to actually say about it?   There’s no clear opinion expressed about the movie, even though the video is supposed to be a “review”.   He kind of acts like he thought “The Wall” was okay, but the parody lyrics read like the awkward part of a celebrity roast.   Why go to all this trouble unless you really love or absolutely despise “The Wall”? 

Eventually, I started to figure out that this guy really just doesn’t have much to say.   He wants to make videos, make movies, make reviews, but it doesn’t seem like there’s any real opinion or thought that he wants to express.   I was watching him freak out over the credit card scene from “Batman and Robin” and thought “Are you that upset over Batman having a credit card?”   That’s not even in the top twenty dumbest things in that movie.   Sure, it’s worth a snide remark, but not much more than that.  But he’s “doing a character”, and the NC’s whole schtick is to flip out over stuff like that.  

Except it’s not a character, because NC is just Doug Walker wearing a stupid hat, right?  In the movies, NC’s whole persona is that he’s a self-centered jerk who treats his friends like a personal army, and the real Doug Walker was doing the exact same thing off-camera.    Donnie DuPre was another “character”, wearing a different hat, only whoops, he’s the Nostalgia Critic too.   And even if he wasn’t the same guy, his persona was... you guessed it, a self-centered jerk who treats his friends like a personal army.  

There was this whole era on YouTube where it seemed like all these “content creators” were trying to adopt silly gimmicks.    I’m guessing the Angry Video Game Nerd started the trend, because he dressed up in a white button-down shirt with a pocket protector and glasses.   He looked like a stereotypical nerd, you see.  And he’d drink a particular kind of beer, and lose his temper and set Nintendo cartridges on fire, because AVGN was a character.   You watch James Rolfe being himself and he’s a whole other person, always smiling and talking about horror movies and filmmaking, because that’s what the real guy is about.   There’s a separation there.  

I think that was the disconnect.   A lot of these YouTubers saw James Rolfe playing the Nerd and just assumed the secret was to rant and rave about some topic, and he used a Nintendo Zapper to shoot a pickle monster once, so dressing up like a Power Ranger in a trenchcoat didn’t seem like a bridge too far.  Well, no not if you’re trying to make a movie or tell a story.  If all you want to do is talk about Star Wars, you should probably keep it simple.  I think one of the consequences of Nostalgia Critic’s fall from grace is that modern YouTubers are more grounded.   I’ve watched a lot of Jenny Nicholson videos and she’s pretty funny and animated, but she’s not trying to be a charicture of herself.  She’s just this lady sitting on her bed surrounded by porg dolls.  It works a lot better.   

I used to watch the Game Overthinker unironically.   Does anyone remember Moviebob?  Well once upon a time he wasn’t completely bonkers.   The GO series was reasonably well done and uncomplicated... until the dude started appearing on camera and introducing “characters” and storylines that killed whatever point he was trying to make in his video essays.   Then I started watching him ironically, and then I sort of stopped caring about him altogether, and then he pissed away whatever goodwill he had.   I can’t help but feel like he might have been better off just staying behind the camera, or if he had to be on-screen, just sit on a bed with a bunch of Mario dolls or whatever. 

The fad of YouTube personality as wannabe superhero got me thinking of the whole “Mary Sue” and “self-insert” thing.   They’re really poorly defined terms, and they’ve been overused in so many unfair criticisms that I don’t think they make much sense anymore.    When I first got into fanfic, I saw a lot of people simply writing themselves into their stories.   That’s what a self-insert was.    You literally inserted yourself in the story so you could tell Wolverine to his face that his haircut looks stupid, or whatever you wanted to say to him.    I always found this idea infuriating, because I know who Wolverine is, but this other guy telling him off is a complete stranger, and why should I care about him?   Why should Wolverine care? 

One response to that problem would be to present your self-insert like a bigger deal than you are.   You could put yourself in this story and not only talk to Wolverine, but give yourself an elaborate backstory, where you’re a high-ranking S.H.I.E.L.D. agent, and you and Logan go way back, etc., etc.   But that’s a tricky proposition, because if you’re doing it right, you’re just inventing a new character with the same name as you.    Or you can overdo it and make the character too big a deal, at the risk of outshining the other characters.    The Mary Sue concept originated from this, with Star Trek fanzines getting all these story submissions about young, super-talented ensigns who join the crew and immediately win over Kirk, Spock, and McCoy. 

The dirty little secret of character creation is that every character you write is a self-insert or an author surrogate, to some degree.   You can have one that’s meant to be your alter ego, the one who’s based on you and tends to react the way you would in a similar situation.  But you’re writing all the other characters too, and deciding what they think and say and do, so to a certain point they also think a lot like you do, whether you meant for them to or not.  The trick is not to be super-blatant about it, or to revel in the creative freedom to break the fourth wall.   Readers hate that stuff, because they don’t know you well enough to get the joke.   

That’s the advice I’ve always had at the ready in case anyone ever asked me.   But, watching all this stuff about the Nostalgia Critic has made me realize that it applies from the other direction.    It’s very easy to say you’ve created a character, distinct from yourself, only for it to turn out to be more of a reflection of you than you intended.   I can’t tell if Doug Walker is self-aware or not, but it seems like the joke with all his “characters” is that they’re extremely selfish and shallow, and yet he seems to also be selfish and shallow.  So is he aware of this, and he’s trying to exaggerate his flaws for his characters?  Or does he just not realize that he’s telling on himself every time he plays these roles?   Or does he think everyone is selfish and shallow, and that this is just boilerplate information, like blinking and wearing shoes?

I’ll pick on myself, because it’s handier to do so.   I’ve made a bunch of original characters over the years, some that were supporting players, and others who were designed to be big deals.    One of my villains was this bitter misanthrope, and eventually I realized that I was a lot more like him than the outgoing group of buddies that he was trying to oppose.    That hit me and I’ve been trying to figure out what to do with that ever since.  

I wrote a butler in my Hellsing fic, basically an anti-Walter based on Marcus Brody from the Indiana Jones movies.   He was clueless and couldn’t stand the sight of blood, and he was really old, so he told the vampires that if he ever had a heart attack and dropped dead on the job that they shouldn’t pass up the free meal.   Is that me in there?   I tend to think a lot about the world moving on without me, and my own obsolescence.   I just didn’t think I was tapping into that when I wrote the character.   I wouldn’t even bring it up, except I liked writing the guy so much, and that’s the main thing I remember about him.  

A lot of my villains in Luffa are representations of things that I’d like to see punched, because Luffa is an unapologetic Mary Sue Self Insert.    I made her all these other things that I’m not: brave, a woman of color, a good cook, a charismatic lover.   But fuck that, this was all just a ploy to keep people from noticing any resemblance to me and my imaginary punching agenda.   But the villains hold all these shitty attitudes and shitty behaviors, things which I consider to be wrong but sometimes catch myself turning a blind eye to.   Jealousy, greed, fear, resentment, and so on.  

You end up putting a lot of yourself into your writing, there’s really no way to avoid it.  The only real trick is to disguise it a bit so it looks like a story instead of just an essay or an autobiography.   I think that’s where some of the YouTube personalities got it wrong, because they would try to tell a story AND write an essay at the the same time, and that’s tough to pull off.   One of the big things that came out of that whole Channel Awesome document was this problematic scene in “To Boldly Flee” where Linkara has been replaced by a cyborg duplicate, and he converts Lindsey Ellis into a cyborg, and someone hears all these suggestive noises and thinks they’re having rough sex.   It’s awkward anyway you slice it, but it gets even worse because it’s basically the real Linkara and Lindsey Ellis.    Their “characters” are so poorly distinguished from the real people that there’s no other way to describe it.  

Also, one of the most salient points I picked up from watching all these commentary videos is that real people can’t have character arcs.   You can’t just stick Filmdude and Captain Snark and Filmdudette and Movie Sniffer and The Comics Complainer all into the same scene and expect anything important to happen to any of them.   They can’t learn anything or grow in any appreciable way during the story, because they’re real and the story is fictional.  The only “character” to their roles are the bit where they review pop culture stuff, which might as well be non-fictional, so why bother?  Even if I’m wrong, and there really is a more complete fictionalized version of everybody in the Channel Awesome Trilogy, the waters are so muddied that you can’t make sense of it. 

And that’s the real danger of leaning too hard into putting a 1:1 replica of yourself into your stories.  Stephen King can be a bus driver in one of his movies, and Stan Lee can be a bus driver in Avengers 3, but if Stan Lee just started kicking the shit out of Ultron it’d be confusing, especially for people who didn’t know who he was.  And if Joss Whedon started kicking the shit out of Ultron, it’d be even worse, because he’s not as well-known as Stan Lee.   You’re better off making up a guy like Thor or the Hulk who can do it for you, and then putting just enough of yourself into those characters that you won’t get caught.  

At least, that’s how I see it.  

[aion-rsa]

How Alias Anticipated Modern Superhero Storytelling

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J.J. Abrams’ spy drama Alias, which turns 20 this week, was a lot of things: high-octane action-adventure series, twentysomethings relationship drama, occasional National Treasure homage. It was also, surprisingly, a spiritual predecessor to today’s hyper-saturated superhero movie and TV universes: A preternaturally gifted fighter, Sydney Bristow (Jennifer Garner) inhabits comic-book-esque alter egos to infiltrate secret missions related to ancient artifacts and promised immortality, all while ensuring that her nearest and dearest don’t know how many times she’s saved the world—or which side she’s really on.

Like the series’ MacGuffin-generating Nostradamus figure Milo Rambaldi, Alias has proven to be somewhat prophetic itself about what makes for the kinds of superhero stories that land today. With some 20th-anniversary hindsight, let’s look back at what made Sydney’s story so super and what lessons Abrams’ ridiculous(ly fun) series can still impart to the current crop of superhero sagas.

The Secret Identity as Kiss of Death

The highest priority that spies and superheroes share is that they cannot get made—that is, have their identity as a larger-than-life individual linked to their “normal” selves. They must always keep their personal and professional personas separate, lest they risk losing the people who know both sides of them. Alias establishes this difficult lesson in the first half hour of the pilot, when Sydney reveals her true work (she thinks SD-6 is just a covert branch of the CIA) to doctor fiancé Danny, only for him to blab about it later and get bloodily taken out in their bathtub. It’s the first time that SD-6 treats its sweet protégée harshly, making clear the consequences of her actions should she open up to anyone else in her life. And then she defects to the CIA, which will be a death sentence for her if SD-6 ever finds out.

Yet beyond the specter of grisly assassination, what the series really digs into is Syd’s growing ethical dilemma about being a double agent where it concerns the actually good people at SD-6, primarily her longtime partner Dixon (Carl Lumbly) and sweetly awkward Q stand-in Marshall (Kevin Weisman). It would be too easy if the series were only about her getting long-game revenge on SD-6 director Arvin Sloane (Ron Rifkin); the real conflict comes from Sydney lying to Dixon’s face on every stakeout, knowing that he still thinks he’s working for the good guys and she can’t ruin that fantasy for him without potentially turning him into collateral damage.

Similarly, the moments in which Sydney’s two (or three) lives begin to collide have other heartbreaking consequences: While the scene in which her best friend Will (Bradley Cooper cast as the friendzoned buddy, amazing) gets kidnapped and sees Syd saving him, is one of the decade’s best laugh-out-loud moments, it also leads to Will going into the Witness Protection Program. His life ends, in a sense, because Sydney couldn’t keep everything compartmentalized. And we haven’t even gotten to the awful fate that befalls her best friend Francie (Merrin Dungey)…

What Alias Predicted: The beating heart (or arc reactor) of many a superhero story is this tension between selves—which means that the big reveal of a secret identity has to be carefully timed and deliberately presented. It’s as emotional as Peter Parker’s (Tobey Maguire) mask getting ripped away when he saves the subway car of people in Sam Raimi’s Spider-Man 2, as big as Spider-Man: Far From Home doxxing that Peter Parker (Tom Holland) in a commentary on fake news, or as pure and simple as Tony Stark (Robert Downey, Jr.) outing himself as Iron Man in the very first installment of the MCU. You cannot unring that bell, so it better be a memorable moment.

What Superhero Stories Can Still Learn: Rev the secret identity stakes back up! Captain America: Civil War ably took on the game-changing Marvel Comics arc of the same name by having heroes collectively unmask, and movies like Spider-Man: Far From Home are still playing out those ramifications. But mostly we see the dangerous ramifications of heroes doxxing themselves, without really digging into the strain for heroes to constantly have to lie about the things that truly matter to them.

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Campy Disguises and Clever Aliases

If you’ve watched Alias or were even vaguely aware of it, no doubt the first thing you envision is Sydney in black leather and bright red hair, a.k.a. her iconic look from the pilot. Her non-SD-6-sanctioned, under-the-radar disguise (impersonating Will’s sister) displays her ingenuity and establishes the series’ brand: attention-grabbing hair paired with increasingly ridiculous outfits, from chain mail waitress ensembles to rubber dresses. She’s played punks, rich bimbos, alluring businesswomen, escorts, and all manner of female personas upon which her marks would project their assumptions—all of which belied her true strength and cunning.

Even when future episodes riffed on the color wheel with teal, magenta, purple, and good old-fashioned blonde wigs, it was still within a clear spectrum established on that pivotal mission, when she channels a silly girl who cares more about the color of her hair than her safety, only to pin her torturer with the same chair to which she’s bound.

What Alias Predicted: I would hazard a guess that Natasha Romanoff’s first appearance in 2012’s The Avengers—a seemingly helpless redhead tied to a chair, about to be nastily interrogated—was a nod toward Sydney’s triumphant pilot mission. What’s more, despite the first ten years of the MCU leaning toward sleek costumes, later phases (like WandaVision‘s cheeky Halloween callbacks) have realized that they can embrace the bold colors and campy designs of the comic-book source material.

What Superhero Stories Can Still Learn: Better to lean into the bold colors and campy designs of the comic-book source material than to go for more sleek and cool. WandaVision did this, albeit cheekily and using the excuse of Halloween, but the nod toward Scarlet Witch’s original outfit was well received. Because any superhero can look cool in leather, but only the standouts can rock color.

Rambaldi Artifacts, Immortality, and Clones

While replicating the romantic dramas of Felicity, Abrams was also playing with early iterations of his signature “puzzle box” narrative style: The pilot has Sydney chasing after the mysterious Mueller device, which turns out to be… a floating red ball… which bursts into water the moment she tries to remove it. That head-scratcher of a device is only one of many inventions belonging to Milo Rambaldi, a fictional Renaissance-era philosopher whose sketches and writings all pointed toward the ultimate endgame: immortality. You know, just normal spy thriller things.

The series saw Sydney and co. chasing after all manner of Rambaldi MacGuffins, from a clock to a kaleidoscope to a music box to flowers that either demonstrated proof of eternal life (by never wilting) or amped up human aggression. Through all of this, it becomes clear that Sloane helped found SD-6 in order to collect all of Rambaldi’s artifacts and capture immortality for himself—even and especially at the cost of people like his daughter, Sydney’s half-sister Nadia Santos (Mía Maestro).

Before we get more into Rambaldi’s prophecies about the sisters, we can’t forget the parallel fever dream of the series: clones! Or, rather, secret agents genetically modified to look like anyone—which means everyone is a suspect. This constant paranoia quickly got out of hand on the series, but its first reveal was perfect TV drama: There’s not an Alias fan who doesn’t remember “Francie doesn’t like coffee ice cream” and the complete devastation that followed—the knock-down, drag-out fight that destroyed Sydney’s apartment just as badly as Danny’s death, but also Sydney’s heartbreak upon realizing that her best friend was already long dead.

What Alias Predicted: The Infinity Stones themselves are less interesting than in various superheroes’ personal connections to them: Loki (Tom Hiddleston) tempted by the tesseract in Thor: Ragnarok; Star Lord (Chris Pratt) and the Guardians of the Galaxy channeling their friendship to withstand the effects of the Power Stone; Wanda Maximoff’s (Elizabeth Olsen) stages of grief as she copes with trying to keep the memory of Vision (Paul Bettany) alive even without the Mind Stone. In short: grounding the most out-there plotlines in the personal ensures they will always land.

What Superhero Stories Can Still Learn: Ground the most bonkers of plotlines in the personal, and they’ll always land.

The Chosen One and the Passenger

This is when the Rambaldi business started getting less National Treasure levels of charming and more outright weird. Turns out the team wasn’t just recovering a treasure trove of artifacts, but also Rambaldi’s prophetic writings—including the mysterious “Page 47,” which featured a drawing of a woman known as the Chosen One… who bears quite the resemblance to Sydney herself. That would be easy enough to dismiss as a strange doppelgänger coincidence, but then comes the reveal of “Project Christmas”: When Syd discovers that she didn’t just stumble into the spy life on her own, but was actually trained as a sleeper agent from childhood, it only amplifies her fears that she has no true agency over her life.

Further Rambaldi writings center Sydney and Nadia into predestined roles as the Chosen One and the Passenger: supposed foes who are fated to clash, with one dying. Nadia getting injected with “Rambaldi fluid” in order to tap directly into the long-dead man’s consciousness (contained within another artifact known as the Sphere of Life) only earns her some nasty apocalyptic visions. But despite their genuine friendship that comes from bonding over their fucked-up childhoods, Sydney and Nadia are forced into that preordained confrontation when the latter is injected with a compound that reduces her to a mindless killing machine… all while a giant red ball is hovering over a city in Russia, because why not. Even after Nadia dies, and is brought back to life, then dies again, with her ghost haunting Sloane as he finally attains immortality, she remains a presence on the series.

There are certainly echoes to Black Widow and how it handles Natasha and adoptive sister Yelena’s (Florence Pugh) strained reconciliation after the older sister got out of the Red Room while the younger was still caught in its web. Their bickering banter about vests and poses, their differing memories of their false childhood, and their respective feelings of abandonment are what elevated Black Widow’s standalone outing—and made it even more tragic, on multiple levels, that this was the only time we would see the two of them in a movie together.

What Alias Predicted: Sister stories are gold! The Rambaldi storylines would mean nothing if they didn’t hinge on a tragically preordained confrontation, just as the MCU’s Red Room depiction seemed overdone until it was presented within the context of multiple generations’ differing experiences with its bloody legacy.

What Superhero Stories Can Still Learn: More stories about sisters! With Nat dead not long after she and Yelena had just started to bond again, it’s vital that Yelena’s future MCU appearances show her still grappling with the little time they got together.

After all, the best superhero stories are the ones that can feel just as fresh now as they did 20 years ago.

Alias is currently streaming on Amazon Prime Video.

The post How Alias Anticipated Modern Superhero Storytelling appeared first on Den of Geek.

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[thedailyvio]

Every now and then I feel bad for giving 0 context for anything, so gonna quickly summarize my story stuff under the cut

The Traveler’s Found (TTF)

Skye, Gill, Marth, Kydin, Leo, Kira, Krieg, Heiwa, Narcissa, Sebastian, Vadim, Bahemek, Xenon, etc

TTF is hard to summarize because it has 10 story arcs and they all lead into the other, but the plot begins with ‘A wizard terrorist attacks the king of Hou’lu sending two girls on a quest to stop him’ which sounds so simple doesn’t it -sobs-

 Very adventure, political intrigue, slice of life elements

They basically travel all over the world, and I’ll quickly summarize what that’s like by listing each countries major influences

Hou’lu: Italian Renaissance, China

Sunobor: Medieval Germany, Japan, Inuit

Haldon: Folk Mexican, Folk Italian

Lavynna; Byzantine, some inspo from India to structure of things?

Gehinna: Ancient Hebrew

Parappa: Egypt-Germany

North Desert: Russia-Arabic

Harpies (more a tribe): Maasai

TTF of them all gets the most complicated but very incrementally, so it’s the hardest to express much on. But they get a cool hard magic system based on 10 elements so

Also TTF dragons are sentient, intelligent, and morally complex

—

The Miyoré Schism

A prequel to ttf by about 900 years

Faolan, Mien, Enlai, whatever I name the girl, Jiao

The plot here is a bit simpler

What happens when the one who pulls the blade only those Chosen by God can touch is among the race of people thought to be destined to serve?

This focuses largely on the Sha’li of East Hou’lu. As a race they have very distinct white hair, pale skin, and red eyes. At this time in history, monster taming was very common as well, so most the characters have a family or personal monster. Sha’li also have an ability to become “invisible” but in actuality they are lowering their ‘presence’ or ‘noticibility’ to all non-Sha’li

This story draws largely from Tibet for its aesthetics

—

Kingdoms

Ariella, James, Charles, Kiba

I have uprooted a lot about this story and not yet relayed it, but so far

A girl who wanted to become a soldier but was refused strikes out on adventure to do what she can for her country on her own- but to her chagrin gets a tag along

This story likely will have a soft magic system, and is definitely still based on Victorian and Japanese aesthetics. It’s actually a specific era of Japanese history but I can’t remember which. Possibly 16th c?

Despite this, it’s a low tech world.

Most fantasy type creatures/races do show up in Kingdoms, unlike my other stories

Dragons exist in Kingdoms but are universally evil and nobody has ever killed one

—

Magic and Cannons (MnC)

A wip name still

Cusick, Agathe, Romana, Kordell, Levi, Maureen, Ames, Sung-jin

I’m still figuring put the plot to this honestly, but the first bit is definitely

‘A narcissistic man is captured as a PoW and must find a way to escape’

There’s just three countries of any importance to this world, and it’s much less whimsical in nature than the others, being closer to reality in some ways, and having a lot more tech. Though it vibes as subtly cartoony in how characters have slightly exaggerated aspects to their personalities and behaviors.

Delemar is the country Cusick is from and is based on Wild West in many ways, they’re a very independent people which can be good and bad, they also give no hecks about safety and are pretty wild in general

Choson is where Romana is from and they are much more interested in normalcy and order, which can be both good and bad. They prefer reptiles and fish as pets to mammals actually, which feels important to mention. If you know much about history, I suppose it’s clear they draw a lot from Korea for aesthetics.

Choson is also a very mixed population in terms of race, which Delemar is very much not.

Kievan is where Agathe hails from and is based on Russia. In each case I tried sticking to 1850s-1900s ish for my influences of these countries, though socially they are very diff.

Kievan has an affinity for wine and is the only country that appreciates using electricity for power. They have harsh winters, especially compared to the other two countries which tend to be more tropical in climates. Kievan is less developed so far, but they tend towards legalism there, and while that can be bad, they are also the one not involved in a pointless war, so

MnC is what I call glasspunk, Delemar and Choson rely on ‘reactions’ for their energy sources, which I can only explain as ‘you know how if you mix two volatile liquids, they could explode? They harness the energy from such things’

This is possible because their magic system is a type of alchemy which has allowed them a lot of reactions not available to us, and with this they’ve been able to get treated glass which is nearly indestructible, great for containing anything they need.

Magic is still something within the individual, but in MnC the extent of what it does is change the properties of whatever you’re touching with your hands. If you specialize in using this and inventing things based off of things with changed properties, you’re called a mage.

MnC has a lot of strange tech this way, including trains, vehicles, customizeable guns, staves that through weird tech stuff can have sort of elemental effects, etc.

Electricity is not compatible with reactions btw, because it can cause them to explode outside of when they’re meant to, kinda like smoking by a bunch of canisters of gasoline, it might be a lil risky. So societies that use reactions do not use electricity and have things in place to get rid of it, and societies that use electricity don’t use reactions. Combining them can get cool tech, but is inherently risky.

oh whoops I went off there, huh. Oh well it’s not seen as often as the other types of societies/magics I listed so

Dragons in MnC are animals (technically wyverns?) and have been domesticated to be work animals. No fire breath but they do have a strong venom, I think a neurotoxin type?? And the insides of their mouths are orange 👀 oh and the domesticated ones are reflective like mirrors ish

—

Children of the Little Mine (CotLM)

Geno

This is the only one I plan to make a novel, because it’s set in 1950′s-1960′s New York City and I don’t care about those aesthetics at all

I don’t have it planned out very far for plot, but basically a gremlin thief boy of 17 has a strange ability to manipulate how gravity effects him, and seemingly nobody else in the world has this. But one day during a break and entering situation, Geno finds another boy with an ability, and from there they decide to try sticking together a bit to figure out why, and maybe put together a heist against a mafia boss in the mean time (two stealy boys)

This is very close to being historical fiction aside from abilities, which are /extremely/ rare in this world. I’m very inspired by Artemis Fowl and A Separate Peace for tone, and plan to have middleschool boys as my target audience. Though I love fantasy and such, this one’s still a bit close to my heart anyways

Anyways literally nobody asked for this I just do this to myself. I seriously wanna start practicing comic making skills, but I can’t do that too much for a daily thing when I can usually put in an hour at best. I’m trying to find a sweet spot for it all, but it may yet be awhile before I can post literally anything that sheds light on who the heck any of the chars I post are.

I want to though, and I’ve been running this blog for years now, so best to assume it’ll get there someday. I have still written a lot and planned out things, so progress still happens behind the scenes. Aside from the last few months but that’s not uncommon for this time of year. If you actually read this, thanks euchjsd I don’t think many will, but having it here makes me feel a bit better

[cosplayinamerica]

AUTHOR INTERVIEW : Ryan La Sala

The best thing about being in Artist Alley is the opportunity to meet people. You are sitting behind a table and basically the entire convention comes by you. Over three days you are chatting, laughing and sharing stories with the community. It was 2019 and I was sharing a table at Anime NYC 2019. It was my first time back to New York in a number of years and this is how I met author Ryan La Sala who just released his first book Reverie at that time. He mentioned he was working on a book related to cosplay. Fast forward to now Jan 2021 and his new book Be Dazzled is out!

But before we jump into the book, let’s talk to Ryan about his experience cosplaying. I mean I do run a cosplay blog!

EJEN: So Ryan, after digging around on Google I discovered you cosplayed at New York Comic Con previously. Take me back and let’s talk about how you discover cosplay, what do you love about it and take me through your experience cosplaying and convention going.

RYAN: I’ve always loved crafting costumes, and I’ve always loved cons and anime, but for some reason I didn’t cosplay myself until I started dating this guy who needed help on an iceman look. We dated for a few years and it was through him that I got really into the world of cosplay, even building us matching Hawkman cosplays for NYCC one year. I started writing a book about cosplay soon after, and fell deeper in love through the process of research. I love cosplay for so many reasons.

Dressing up is such an effective way of outsmarting reality and inhabiting the body of someone powerful, or eccentric, or dramatic. It feels good and it looks cool. Plus, I have profound respect for the work that goes into building these looks. I love that cosplay is half armor, half art, and entirely fun.

The irony of writing a book about crafting and cosplay is that I rarely had time to work on my own cosplays. The result was that despite being super crafty, I was constantly the only one in my group of con friends not dressed up, which meant I got to hold their stuff and take photos of them while at cons. Which I actually love! It gave me the ability to absorb the atmosphere and appreciate everyone’s hard work, and observe. That’s what I needed while writing, but now that the book is done I’m super excited to get to work on all the things I couldn’t create these past few years. Soon, my friends will be forced to hold my things and take my photo!

EJEN; Cosplay is like any creative process faced with barriers and difficulties, some of them interior battles and along the way I think we find ourselves through this process.  Share with us how cosplay has informed you and your writing.

RYAN: There is nothing more humbling than that task of taking something imagined and attempting to make it material. Cosplays are like that. So are books. The mark of a job well done is often the lack of any signs of effort, but the truth is that effortless excellence comes at the steep price of a lot of rejection, failure, and determination. I learned this early on in my own crafting ventures, and it prepared me for the monumental task of taking the worlds in my head and trying, despite physics and reality, to put them into the heads of others.

If you’re me, you start every project with half the knowledge you need to finish it. Half if you’re lucky. The rest has to be figured out as you go.When I create something--a craft, a cosplay, or a book--it’s often an exercise in trust and vulnerability. I trust that if I just keep going, I’ll finish, and maybe it won’t suck. And that’s a vulnerable thing to do--to know perfectly well that you’re not nearly as skilled as you need to be to accomplish something, yet setting out to accomplish it anyways.

EJEN: So your new book Be Dazzled has been tagged as Project Runway meets Comic Con. I’m sure your con experiences help create the characters Raffy and Luca, can you talk about how these two came into being as well as the genesis of your second novel?

RYAN: I was a mess at my first NYCC. I stayed up every night for like a month prior building matching cosplays for me and my boyfriend, who wasn’t very useful at crafting but was super hot, so we balanced each other out. Anyways, on the day of NYCC I was irritable and exhausted, but also elated and inspired. It was a strange, super-specific scenario, and immediately afterwards I called my agent to tell her I wanted to write a rom com based on it. 

That’s how I got Raffy and Luca, and their fraught relationship drama taking place during a cosplay competition. Raffy is this super determined artist that fights through perfectionism and anxiety to deliver amazing work, yet Luca, his ex-boyfriend, gets tons of recognition cosplaying because he’s hot. The book is fiction, and the story is made up, but it’s rooted in a real experience and a real relationship.

And for anyone wondering, me and that guy broke up. It wasn’t because of cosplay though, I promise! We’re still best friends, and the book is actually dedicated to him.

EJEN: How was the writing process with the second book? I mean with your first book there was definitely many, many years put into that book. This time I assume your writing time has shortened plus you definitely have more experience under your belt.

RYAN:  I’m careful about saying this because I don’t want the Novelist Mafia to put a hit out on me, but writing this book was a lovely, painless process. I think it’s because this book is made out of pure love and joy. Even though it starts with a breakup, the book itself is about all these things I love, and have loved forever.

Crafting, anime, costumes, cons, new love, second chances, teamwork -- it’s all readily available joy that I just had to write down. And it also helped that the emotional plot of the book was something I myself had gone through, so much of this felt like therapy.

And, of course, there’s the deadline. First books are hard because no one is asking for them, usually. You can just go on and on until you’re done. Second books, however, are often developed with a deadline looming. I’d like to think I’m a better writer the second time around, but it may just be that I’m a tad bit more….inspired.

EJEN: I love your story how growing up you didn’t see queer people represented in the books you read so you were inspired in a way to make own path plus the way you found yourself a book deal makes it sounds like a dream. Though you know as well as I do there are many curves and many paths to reach your goal. What are some nuggets you would give creators out there hustling for their dreams?

RYAN: Take your dreams seriously. Afford your dreams the dignity of your best effort. There’s lots and lots of advice out there meant to ease off the pressure, to give you a break, to treat yourself, to take care, to take a break -- all of that is good advice. But I always tell creatives that it’s also okay to know exactly what you want to do, and to pursue it with unremitting resolve. I especially want queer creators to know this, because so often no one is asking after our art. We have to create it without any promises it’ll be recognized, and it’s so easy to give up as a result. So I’m here to tell you to take your work seriously, because it deserves it. And you deserve it.

EJEN: What would you hope readers would take away after finishing your book.

RYAN: My greatest dream is that someone will put down my book and be inspired to make something amazing for themselves. It doesn’t have to be a cosplay or a book. It could be a dragon made out of laffy taffy for all I care. I just want people to get in touch with their own ability to make cool stuff, and to take risks expressing themselves.

My second greatest dream is that readers realize that stories like this--that are joyful and queer--are too rare. I hope they put down my book and ask for another just like it.

EJEN: So how are you handling the pandemic ? Are you using the time for your next book?

RYAN: I certainly should be, but I’ve found instead that the pandemic has created an oddly perfect scenario for me to focus on all the arting and crafting I didn’t get to do while I was writing a book about arts and crafts. I’m writing more, but I’m also working on lots of mini-projects. I’ve started a crafting channel on YouTube, for instance, and separately a podcast in which me and another writer are reading a fantasy novel written by Tyra Banks as if it’s a IRL Bookclub. Stuff like that.

EJEN: Awesome, thank you Ryan and good luck with what comes next, I hope to see you in the future at Anime NYC or New York Comic Con!

Be Dazzled is available now. Read the first chapter here.

[harmonytre]

Comic Plans

Current Projects:

Prismtale (Mondays): An Undertale AU involving NPCs and multiverse travelling. Multi-chapter comic and ongoing.

Mistbreak (Tuesdays): A Steven Universe AU with about 5 pages left of the comic. Then it will become an ask/drabble/design blog.

Flicker of a Neon Soul (Wednesdays): An Undertale AU where monsters have colored soul traits and humans have white soul traits. 10+ chaptered comic with many plans and plot.

Taffy and Steven (Thursdays): A Steven Universe where Steven and his gem are split into different people and Taffy is a wholesome boyo. One page left of the comic, then will become an ask/edit blog with occasional comics.

Future Fandom Projects:

Pokemon Nuzlocke Comics: Multiple regions and an overarching plot. I need to finish playing and writing the first arc before starting the comic. (long term)

Who I Am: A Pokemon comic where James from Team Rocket is a were-pokemon. I need to rewrite it first. About 7 to 8 chapters. (medium length)

Other Undertale AUs: Certain AUs will be revealed in Prismtale and turn into side blogs, and others will be one time comics. (varies)

Future Original Projects:

(One of these I want to make extremely interactive. Like the audience makes choices for the characters.)

Phantulfurs: A comic about teens with powers to see creatures no one else can. I’ve rewritten the first chapter multiple times, but I need to really write it out before starting the comic. About ten arcs. (long term)

Skryculars: A sequel to the above story. (medium length)

The Journeyers: A multi-book series with my cousin. About ten books. Involves animals, powers, and romance. Won’t give information beyond that. (long term)

Unnamed Animated Series: Still need to design the two main characters, but they’ll travel through many worlds from my dream world. (long term youtube series)

Unnamed Wings Story: Decided many many characters for a high school story with wings. Lots of diversity and LGBTQ. Problem is I don’t like writing high school stories and have no plot. ;^; (medium? short?)

Unnamed Long Term Comic: A story about a space girl with wings, a nonbinary person that can shapeshift and communicate with animals, twins with water and plant powers, and an angsty wholesome skeleton bean. No plot yet. (long term)

Short Term (below the cut, any catch your interest?)

(keep in mind many of these I wrote the descriptions for years ago or based off of dreams.)

“Orphan Dog” and “Martha’s Pack” An orphan finds out she can talk to dogs and realizes they are the key to finding her missing parents. (Wrote when I was 8, rewrote partially when I was 13. So very cheezy. Would be even cheezier if I didn’t rewrite it, but still drew quality serious art XD.)

“The Agency” A girl named Jill has secrets. Major secrets. For one, she can turn into any animal at will including extinct, Fantasy, or hybrids. Don’t forget that she can also turn invisible and do telepathy. (Not to mention she runs an entire secret animal spy community…) When her best friend and spy ally, Izabella the opossum, goes missing, she must find what it means to be a true friend and showing that it’s what’s inside that counts. (Actually liked this one too. Even if it’s also cheezy.)

1. “Moos” A boy is adopted by cows and is granted the power to understand animals and turn into a cow.

2. “Moos: Vile Meat” Hoover is back and he must defeat the evil Haystack, a human entrapping calfs in little domes for eternity.

3. “Moos: Cold Cuts” Hoover finds a new ally, one who creates...snow?

4. “Moos: Wakey Wakey Eggs and Bakey” Haystack is back and Hoover and his friends must defeat him before he turns all pigs into stone. (Cheezy series?)

“Extraordinaries” Emma, her friend, Millie, her brother, Clark, and her dog, Charlie, have to travel to a faraway land to save Emma’s mother, who has been poisoned. Along the way Emma and the team must find how to deal with their newfound powers of Imagination. (This one was also pretty good! A story from Nanowrimo a few years ago.)

“The Hummingbird Did It” A hummingbird turns a lazy boy into a dog. The boy must venture across country to find the cure. (Was kinda boring and just me having fun with google maps lol.)

“Sunshine and Rainbows” A girl is taken to another world by rainbow dust and must find her way back to Earth. (Can’t actually remember this one.)

“Nature’s Lifeforce” A boy and girl are given the power to turn into any woodland creature and talk to trees. (Also can’t remember, but sounds cool.)

“Ravens” A girl named Hannah, a boy named Billy, a boy named Cameron, a girl named Lyla, and a boy named Clark, among other students, have their wishes come true. This creates a problem as Cameron becomes a dog, Lyla becomes a cat and Hannah and Billy become ravens. They fix the problem for everyone except Hannah and Billy, but embark on an adventure to find the scientist who can help them. (Based on a dream, I think.)

“Dragon wings” Hiccup and Toothless accidentally sit down someplace weird. They switch bodies and Toothless claims to have heard someone press a button. (ASDFGHJKL WHAT?! HTTYD short story)

“Melody Dreambubble” A weird new pony arrives in Ponyville. Twilight is curious to find that she has no Cutie Mark, was raised by wolves, and bears mysterious powers. (My Little Pony, kinda self insert, short story)

“Eyes of Gold/The Tower” A Fan Fiction based on The Ever Afters series and two stories rolled into one. Rory finds that her two best friends have been poisoned by a new dragon species/As Rory is about to enter a tower to save Chase a random girl shows up out of nowhere and has a weird habit of annoying Adelaide. (Was my first ever self insert? And based on a book series unlike the rest? Cool! Oh I even wrote ten whole pages! Neat. Featuring a girl chasing a dragon with a bedpan!)

“Roadkill” A man purposely runs over a deer on a freeway. The deer’s best friend curses the man, later to regret it because he has to undo the curse himself. (Lol, this was interesting.)

“Melissa and Steven Started a Food Fight” A completely random book that takes the characters through an adventure of explosions, unicorns, and talking squirrels. (Used a random prompt generator. Very random. And funny.)

“Before it’s Gone” A snooty teen crashes in her car and finds a surprise when she wakes up. (Oh yeah, another old story. She turned into a dog and none of the other dogs believed her.)

“The Unicorn Killer” A short story about poachers and Julia. (Yep. Short story.)

1. “Feathers of Gold” A logical young bird griffin, Gabriel, wants to find a way to stop to war between bird and lion in his land, Genetica.

2. “Scales of Emerald” A shy young dragon, Emmie, tries to keep her land, Reptilia, from destruction.

3. “Hair of Crystal” A brave young unicorn, Crystal, tries to find a way to join together the leaders of the land of Equinsta.

4. “Flames of Ruby” A vain young phoenix, Flaxter, tries to capture the eyes of girls. Taken place in the land of Flamia.

5. “Gems Unite” Gabriel, Emmie, Crystal, and Flaxter find out they are The Gems, the only ones who can save their world, Animagicia, from the beings, called Humurns, that are trying to destroy it. They must come together and find who they truly are. (Might have fun with this series. I’ve always loved mythical animals.)

“The Distance from Sam” An 8 year-old St. Bernard named Barry, a 3 year-old Golden Retriever named Mick, and a 1 year-old Sheltie named Sandy set off to return to their owner Sam, after being kidnapped and sent across country. (Kinda like Homeward Bound. Came in mind when I saw these three dogs alone by a street, no humans around.)

“The Skilled” Andy and Ashley(both fifteen) and their eight year-old siblings, twins Alex and Alexa, gain powers from the sewers. All: understand animals and fly, Andy: talk to toys, Ashley: speak to plants, Alex and Alexa: psychic powers. “I used to think my toys would come to life when I was gone. I guess I was right.”-Andy. Based on a dream. (Too many “A” names, oof. Also, toy Story much?)

“The Moon’s Eye” A teenage girl named April gets trapped under a snow drift and wakes up to be a wolf. A nearby wolf pack needs her aid and calls her The Mooneye, a changeling. (Cool. Cool.)

“Unusual Forces of Omnipotence” A woman and her horse are supposedly crushed by a U.F.O. When Tanaya wakes up she finds out she has super strong senses and can run as fast as her horse. Pluto the alien knows he’s going to be in trouble if his planet finds out he crash landed and accidentally gave a human the powers of her horse. He tries to fix it. Told from Tanaya, Sunray (the horse), and Pluto’s point of view. Based on a dream. (Sounds interesting! Title came from before I knew UFO was an acronym lol.)

“The Lawn” Unknown to humans, a yard full of statues come alive at night. There is an elk, two bears, four buffalo, a wolf, an eagle, three horses, a small boy, a moose, a bighorn sheep, and a rabbit. (Based on a real lawn I’d see on the way to school.)

“Dragon Eyes” Max has an ordinary life, until his family, him, and his three friends, Alice, Peter, and Samuel, are transported to another world. His parents are then kidnapped and they have to fight against an evil Mother Nature. Based on a dream. (Interesting. The dream was freaky.)

“Sweet Treat” Emily’s dad works at a candy factory, and one day she visits him and realizes his work is not all it seems… Based on a dream. (What? I don’t remember what was different about his work???)

“The Flight of the Supernatural” Randy thinks he is mostly a normal kid. Sure, he and his dad live inside a mountain, and sure, some flying species of human killed his mother, that doesn’t mean he can’t live normal life homeschooling and watching TV. But unfortunately, Randy’s life turns around when he finds out he can fly. Is his father telling the truth? Did his own species kill his mother? Based on a dream. (Actually REALLY loved this story.)

“Whispering Willow” A girl named Willow helps 20 wolf cubs escape a pet store and then is recruited by a zoo. Pretty soon all of the animals know her as Whisper. Based on a dream. (Cool. another animal whisperer.)

“The Invasion of Our Minds” Little black aliens invade Earth and only one person can stop them: Julia. Based on a dream. (Oh RIGHT! Yeah I remember that.)

“The Marble Island(Possibly a short story?)” Julia goes on a trip to a new marble island only to find the owner turns people into stone figurines. Based on a dream. (Links to the previous story, I think.)

“Have some candy!” Violet, an expert on strange occurrences, needs to help a group of people who mysteriously turned into animals after attempting to grab candy bars from a bin in a local store. Based on a dream. (More animal transformation.)

“The Guide to Mythical Creatures I Made Up” A guide to everything from the Mystic Melody to the Gollan. (I don’t remember either of their designs! :P )

“Trying to Get Back to Mom” Michael and Annabelle meet new friends, while they frantically try to reunite with their mother. (Don’t remember.)

“Surprise of the Future” Pearl travels to the future and has to fight her now-evil brother in his stone mansion. (Not Pearl from SU. Based on a dream.)

“All for You” A man has to overcome many obstacles, such as mermaids, yellow smoke wolves, and magic maps, to save the world and his girl. (Oh yeah, this was a cool one. Based on a song, but I can’t remember which one.)

“The Stranger at the Door” Keith and Amber have lived with their grandmother for many years, but now they live alone and nobody knows. Then a strange girl arrives at the door. She claims they will have to leave town within 2 hours or risk being stuck in a quarantine zone. There will be traffic jams and other hindrances, so it's best to leave right now without taking anything with you. Unsure about everything, including this strange girl, the teenage boy disagrees to the proposal, if all this turns out to be true, this choice will seem foolish. His younger sister does agree. But what if this strange girl can't be trusted. Or what if all this is an elaborate trap. How could an ordinary teenage girl and boy end up in a situation like this. Time to find out. (Oh, a quarantine story? How long ago was this? 2017 I think.)

“The Beginning of the Hybrid Brothers” A backstory that shines a light on how Ralph the Rat-Man and Dr. Discord came to be evil. (YES, MY TWO VILLAINS NO ONE KNOWS ABOUT BUT ARE STILL DEAR TO MY HEART HNNNNNNNG.)

“Unnamed but same as the blank” A girl named, _____, lives in a family of nine. She and her mother are the only ones who aren’t “Morhumals”, or people who can turn into one animal. After the twins mess-up and send a “Morhumals” hunter after them, it is up to ___ and her sister, ____ to rescue them.

“Song of the Siren” ____ is back after her fourteenth birthday. She finally has received her animal and must follow her family to the mythed Siren hideout.

[onebadwinter]

The Joker Tropes

Taken from Here

0% Approval Rating: Apart from Harley (and even then, only when their on-off relationship is "on"), Gaggy and Punchline, no one likes or supports the Joker. In any way, whatsoever. Damn near every other member of Batman's Rogues Gallery hates his guts, mostly because not only is he completely sociopathic and unpredictable, but also they are all scared shitless by him. The only reason why he's even allowed in teams such as the Legion of Doom is because of that fear: if they exclude him from the lineup, then chances are that dead bodies will be lining the streets in their name. Trickster spells it out in "Underworld Unleashed." Trickster: Great going, Neron, bring in the one guy no one wants to be in the same room with. When super-villains want to scare each other, they tell Joker stories.

Abusive Parents: One common tactic for the Joker to garner sympathy is claiming he was ill-treated by his parents. Given his propensity to spew out different and sometimes contradictory backstories, nobody knows if they're true.Harley Quinn: Joker told me things, secret things he never told anyone... Batman: What did he tell you, Harley? Was it the line about the abusive father, or the one about the alcoholic mom? Of course, the runaway orphan story is particularly moving, too. He's gained a lot of sympathy with that one. What was it he told that one parole officer? Oh, yes... 'There was only one time I ever saw dad really happy. He took me to the ice show when I was seven...' Harley: (crying) Circus... He told me it was the circus. Batman: He's got a million of them, Harley.

Acquired Poison Immunity: In many continuities, he's immune to his trademark Joker Venom/Smilex. In a crossover comic with Captain America, he also proves to be immune to Red Skull's "Dust of Death", as their trademark poisons are too similar to each other.

Ambiguous Disorder: He's undeniably insane and Ax-Crazy, but has no official diagnosis. If anything, he can just be diagnosed with "Being the Joker". However, it’s possible he’s perfectly sane and just The Sociopath, and is using his manipulation abilities to continue his reign of terror.

Ambiguous Start of Darkness: Related to his Multiple-Choice Past; the only thing consistent is that he was a low-level crook who got dunked in chemicals to become the Joker. C While some origins (most notably The Killing Joke) have him being forced into crime, others have him as already a sinister criminal beforehand. Batman (1989) and Batman: The Animated Series choose the Evil All Along interpretation.

Appropriated Appellation:

Arch-Enemy: A classic example to the Batman, and not just in the comics - they are pretty much the iconic gold standard when it comes to this trope. The two of them are the page image for a reason.

Attention Whore: A big part of his motivation in various continuities. He even admits as such at one point, while denying he's not behind one particular crime.Joker: Do you really think I would stir up so much trouble and not make sure you knew it was me?

Ax-Crazy: One of his main characteristics is his willingness to psycho on anyone, including his own henchmen.

Bad Boss: Willing to casually kill his own henchmen for any reason, be it part of a plan, for amusement, or simply on a whim.

Bad People Abuse Animals: Defied by The Joker in at least one story (Emperor Joker). Evil Jimmy Olson kills Superman, who has been turned into a dog, by crushing him underneath a fire hydrant. The Joker is simply annoyed, because he doesn't know how to make something as pointless as beating a dumb animal funny. Jimmy Olson is then beaten to death by two giant robots who appear out of nowhere.

Believing Their Own Lies: He sometimes believes his Multiple-Choice Past, Depending on the Writer of course. One issue of the Robin Series had the Joker actually in tears as he told the psychiatrist of his abusive childhood, only for the psychiatrist to coldly point out that it's the seventh story he's told now.

Berserk Button:

Black Comedy: This is one of Joker’s specialties. To normal people, killing would be a terrible thing, but to Joker, it’s hilarious, especially if he does it in a way that amuses him.

Bond Villain Stupidity: In a "Detective Comics" story written by Paul Dini, the Joker (while impersonating a stage magician he had previously murdered) shot Zatanna in the throat so she couldn't recite a spell to save herself, then locked her in a tank of water while strapping Batman in an electric chair. He didn't shoot her in the head because he wanted Batman to watch helplessly as she died. This didn't go so well because first, he's BATMAN! and second, Zatanna was able to write a healing incantation on the lid of the tank using her own blood, which made the spell even more powerful.

Boring Insult: While the Joker has used it a few times on others, he mostly does it to hear the sound of his own voice as the people he usually slings this insult at don't really care whether or not they're boring. On the other hand, this is Joker's Berserk Button when others use it against him. Most notably, he reacts poorly when Terry deliberately exploits this flaw with glee and even rubs it in his face in Batman Beyond: Return of the Joker. After all, the natural enemy of a comedian is The Heckler.

Breakout Villain: The Trope Codifier for comics. DC's initial intention was to kill him off in his second appearance. Fortunately, editor Whitney Ellsworth convinced DC to spare him, a panel was hastily added to show that he'd survived, and the Joker rapidly became not only Batman's Arch-Enemy, but arguably the most iconic example of an Arch-Enemy in all of fiction.

Break the Comedian: A sure way to determined if things have gotten real, even for the Joker, is if he isn't laughing or joking. A famous example involved the Joker being frightened during the events of Alan Moore's Swamp Thing run, when he was horrified by Arcane's actions.

Clear My Name: The Brave and the Bold has him framed for several murders and he must use Batman's help.

Collective Identity: As revealed in Darkseid War and DC Rebirth, the Joker has been used by three people, though Batman: Three Jokers clarified it as this: The Criminal (the original "Golden Age" Joker from the character's debut in Batman #1), The Clown (the "Silver Age" Joker, strongly implied to be the one who killed Jason Todd), and The Comedian (the current "Modern Age" Joker, who kidnapped and tormented Jim Gordon).

Combat Pragmatist : While his fighting prowess varies from remarkably proficient to extremely weak Depending on the Writer, the Joker is a consistently dirty fighter, striking enemies when and where they are most vulnerable. Besides his myriad of gag gadgets, he often carries concealed weapons, gases and acids on his person, and won't hesitate to brandish a wrench or smash a chair over your head in a pinch. He is usually adept with knives and, unlike Batman, rarely has any reservations about firearms. He has no qualms kicking an opponent when they're down, and will employ deception, feigning surrender or defeat to get Batman to lower his guard.

Comic-Book Fantasy Casting:

Confusion Fu: This is often his last line of defense when Batman corners him, especially in the animated television shows. Effectiveness varies.

Cop Killer: Sometimes police officers are among the Joker's victims:

Create Your Own Villain: Most stories posit he was chased by Batman through a factory with No OSHA Compliance, which caused him to be exposed to acid, discoloring his skin and hair and driving him insane when he sees his reflection. Often he claims Batman is responsible for turning him into The Joker.

Creepy High-Pitched Voice: In voiced roles, he usually has a high-pitched voice to contrast Batman's Badass Baritone.

Crossover Villain-in-Chief: In DC's Crisis Crossover events that involve a lot of villains, like Salvation Run and Forever Evil, The Joker usually fills this role along with Lex Luthor.

Crouching Moron, Hidden Badass: Insanity aside, sometimes the Joker's plans and methods are so out there they just seem stupid. Despite appearances, he's usually very cunning, and always very dangerous. In fact, part and parcel of what makes the Joker's plans devastating is that he knows how to hide the punchline for lack of a better word. The plans are so innocuous, so disheveled and so utterly random that they usually have no sane MO, which makes it hard to see the bigger picture of the plan unless Batman pieces it together quickly.

Critical Psychoanalysis Failure: Happens frequently, though this may be an indication of the competence of the staff at Arkham. One such time was with Dr. Harleen Quinzel, who bought his story hook, line and sinker and declared him sane, then broke him out of Arkham and started dating him (of course, her exact analysis was that he was utilizing Obfuscating Insanity and it's implied that she was actually right, so perhaps she was the only good doctor at Arkham after all...)

Deadly Prank: He generally considers murdering someone for a joke to be morally no different than putting a whoopie cushion on their chair.

Depending on the Artist: His depiction varies a lot between eras and between different artists in the same period. Major differences are whether he can form facial expressions other than a grin, and whether he is average-sized or freakishly tall and thin.

Depending on the Writer: There are many huge variations, the most common and glaring being:

Depraved Homosexual: Not above invoking this deliberately to get under Batman's skin. Whether he means all his flirting and feel-copping varies slightly Depending on the Writer and heavily depending on one's own interpretation.

Diplomatic Impunity: In A Death in the Family, Ayatollah Khomeini appoints him the UN ambassador to Iran, giving him diplomatic immunity. This was later retconned to the fictional Syraq due to reasons of taste.

Dirty Coward: There is a common misconception that Joker has no regard for his own life and doesn't care if he dies or not. In actuality he does care, and the reason he keeps taunting morally good characters into killing him is because he's confident that they don't have the guts to off him. When he comes across someone who is willing to kill him, he shows his true colors as a sniveling little coward where he starts pleading for his life.The Punisher: I got all the therapy you need right here, comedian.The Joker: You're really going to do it.

Disproportionate Retribution: Has been known to try to kill people for minor slights, such as welshing on a bet on a sporting event for trivial stakes.

Domestic Abuse: This characterizes his relationship with his "henchwench" Harley Quinn to a T. Joker frequently yells at her, puts her down, humiliates her, and exposes her to all manner of violence ranging from "merely" slapping or punching her to outright trying to murder her. Such is her Mad Love that she ignored his abuse for most of her existence in comic history, with the two only separating in the late 2010s.

The Dreaded: Easily one of the most feared villains in the entire DC universe. Other villains are afraid of him; it's been said that when criminals want to scare each other, they tell Joker stories.

Driven to Madness: Doing this to others has become part of his MO. What triggered his own insanity and belief in nihilism remains unknown.

Early Installment Weirdness: Just take a gander at his earliest appearances:

Electric Joybuzzer: One of his signature weapons, a lethal variation, most memorably used in Batman (1989). He ended up Hoist by His Own Petard when trying to use it on Static.Static: That was fun. Let me try! (BZZZZT!) (Batman approves.)

Enemy Mine:

Even Evil Has Standards: Oddly enough, this trope does occasionally apply to him.

Even Evil Has Loved Ones: Completely averted with Harley. He physically and emotionally abuses her and tried to kill her on numerous occasions. They eventually break up in the New 52 continuity.

Evil All Along: Some versions, such as the DC Animated Universe and Batman (1989), go with the interpretation that the Joker was evil, if not outright Ax-Crazy, even before his fateful transformation, with the chemicals just making him worse.

Evil Cannot Comprehend Good: The Joker is Nihilism Incarnate: he believes that life is pointless and insane, and the only thing anyone can do is give into the madness. Life is a joke, and once he got the joke he never stopped laughing at it. One of the reasons he's obsessed with Batman is because Batman is The Anti-Nihilist: Batman also thinks, to some degree at least, that life is meaningless. But rather than embrace the madness, Batman fights against it, trying to bring order to chaos through his heroic actions. So Batman got the joke too, but he's not laughing, and the Joker doesn't understand why.

Evil Genius: Though rarely the focus of his character, Joker is usually an extremely gifted chemist, constantly creating new and better versions of his signature laughing gas. He's also (unsurprisingly) a skilled planner on par with Batman himself, in addition to being extremely charismatic and manipulative when he wants to be.

Evil Is Petty: Joker truly sees no difference between throwing cream pies, robbing a museum, and brutal, torturous mass-murder. To him, it's all just part of the joke.

Evil Sounds Deep: Jack Nicholson in Batman (1989) and Kevin Michael Richardson in The Batman both give the Joker a deep, sinister voice, contrasting his usual higher-pitched depictions in other works.

Facial Horror: His iconic "perma-clown" appearance (the green hair, chalk-white skin, and most of the time, red lips) is the result of being submerged in a tank of chemicals. However, there was times this has gotten worse.

Fame Through Infamy: He's practically built a career on crimes designed more to spread his infamy than anything else. Perhaps his true illness is that he is an Attention Whore through and through...

Faux Affably Evil: Often addresses others in a polite and friendly way before he unleashes merry hell on them.

Flanderization: Over the years, his actions have become almost exclusively focused on causing as much carnage and chaos as possible or harassing Batman and his allies rather than performing any non-lethal mischief or practical crime.

Foe Romance Subtext: Sometimes will mess with Batman's mind by calling him by pet names or using innuendo. Or outright groping him. According to later writers, Joker regards their hero/villain dynamic as a very special relationship, and resents anyone or thing that gets in the way of it (like all those family members Bruce enjoys hanging out with), which is disturbingly like a jealous lover.

Foil: To Batman in several ways. If the origin offered in Killing Joke is to be believed, both Batman and Joker had one bad day that put them on very different paths.

For the Evulz: The usual motives of the Joker. Many of his crimes always involve sowing chaos and the schadenfreude of other people's misery.

Freudian Excuse: Even he isn't sure of his own history and will crop up multiple reasons for his insanity. The most accepted version is that he was a thug named the Red Hood who gets disfigured falling into a vat while trying to escape Batman. His backstory still remains a mystery.

Freudian Excuse Is No Excuse: Best displayed in The Killing Joke: Joker's "one bad day" is just an excuse, as he neither knows nor cares if it actually happened that way, and Batman confronts him on how his attempt to similarly break Commissioner Gordon failed.Batman: Despite all your sick, vicious little games, he's as sane as he ever was! So maybe ordinary people don't always crack. Maybe there isn't any need to crawl under a rock with all the other slimey things when trouble hits. Maybe it was just you, all the time!

The Friend Nobody Likes: Often plays this role among villain team-ups. It's implied that the only reason the other DC villains ever invite him to things is because they're terrified of what he'll do to them if he's not. Alexander Luthor Jr.'s death at the end of Infinite Crisis is brought about because, as Lex Luthor puts it:Luthor: You made one big mistake. You didn't let the Joker play.

From Nobody to Nightmare: The key thing about his Multiple-Choice Past is that nobody really knows who he was before he put on the Red Hood and fell into a vat of acid. As such, Joker was literally a nobody... who turned into the DC Universe's scariest villain, and who at times has upstaged even Brainiac or Darkseid.

Frozen Face: Most depictions have his face as such, with his massive rictus grin being something he can't really stop doing.

Gadgeteer Genius: While he seems to be a chemist first and foremost, the Joker has no trouble coming up with a range of tools and weapons of his own design and is easily as smart as Batman in this area. Other stories show that he has a solid enough understanding of such varied fields as engineering, computers and even robotics that he can at least hijack the sophisticated inventions of others and use them for his own ends with no difficulty whatsoever, and he is generally implied (though rarely outright stated) to have had a scientific background prior to becoming the Clown Prince of Crime.

Glasgow Grin: Heath Ledger's portrayal features very noticeable scarring from such wounds and tells two conflicting stories of how he got them. Sometimes, Depending on the Artist, the Joker has one in the comics, usually in out-of-continuity stories.

Gonk: Depending on the Artist, he varies from "disfigured, but still fairly handsome" to "barely passes for human", the latter cases usually feature him with a really long and narrow nose and a huge, exaggerated mouth with a permanent Slasher Smile.

Guest Fighter: After making appearances in the previous crossover and being a major player in NetherRealm's other big series, Joker shows up in Mortal Kombat 11 all on his own, freed from the restrictions of a Teen rating and able to showcase the true depths of his depraved bloodlust.

Handshake of Doom: Often kills unsuspecting victims by offering a handshake. When the other person grabs his hand, their palm is pricked by a device that resembles a joy buzzer, which injects deadly venom into their blood stream.

Hate Sink: Posthumously, his Injustice-verse incarnation is the primary target for audience scorn and gets saddled with this role by everyone in the game, its sequel, and the tie-in comics — the version from the Injustice-verse itself, at least. This is because he tricked Superman into killing his own wife Lois Lane and nuking Metropolis, then pulling a Strike Me Down with All of Your Hatred on the poor guy who that set him on the path to becoming a tyrant, all for the sake of doing it, and because he was tired of losing to Batman, so he decided to go after an easier target. His role as The Corrupter to Harley is explained to make her redemption feel more plausible, as even she has come to despise him for his actions. In particular, while Superman does terrible things, he is portrayed as a Tragic Villain due to the losses he suffered before becoming a bad guy, and as such, his killing of the Joker is always played for maximum pathos. Even villains as despicable as Brainiac, Darkseid and Gorilla Grodd openly despise him. This even continues into his Guest Fighter appearance in Mortal Kombat 11note , where even the likes of Kano, Shang Tsung and Shao Kahn can't stand him.

Human Head on the Wall: There's a rather famous piece of comic book artwork◊ drawn by Brian Bolland featuring The Joker lounging in a chair in front of a trophy wall mounted with the decapitated heads of various DC heroes and villains, all of them painted white and their faces distorted into a smile like the Joker himself. It's even been parodied a bunch of times with other comic supervillains sitting in Joker's place.

Iconic Outfit:

I'm a Humanitarian: There have been a few times when the Joker engaged in cannibalism, such as an issue of Grant Morrison's JLAnote after Day Of Judgment, where upon the reveal that the Martian Manhunter took the League and the now Hal Jordan hosted-Spectre into the Joker's head, the Joker lamented eating a man's tongue raw. Additionally, an infamous bit in Emperor Joker has the Joker eat all of China while he had Mr. Mxyzptlk's powers.

Insane No More: Is cured by Batman forcing unknown pills down his throat in the non-canon Batman: White Knight, causing him go back to his real name, Jack Napier, make a Heel–Face Turn and accuse Batman of being part of the problem (he's also considerably better than the usual Joker, being closer to the earlier trickster personality).

I've Come Too Far: At the end of The Killing Joke, Batman tries to reason with the Joker, insisting that they've got to stop before one of them kills the other and offering to help rehabilitate him. Joker briefly considers the offer before solemnly turning it down.Joker: No. I'm sorry, but... no. It's too late for that. Far too late.

It Amused Me: His raison d'etre. Why kill people in horrific ways, ruin their lives, and generally make the entire universe a worse place than he left it? Because it's funny.

Jekyll & Hyde: Inverted in the case of Batman: White Knight, where taking pills cures Joker of his insanity and brings back his original Jack Napier persona. However, if he fails to take the pills, the Joker resurfaces, which is exactly what happens in Batman: Curse of the White Knight, and he's much worse than before.

Jerkass: Though that is a total understatement, Joker still more or less counts as one. When he isn't killing or torturing people for his own amusement, he's taunting them and trying get under other people's skin.

Joker Immunity: The trope namer. He was originally conceived as a one-off villain but proved too interesting a character to be killed off so quickly, and a last-minute edit had him survive instead. He's so famous for this that most works that kill him off, the audience doesn't buy it, and it serves as an effective twist the rare times when he is Killed Off for Real. But even those rare occasions may continue to feature him in flashbacks or hallucinations as a Posthumous Character.

Knife Nut: In many appearances, knives are his Weapon of Choice, either to disfigure his victims or kill his foes. Often both.The Joker: Do you want to know why I use a knife? Guns are too... quick. You can't savor all the little emotions. You see, in their last moments, people show you who you really are.

Large Ham: Holy shit, yes. He has an enormous sense of showmanship and is seen cracking Black Comedy jokes every minute, and it's a nigh-guarantee that whoever is portraying him will be munching the scenery to the very structure. Most especially the case if it happens to be Mark Hamill.

Laser-Guided Broadcast: In comic books as well in most of the media, when The Joker takes the control of TV and makes one of his menaces to threat and/or destroy Gotham City, good part of his message goes directly to Batman by tempting him to stop his plans, where usually destroy the city is just a secondary plan, getting/trapping/killing Batman as his real main plan.

Legacy Character: The idea of multiple Jokers is used in Gotham. There are two Jokers - Jerome Valeska, and his twin brother Jeremiah Valeska. The former is a deranged mass murderer who spread madness through Gotham. The latter is the actual Joker who becomes Batman's Arch-Enemy, and is even more dangerous than his predecessor.

Lethal Joke Character: In-Universe. Those unfamiliar with him tend to write him off as just some fool dressed as a clown, only to realize very quickly why they should keep their guard up around him. He's still one of the most dangerous characters in the DC Universe, despite existing in a world filled with super-humans and gods.

Master of Disguise: A talent he possesses even in his earliest stories. Joker is an expert with make-up, costumes and impersonations and has posed as everything from police officers to doctors to even Batman himself. He can go to extremely elaborate lengths to pull off his deceptions too, fabricating entire backstories and staying in-character for months at a time to see his plans through.

Mirthless Laughter: The Joker's constantly laughing, either at the pain and misery of others, the pain and misery he inflicts on others, or even his own pain. However, as describe by many and offered by the reader based on his scenes and what he does, there is NEVER any joy in his laughter. Never any real happiness. Just cruelty and mockery of pain and sorrow. If he does indeed have a tragic backstory that caused his madness, then this makes sense as he has chosen to laugh instead of cry. His statement about how the universe should end "so there won't be anymore people like me" during the Emperor Joker storyline lends weight to him being a Sad Clown.

Misanthrope Supreme: While it's not evident given Joker's Laughing Mad demeanor and his penchant for macabre jokes usually at the life and limb expense of someone else, Joker is actually absolutely full of hatred and spite towards basically everyone and the entire world. Several stories have gone into this and it's implied that the Joker finds it so easy to kill everyone around him, not because he feels nothing for them, but in fact because he loathes everyone aside from his twisted relationship with Batman.

Moment of Lucidity: There've been a few times when outside forces have sent him into a fit of temporary sanity over the years.

Monster Clown: One of the classic examples.

Multiple-Choice Past: Practically the poster child and possible trope namer. Even he isn't sure of his own history. The most accepted version introduced in Detective Comic #168 (1951) has him as a thug named the Red Hood who jumps into a vat of chemicals to escape Batman, disfiguring him and inspiring him to adopt the name Joker. Why he went by the name the Red Hood has changed over the years: The Killing Joke claims he was a failed comedian pressured into becoming a criminal to support his pregnant wife. The trauma of his disfigurement from jumping in the acid and his wife's earlier accidental death drove him insane. However, even this backstory is questionable, as the Joker himself calls it "multiple choice".

My God, What Have I Done?: Whenever he is made temporarily sane, most notably by a Lazarus pit after Ra's Al Ghul killed him after a Villain Team-Up and in JLA #15 during the Rock of Ages storyline, Joker usually expresses deep remorse for his crimes. Unfortunately it never lasts.

The Nicknamer: He's prone to giving nicknames to allies and enemies alike. Sometimes affectionate, sometimes snarky, but always undesired. Calling Batman "Batsy" or "Bats" and Robin "boy blunder" are probably his most iconic.

No Celebrities Were Harmed: Some of the Joker's victims fall into this.

No Name Given: The Joker is the only Batman villain who doesn't have an official real identity. However, there are three occasions where names have been used. The Jack Nicholson version used the name "Jack Napier", which was briefly mentioned in the Animated Series episode "Dreams In Darkness" since the series was partially based on the movie, albeit the doctors list it as one of his aliases. The Gotham version played by Cameron Monaghan gives him the name Jeremiah Valeska. The Joaquin Phoenix version used the name "Arthur Fleck", though the movie raises the question that he doesn't know who his father is, so 'Fleck' might not even be his surname. The Telltale series plays with this by 'naming' him 'John Doe' - which is just a stand-in name police/hospitals use when they don't know someone's identity. While he still has no official name to this day, it's general fan consensus that it's either Jack Napier or just Jack.

Not a Mask: Sometimes he pretends to wear makeup, but it ain't makeup. Jack Nicholson's version wore flesh-tone makeup over his pale skin several times after his transformation. Though, this is Depending on the Writer, as Heath Ledger's depiction does wear makeup. It's unclear if this is the case for Caesar Romero's depiction, as Romero's mustache is visible at times (he refused to shave for the part).

Not Me This Time: Though he certainly wouldn't mind committing them, he's been framed for murders he didn't commit several times, such as by James Gordon Jr.

Obfuscating Insanity: Zig Zagged Trope / Depending on the Writer. Some stories claims The Joker is actually sane, but pretends to be otherwise to avoid the death penalty. Others says he is genuinely crazy. It must be noted that Joker, like other Batman villains, was only identified as insane from the 70s onwards by various writers.note

Offscreen Villain Dark Matter: Despite the Joker's infamous reputation and violent instability he never has any issues finding new henchmen for his schemes nor does he ever has any issues finding the resources needed to pull off his often convoluted plans and he's often able to do it all without attracting the attention of Batman or the authorities until he's ready for them.

OOC Is Serious Business: A general rule of thumb: If the Joker isn't smiling, something very bad is about to happen.

The Only One Allowed to Defeat You: Pretty much sums up his feelings towards Batman. He often flies into a rage whenever someone else attempts to kill Batman when in his company, and whenever Batman (seemingly) dies he has a tendency to completely snap and turn sane. This actually goes the other direction as well: the Joker feels that Batman is the only one allowed to defeat him, and it's shown he's terrified of someone else doing him in in some continuities.

Outside-Context Problem: A recurring theme of Joker's "first appearance" stories in various adaptations is that nobody in Gotham is prepared for a guy who's only in it For the Evulz. Also, the Joker himself likes to find these, and exploit them.

Phrase Catcher: Back in his prankster phase during the Silver Age, whenever one of Joker's capers got foiled, someone would inevitably trot out the line "The joke's on you, Joker!" For obvious reasons, his current Monster Clown incarnation doesn't get this nearly as often.

Pimp Duds: He sometimes accessorizes his purple suit with a very wide-brimmed hat, which makes the ensemble look like a stereotypical pimp costume. Jared Leto's turn in Suicide Squad (2016) runs with this in his dynamic with Harley Quinn.

Pre-Insanity Reveal: The Joker, depending on the version, may have been an ordinary comedian before he went crazy and became a super-villain.

Purple Is Powerful: Purple is one of Joker's three colors (along with white and green) and he is powerful.

Psychopathic Manchild: For starters, when Batman is telling Joker to stay away from the Gordons after he apparently hurt Gordon's wife (it was actually his son, Gordon Jr. who did the deed), Joker commented that he didn't do anything to "the old bitch", and starts commenting to Batman that he misses the old Batman, and commented that he "doesn't want to go to bed yet" and that he "wants to play."

Redemption Rejection: In The Killing Joke, Batman defeats the Joker once again and then desparately pleads with him to accept help recovering from his madness before they eventually kill each other. In one of his rare, completely serious moments, the Joker sincerely apologizes and tells Batman that it's far too late for that.

The Resenter: Joker has often shown resentment towards people in many ways in different stories. The best example is him being resentful of anyone who garners more attention from Batman than him and anyone he sees as "stealing his act", i.e. being a laughing mad, jokey maniac cramping his style (The Creeper in Batman TAS). Regardless, many of his crimes and attitudes often carry an undercurrent or resentment be it towards to Bat-family because he resents sharing Batman with anyone or normal people for living their mundane lives free of care. Given how much spite seems to fuel his rampages, Joker's probably got a mountain of resentment inside of him.

Restoration of Sanity: On occasion, Joker's sanity will suddenly return to him, usually in stories where Batman retires or is believed to have died. His reactions tend to vary - sometimes we don't see how he reacts to what he did, but other times he actually shows genuine regret for his actions. Of course, these never tend to stick.

The Reveal: When Batman sat in Metron's chair in Darkseid War, one of the questions he asked was who the Joker was and the answer freaked him out. In DC Rebirth, it's revealed why:  The Joker is a Legacy Character: the Joker responsible for Death of the Family and Batman: Endgame is not the same man who crippled Barbara Gordon—and neither of them are the original Joker.

Riddle for the Ages: Being the Trope Namer for Multiple-Choice Past, it's unknown who he was before falling into an acid tank and whether he was nuts even before being dunked. He even believes his origins, Depending on the Writer of course.Joker: They throw me out, and I had a wife and an unborn child… or it was two cows and a goat? Sometimes it's so confusing…

Rule of Funny: One of his primary themes (alongside insanity), as explained in Whatever Happened to the Caped Crusader?: "Kid. I'm the Joker. I don't just randomly kill people. I kill people when it's funny. What would conceivably be funny about killing you?"

Secret Identity Apathy: In most continuities, he simply doesn't care about Batman's Secret Identity, understanding that Batman is the true face and not the man behind the mask. It's shown sometimes that the Joker will actually be upset if someone outs Batman's identity to him, usually because it spoils their dynamic in some way. When Scarecrow pulls off Bruce's mask in Harley Quinn, it practically triggers a Villainous Breakdown.Joker: Half the fun of our relationship was the mystery! Now I know Batman is just some boring, rich asshole with parental issues!

Self-Made Orphan: In The Brave and the Bold #31, Atom reads his mind and sees The Joker burning his parents alive after they catch him killing animals.

Slasher Smile: He wears one almost by default. Reportedly, it was inspired by this photo◊ of Conrad Veidt in character as Gwynplaine (a man with a disfigured face, causing him to have a perpetual grin) in The Man Who Laughs by Victor Hugo.

The Sociopath: A skilled and gleeful manipulator, a vicious butcher who brutally tortures and murders others simply because he thinks it’s funny, extraordinarily impulsive given that he’s prone to turning his murderous urges on his own men on a whim or because one upset him in some way, shape or form, and has not even the vaguest notion of empathy, neither for his men or his victims.

The Spook: His backstory is an eternal Riddle for the Ages. DC Comics refuses to take an official stance on this.

Start of Darkness: Detective Comics #168 posits he was a laboratory worker who becomes the Red Hood in order to steal a million dollars from his employers and retire. In The Killing Joke he quits his job to become a comedian, but fails and is coerced by mobsters to commit a robbery, becoming the Red Hood. His disfigurement and (in The Killing Joke) his wife's death earlier in the story destroy what little was left of his sanity and he becomes The Joker. Maybe.

Stealing the Handicapped Spot: He doesn't do this. Rather, he hates it when other people do it and finds it hilarious to horrifically cripple them so they can legitimately park in handicapped spots.

Straw Nihilist: Provides the trope image and is the poster child for this. He claims that everything in life is just "one big joke" and death is the ultimate punchline. Joker also believes that "a bad day" is more than enough for anyone to turn out like him. This is shown notably in Injustice: Gods Among Us, The Killing Joke, and The Dark Knight. The Red Lantern Atrocitus even wonders what drove Joker to nihilism during an intro banter with the clown in Injustice 2.

Strong as They Need to Be: His fighting skills fluctuate wildly. Sometimes, Joker is an excellent fighter who can actually defeat Batman in a straight-up fight, whereas most writers prefer to present him as so weak that he can be knocked out cold with one punch.

Stupid Evil: Depending on the writer, The Joker can sometimes fall under this, where his cruelty and sadism tend to lead to his own death at the hands of all the people he's wronged.

To Create a Playground for Evil: His motivation in stories like Emperor Joker.

Too Kinky to Torture: The Joker has shown a proclivity for this over the years. At one point, the Joker berated a man who'd captured him for only hitting him in the face and The Dark Knight similarly sees the Joker berate Batman during the the latter's beating of him. He also enjoyed his and Bruce's final fight in The Dark Knight Returns. Salvation Run had established the Joker's been in constant pain since he took his fateful dive into the vat of chemicals that altered his appearance and not only had gotten used to it, but grew to enjoy it. This quote from The Dark Knight sums it up perfectly: Stephens: I can tell the difference between punks who need a little lesson in manners, and the freaks like you who would just enjoy it.

Tombstone Teeth: He is often drawn with too many too-long teeth as part of his trademark rictus grin, highlighting his nature as a psychotic and sadistic killer.

Troll: Most incarnations of the Joker dress themselves as being a lethal one of these. The best example is his DC Animated Universe version, who tailored each of his schemes as a joke or a prank, and sometimes even lectured his underlings on the importance of proper buildup and delivery when telling a joke. Batman in particular is the Joker's preferred victim, and many a Joker has refused to kill or unmask a Batman dead to rights, simply because it would spoil the fun of trolling him. But when others upstage or taunt him, he really goes nuts, as it's one of his Berserk Buttons.

Unreliable Narrator: Even he isn't sure of his own history, so anything he claims is suspect at best.

Villain Has a Point: Given his devotion to Rule of Funny, he's quite knowledgeable on what makes successful comedy, as seen with the featured image on Don't Explain the Joke.

Villain Song: There's no other villain who has belted out as many memorable music moments, not even the Music Meister. Three of them incidentally were sung by Mark Hamill behind the mic:

Villainous Aromantic Asexual: He is shown to be more interested in his schemes and mayhem rather than sex. He has had sex with Harley, but it is implied that it's more for her rather than his own enjoyment. He has actively ignored her when he simply wants to work on his schemes, even when she's in the translucent red night dress.

Villainous Friendship: No matter how bad things turned out last time, Lex Luthor and Joker will always work together again. Played With, as it isn’t just because of friendship. As Luthor himself notes in the ending of Infinite Crisis, you always "let the Joker play," lest he come after you for revenge later on for leaving him out.

Villainous Harlequin: He was this during the Silver Age. He is also this in Batman (1966) and Batman: The Brave and the Bold.

Villainous Rescue: In Dark Nights: Metal, The Joker pulls this off by teaming up with Batman to defeat the Batman Who Laughs, Batman knowing that a jokerized Batman would have the upper hand teams up with the Joker. It is so unexpected that the Batman Who Laughs, who is still prepared for anything Batman would conceivably think of, is unable to counter it let alone even consider it a possibility.

Villain Protagonist: He was the star of his own nine issue self-titled series from 1975 to 1976. In order to adhere to the Comics Code Authority, The Bad Guy Wins was never in effect - while he usually managed to get one over on other villains, each issue would end the Joker being apprehended for his crimes. He also got his own movie in which Batman didn't even exist yet, delving deep into what someone would have to go through to become the Joker.

Weapon of Choice: The acid-spitting flower, Smilex/Joker Venom... and simple crowbars, established by how he killed Jason Todd.

You Gotta Have Blue Hair: He has neon green hair caused by the chemicals he fell into.