#Even as he continues to live out all the major plot points of Tim's life

[ailithnight]

So, does Dick mellow out faster since Bruce is doing so much better and there's therefore less tension between them? Or does he spend lomger in his angsty rebellious phase since he's not getting as much Eldest Daughter from picking up Bruce's slack? Do the forces just kind of even out making Dick's character development about the same, if slightly to the left?

Also, does Danny ever figure out the story is reasserting itself? How does that make him feel? Better that he can't fuck anything irrevocably up? Worse that he can't make any truly significant changes to the course of events his family favorite people will have to endure? Nor even his own fate? But Jason is alive! So he can make some pretty meaningful adaptations. He can spare them some suffering, albeit not all.

Does he ever think back to that night at the circus and wonder? Does he ever regret?

Does he ever tell Dick?

Danny Fenton is so damn sick of rich fruit loops. It’s worse now, since he’s one of them.

It’s not Vlad that he’s with, thank the Ancients, but Danny isn’t sure that this is better.

Because he’s Timothy Drake, a baby, and he’s been reincarnated after the Ancient of Reincarnation accidentally drank too much wine.

He’s going to kick their ass so hard when he gets back.

Danny huffs. He rolls over, ignoring the silent manor. Sure, he’s read the comics. Sure, he laughed and imagined being adopted by Batman- come on, Danny had black hair and blue eyes even back then, he was totally adoption bait- when his parents gave him reason to lose trust in their love. But that’s it, that’s all he thought it was. A day dream, a wish for a universe that didn’t exist.

Danny hadn’t understood the reality of the whole Infinite Realms thing, a place he was now the King of. Batman? Real. Danny? Reincarnated. Hotel? Trivago.

Like, this wasn’t what he meant, dammit.

And now he’s stuck as Timothy Drake, and Ancients, he was starting to see parallels.

——

Danny tried photography. He really did. He wanted to at least stick to the source material. But that’s not who he is. Even with the shiny new brain that memorized, catalogued, and put together clues at the snap of his fingers, but Danny’s never been one to take photos. It’s a respectable art, for sure, but Danny preferred to live in the moment instead of capturing it to remember forever. It’s just-

He watched the Graysons fall. He watched Dick Grayson turn into Robin. And Danny can’t and won’t ever betray his Obsession like that, ever again. He can’t let Jason die for his “story” to begin. That’s not how Danny works.

He’s there to protect.

Danny hasn’t ever been just Tim. Danny was also Tim and the Ghost King without a haunt. But now? Gotham is his haunt. He, in lieu of an actual city spirit, is Gotham. He’s also a Drake. And Drakes were meant to hoard.

Batman and Robin? They are his.

He claimed them, as a Drake. But that claim is weak. So he claimed them as their city, and that is a claim that will never be able to be challenged.

Danny’ll be damned before he allows some lanky starved clown beat the life out of one of his Robins. So, for the first time in his nine years on this planet, Tim-Danny goes ghost and flies.

“Who- who. Are you?” Robin slurred from his place in Danny’s hold. He is broken, yes. But not dead. Danny infuses some of his vitality, his ecto, into Jason’s injuries to help them heal.

“Gotham.” Danny replied, layering his ghostly voice with those of the city.

“Goth’m?”

“Gotham. Sleep, little bird. Your city has got you.”

When Robin, Jason, settled with a sense of trust that tugs at Danny’s core, Danny carried him to Batman, whose eyes were wild and manic. He glared menacingly at the green and white ghost in front of him, who was holding his broken and beaten son-

Well, it’d be menacing if Danny hadn’t watched him eat bricks and mortar, crashing into a building while using his grappling gun.

“You-”

“I am Gotham.” Danny cut him off. Despite his wary nature and natural paranoia, Batman settled at his city’s gaze rested on him. Danny knew that Batman recognized his city. Batman’s head bowed, but his eyes stayed on Robin. “You were supposed to take care of Robin.”

“I- I know.” And that voice was all Bruce Wayne the Dad instead of Batman the Vigilante. Danny gently placed Robin in Batman’s arms, taking in the tremors as he held his son close.

“Go back, Bruce. And make sure Jason knows how much you love him.”

He laughed as Bruce whipped his head upwards. “I am your city. You are mine as much as I am yours. I’ve known of you before you were born.”

Technically? Not untrue. But Bruce will chalk it up to weird magic shit. It’s not like it’s a secret that Gotham’s kind of curse. Besides, this way, Danny will be able to help out more often. And Bruce won’t be able to connect Tim Drake to the “Spirit of Gotham.”

“Return, my knight. This is not your city. I can not protect you as well as I can in Gotham.”

“Thank you… Gotham.”

Danny sighed. He wondered when he’ll have to field questions from a John Constantine. He’s pretty sure Bruce will call in magical help, even if it was his own city he was investigating.

Batman’s lucky Danny liked him enough to allow it.

[just-some-guy-joust]

alright, as requested and promised, my explanations for why everyone on side b got into the tourney

once again making the note that i was desperate for women that weren't blatantly written by a misogynist and it influenced a couple choices

starting with the most argued about characters again

mob (mp100): 1 submission, good description. "he has powers he can't be just some guy!" NOT WHAT THIS TOURNEY IS ABOUT. mob is a kid. he's just a kid doing his best. like the whole plot of mp100 is that he's just some kid isn't it??? i haven't watched it i can't argue the details but he is a very good example of just some guy

rung (transformers): 1 submission, good description. submitter got extra points for being the longest submission and being so sweet to me. rung is like, God, or something but he doesnt Know That so he's just living a perfectly normal life. he's so average people regularly forget who he is or what his name is. from the submission, "He's just the definition of 'some random kind guy you bump into in the hall and then completely forget about two hours later' I really don't know how to explain it."

han solo (star wars): 2 submissions. its like his whole thing. the rest of the team is a princess, a jedi, man i don't know the rest i haven't watched star wars in years but they are all supremely not some guy, and han's just some cunt with a van to drive them around in. yeah he's got his own shit going on but also. i dont remember how it actually went down but he really feels like he just stumbled into the plot and now he can't leave

ok now the rest of the characters under the cut

carol kohl (cateotw): 1 submission, good description. the description really moved me and i have GOT to watch this show at some point. carol lives on an earth that's going to end in a few months and everyone is trying to make their last months exciting and happy and getting to do what they've always wanted to. what carol wants to do is keep working an office job and continuing her routine. the show does not shame her for this, it's just who she is. and man..... as a chronically ill person who's had to think about that kind of thing. that really hits hard.

jaehee (mystic messenger): 1 submission. the woman situation is fucking dire. i will admit she seems to be written the way she is because of misogyny n shit but at least this submitter actually acknowledged it. mystic messenger is i believe a dating game and her route involves dealing with her shitty boss and quitting her job. the other routes have fucking wild shit going on but jaehee just quits work

paul matthews (guy who didnt like musicals): guaranteed entry

emma perkins (guy who didnt like musicals): 3 submissions. one person described her and paul as "guy4guy" and i was so enamored with this concept i gave her a guaranteed position. she works at a coffee shop and seems to not give a fuck that she's in a musical and needs to sing. major "i cant wait to clock out and go home" vibes

su moting (god troubles me): 1 submission. the child of a monster and a god so she was just born a regular human. that's so fucking funny. she has some wild roommates (a "phone god" and a "cat monster") but she's got a normal office job so she's not even around them much on weekdays

satou hiroshi (saiki k): 2 submissions. canonically the most average guy. perfectly average in every way. average grades, weight, height, family, etc etc etc. as average as possible

chilchuck tims (dungeon meshi): guaranteed entry

michelle nguyen (wtnv): 1 submission. i mean. its fucking night vale. that place is fucked. and yet michelle just runs a record shop and loves her girlfriend good for her

tad strange (gravity falls): guaranteed entry

colin robinson (wwdits): 1 submission, personal bias. he's an energy vampire that feeds off peoples energy so he will ramble to them for 6-12 hours about taxes. has a regular office job because what better place to find miserable people to torment. prides himself in his ability to be just some guy

bard (wandersong): 1 submission, friend bias. they're the protagonist of the game but they are not the hero of the story. they're on a quest to save the world but destiny does not care for them. they are trying so hard to bring people joy and that in turn is what makes them actually able to succeed. they are not a hero, but they are a friend

usopp (one piece): 1 submission, friend bias. i will be honest you i avoid one piece at all costs but he gets a pass for my buddy. unfortunately none of the info they gave me actually stuck in my brain so my explanation is gonna suck ass but he seems very scared and very weak compared to everyone else and everyone knows he's the just some guy of the group

nick carraway (great gatsby): 1 submission. i do not remember reading this book for school but idk that seemed like a correct vibe check and i wasn't gonna argue with it

link (oot): 1 submission, personal bias. SCREAMS. WAILS. POUNDS FISTS ON THE FLOOR. I LOVE HIM!!! i am extremely mentally ill about most editions of link being just some guy but i agreed heavily with the submission saying oot is probably the best example. HE'S JUST A KID!!! he thought he would never have to grow up because he was a forest kid too but then he did have to grow up what the fuckk

kazooie (I MADE HIM <3): he is my oc and i love him so fuckign much

connecticut clark (florkofcows): guaranteed entry

samwise (lotr): 1 submission, personal bias. only here because he refused to let his friend have to deal with this alone. its the whole point of the story, that hobbits are the just some guys of the world. that these hobbits were just normal innocent men now trying to end a war. and sam is the most just some guy of the bunch

hitomi (madoka magica): 2 submissions. only one that isnt a magical girl. im sure there's more to it than that but i haven't watched madoka in years and the submissions didn't give me anything else so that's it

junpei iori (persona): 1 submission, friend bias. persona characters can get fucking wild but he seems to be the resident normal dude. and tbh i just can't stop thinking about this part of the submission

tomoya (ensemble stars): 2 submissions, good descriptions. ok so like. ensemble stars has like 50 main characters or something i dont know i dont go here. tomoya is the Only One that's normal. he's just trying to be a teen idol and his defining character trait is that he is tomoya and he is here.

peter sqloint (jrwi): 1 submission. i have listened to a bit of this and while i did have to put it down cause it wasn't really my thing, peter must've made an impression on me because the Only Things i can remember from what i listened to was just how bizarrely normal peter is. yes he has the angel of retribution inside him urging him to kill the gods but his life goal is to buy a new log for his pet lizard and his job is to sort rocks and its his favorite thing. sometimes you have to wonder if peter is even aware of whats going on or if he is too busy thinking about cool rocks to notice

cabbage merchant (atla): 3 submissions. i dont care. but very few characters actually got 3 submissions so i let him in. i was trying to avoid characters that clearly just existed for a bit or are simply background characters with nothing else going on (they count as just some guy but its just not as interesting to me) but he made it in anyways.

marta cabrera (knives out): 1 submission and that submission was ME because im THE ONLY PERSON WHO GETS IT (/silly). i cannot fucking believe no one else submitted her im so fucking mad her being just some guy is literally the entire point. spoilers for knives out, SHE'S A GOOD DOCTOR. SHE'S JUST A GOOD DOCTOR. SHE NEVER DID ANYTHING WRONG!!! she was always just some guy no matter how much everyone else wanted her to be something different. i love her

greg universe (steven universe): 1 submission, good explanation. he's just stevens dad <3 he lives in his van and is an ok musician and he's very content with his life. he's hanging out

mishima (persona): 2 submissions. he's just one of your classmates. this is signifcant because other supporting cast characters have a lot of their own wild shit going on. mishima is your classmate and he's trying to help the phantom thieves look cool on social media. thatse it babey!

gingerbrave (cookie run): 1 submission, good description, personal bias. ok so its a gacha game about cookies that run. gingerbrave is the mascot and the most basic guy you can get. he's a cookie and he runs. and he's very sweet and i like him <3 he loves his friends. anyways google like any other character in the cookie run franchise and you'll understand.

arthur dent (hitchhikers guide): 2 submissions. honestly i don't have strong opinions on him and he's got a fuck ton of propaganda on the post im skipping this

elsen (off): 1 submission, friend bias. i am enamored by how this is like a species of normal guys. they are meant to reflect the struggles of average normal people. they have office jobs and a fuck ton of anxiety so you can see how they reflect that <3

tadano hitohito (komi cant communicate): 2 submissions, good description. HIS NAME LITERALLY TRANSLATES TO "JUST A PERSON" THAT'S FUCKING AWESOME I HAD TO PUT HIM IN

[ghostbustermelanieking]

some thoughts on mag 200

i’ve been having trouble articulating this, but i wanted to get some thoughts down on mag 200, and the ending of tma as a whole, now that i’ve heard the finale twice and had some time to process it all. putting this under a cut in case people don’t wanna see it -- there’s gonna be a lot of praise here, but also some legit criticism. this is a way to sort through my feelings more than anything else.

first off, relistening to the finale, and sitting on it for a while, has made me feel a hell of a lot better about the whole thing. the episode comes off a lot better when you’re not vibrating with fear and anticipation, in my opinion. the final statement was very fitting and cool -- not my favorite ever, but i can appreciate it a lot as a final closing for the fears. and i don’t have an ear for soundscaping but the sound in that statement was cool as hell. the jonah magnus gets fucking murdered scene is incredibly satisfying. a lot of other people have said this, but i love that jon finally got his revenge, and was able to lash out against jonah for all the years of manipulation and beng used, and for tim and sasha and everything else. that was perfect. i genuinely thought we might not get a scene like this after 193 but i am so glad we did. incredibly satisfying. the girls made it out!! i am very glad that they’re ok and moving on and seem to be leaning on each other. (By God I Will Wring Found Family Out Of This Podcast If It Kills Me.) and the admiral’s okay. love that

and the jonmartin ending. oh my god. while i was never the biggest fan of the possibility of martin having to kill jon, the way it went down was so painful and good. i loved that final scene. i love the ambiguity -- that they might have died but maybe they didn’t, maybe they’re all right and happy and we can decide for ourselves -- i love that i got exactly what i wanted, that i get to have my cake and eat it too, all the angst of a jmart death and still the possibility of happiness... i am going buckwild. i love it. the longer i spend with this ending, the happier i am with it. i really really loved it

on another note... i do have some reservations about the finale and the season as a whole. i understand peoples’ irritations with the finale, and while i’m trying to focus on the things i did like, i definitely have some irritations. for one, i definitely wish the finale had been longer. i would’ve loved to see more of what wtgfs and basira were doing, and the actual lighting of the archives, etc. and while i completely understand why the scene at the panopticon went as quickly as it did -- it comes off very much as wild, frantic impulse in the heat of the moment where they’re in danger and trying to protect each other -- i do wish it had gone a little slower. 

in my mind, the biggest issue in season 5 ended up being pacing. and this might be a personal preference thing -- there’s a lot of things within the show that i don’t personally vibe with, but i don’t necessarily think they’re badly written. but i do think season 5 was slow. and while slow things can certainly work in a certain context (season 4 comes off wildly slow til you listen to 160), i wish more of what actually happened in season 5 had been baked into the end game. the season felt like it had a lot of filler, which drives me mildly crazy, because the end game feels rushed and i don’t think it NEEDED to be. i liked a lot of what season 5 did -- there’s some impeccable episodes, the character interactions are weirdly lighter and softer than they have been in previous seasons, and i wouldn’t trade a lot of the things that it’s given us (all the jonmartin interactions, jon and georgie briefly rebuilding their friendship, martin and melanie friendship, wtgfs scenes and intimacy, backstory, lore, etc) for anything. but i do think it could’ve been structured and paced a little differently. i also think it could’ve given some more screentime to the character stuff we got from episodes like 161, 170, 186, 190, 191, 192, 199... i absolutely love both martin centric monologue episodes, but i hate that we didn’t get anything like that for jon. (or for melanie or georgie or basira...) the best episodes of the season, imo, are the ones that broke from traditional form of domain statement domain, and the ones that focused in hard on backstory, lore, character introspection, character interaction... i wish we had more of this. 

when it comes to the jonmartin arc... i know this has been a point of contention with a lot of people, but i don’t hate it at all. maybe it’s just because i relistened to the majority of the season back in january, but a lot of the more grating moments that seemed large week to week (martin pressuring jon to smite people, the disagreements they had earlier in the season, jon using martin as bait in 176, etc etc) come off a lot more minor when you’re binging. personally, relistening to act i made those interactions come off as things they were struggling with through continued support and reassurance. there were absolutely things i wanted addressed, especially with the “kill bill arc” -- the disagreements early in the season, and how it seemed to turn on its head in the argument they have in 194. (i didn’t like martin blaming jon for the kill bill arc and i was hoping it would get brought up.) i also wanted to see a discussion of martin going with annabelle in 194 -- i wasn’t really ever mad at martin for doing it, but i did want to see them talk it out. 

but! after relistening to 200, i think i have a better handle on why that couldn’t have happened. martin goes behind jon’s back to go with annabelle and they don’t talk about it; jon goes behind martin’s back to sabotage the plan everyone agrees on in order to prevent the fears from spreading. if they’d had a big talk about trust, and working through martin going off with annabelle, and then jon turned around and did the same thing, more or less... it would’ve completely soured that discussion. jon and martin needed to be in a place of discourse for this ending to work. 

honestly, the more i’ve thought about this final JM arc, the better i feel about it. sure, jon and martin are in a bad place, and they’ve gone behind each other’s backs and been somewhat selfish, but i don’t think this ruins their relationship. for one, martin’s break in trust comes from a place of wanting to save jon and the world. and for another, jon genuinely feels he is doing the right thing, making a decision he can live with. (i have my own opinions as to how ethical jon’s decision was, but that’s another post. and i think the muddy ethics of this ending are on purpose -- it’s horror, a genre that often doesn’t offer ethical decisions.) their final decisions and final moments come from a place of love and protectiveness, and they change their decisions for the other. they still love each other, through all of it. i don’t think these late stage betrayals equivalate jonmartin necessarily being doomed as a couple (not that anyone has said that, but it’s worth saying). and i think it’s important to remember that this is still a relatively new relationship. it existed for approximately three weeks before the literal apocalypse, and it’s been under an immense amount of stress, as well as the constant fear that one or both of them would die. (which they did.) i’m not saying that excuses certain things they’ve said or done, but i am saying i don’t think the relationship is doomed. i think, if jon and martin have survived, they’ll need to work through things. they’ll need to talk it all out. and they’ll be able to! they’ll heal from this one way or another. the tragedy isn’t that jonmartin is doomed, or toxic. it’s that these moments of betrayal are what dooms them. and the beautiful undercurrent of it all is that they still manage to come together, and make decisions that mean they stay together. and that wherever they are, they’re still together. 

all in all, i don’t think season 5 has been perfect, and i can make my peace with that. (tma’s worst is a hell of a lot better than most shows’ best.) (i also think it might be worth considering how covid could have affected certain aspects of how the season was written -- pandemics are stressful, and i can’t imagine what it’s like to finish an enormous, in the works for years project like this in the middle of that. personally, i’m impressed they’ve managed to finish the show through all of this and keep it to a similar quality.) i think critiques are valuable and worth discussing. and i think plot aspects aside, there are several other critique related things that could be brought up about this season that people have articulated much better than i ever could. but i also, personally, want to walk away from the show feeling satisfied. i tend to be weirdly positive about things i love (the x files finale was horrendous, but i managed to get to a place where i was happy with it, for example), and i think that applies here -- even more so because i really did love so many aspects of that finale. i don’t necessarily want to linger in my own mind over what i disliked, especially considering the show is over. although i did want to air out my thoughts. 

i still love this show. i loved a lot of episodes this season, frustrations aside. season 5 will forever be my only live tma experience, and it got me through one of the worst years of my life, and i am very grateful for this. i genuinely did just want to air out my thoughts and get them all down on paper. these are just my opinions -- i don’t want to criticize anyone who feels differently about the finale, or the season as a whole. everyone’s opinion is their own. 

i feel a lot, lot better about mag 200, to the point of genuinely loving it. i hope my appreciation only grows as i get further from that frenzied first day and have more time to sit with it. and i can’t wait to see all the art and read all of the amazing fics that are going to come out of this ending (and write some of my own). it’s been a wild ride. i’m glad i was here for it.

[dalekofchaos]

Harbinger and The Illusive Man

Something I think would’ve fixed Mass Effect 3 while also keeping the plot and the dynamic of The Reapers and Cerberus as the main threat is making Harbinger the big bad and The Illusive Man as his puppet or as The Illusive Man could’ve put it his “partner”

My other ME3 metas

ME3 mistakes

ME3 ending fix

I cannot state how much I hate that Harbinger is almost nonexistent in this game. 

The thing that annoyed me most about ME3 is the fact that Harbinger is not the main threat. The Illusive Man is. Harbinger has been built up as the big bad since ME2. "YOU HAVE FAILED. WE WILL FIND ANOTHER WAY." He says as he discards the Collectors. Then his speech to Shepard as the base blows up. "Human, you've changed nothing. Your species has the attention of those infinitely your greater. That which you know as Reapers are your salvation through destruction. You will surrender your potential against the growing void. We return, and you will rise. We are the harbinger of your perfection. We will bring your species into harmony with our own. Your species will be raised to a new existence. We are the beginning, you will be the end. Prepare for our domination. Prepare for our coming." Then in Arrival, he came pretty damn close to unleashing quick subjugation and harvest upon an unprepared galaxy. Upon Shepard foiling his plans. "Shepard. You have become an annoyance. You fight against inevitability. Dust struggling against cosmic winds. This seems a victory to you. A star system sacrificed. But even now, your greatest civilizations are doomed to fall. Your leaders will beg to serve us. Know this as you die in vain: Your time will come. Your species will fall. Prepare yourselves for the Arrival." The perfect final villain right? Unfortunately, Cerberus was more focused on than The Reapers. My problem with Cerberus and no Harbinger is Too many Cerberus, too few Reaper forces in plot. We fight Cerberus more often than the reapers. Hardly any boss fight and the one with Reaper Destroyer on Rannoch was more an interactive movie than fight. During the Horizon mission in Mass Effect 2, Harbinger was solidified as the Big Bad. It was menacing and ominous, with just the right amount of annoying. It taunted us throughout the game, telling us how insignificant we were, and how our actions were pointless. It was willing to posses drones through the Collector General to fight us personally, and when we killed the host, it tossed them aside. Harbinger even gave the typical “You haven’t seen the last of me!” villain rant. It made any fire fight frustrating, and that made me want to kill it even more; I hated Harbinger. Many games fail to do that. Harbinger was an enemy which I looked forward to defeating. I had the desire to annihilate. In Mass Effect 3, I got a codex entry and a cameo. Harbinger just swoops in at the last second and blows my friends and I to hell(and lets the Normandy save them), then flies off. Personally, I would have loved to hear Harbinger’s menacing monologue, it drove me on. I would have felt a deeper motivation to take the fight back to Earth if it told me how much destruction the Reapers were causing, how many lives were lost. I felt cheated when I got to the final mission, only to suddenly realize it was largely absent from the game. Harbinger has been replaced. Replaced by the Illusive Man and Kai Leng. The former is an old acquaintance, albeit one now controlled by the Reapers. The latter is a space ninja from a terrible book.

I will admit. The Illusive Man is a worthy foe and someone worthy enough to be Harbinger’s Saren. Kai Leng however is a terrible counterpart for Shepard. 

Kai Leng. Sucks. Period. Here is a long in depth version on why he sucks. Even in the novels Leng is a terrible character. He’s a edgelord racist.  He couldn’t even kill Anderson, he almost got taken out by an aging Drell with stage 7 Drell cancer. Oh but he has snarky one liners and he sent that stupid fucking email after Thesia. KAI LENG SUCKS! He is not even interesting. I genuinely fucking sighed when he was introduced. When he killed Thane, all I could think of was “really?”. When he sent that little email I just rolled my eyes. When I saw him at the temple all I could think of was “not you again”. When he “beat” me on Thessia(I would have unloaded my N7 Typhoon and sent his whiny ass into oblivion, but game mechanics said I couldn’t) I just felt angry that such a stupid character ever made it past the writing board. Oh and BULLSHIT. Thane and Kirrahe would have killed Kai Leng. Even near his death bed, Thane could still kill Kai Leng. Kirrahe is a hardened veteran, he is AN STG MAJOR! Kirrahe would have killed Kai Leng in a blink of a fucking eye.  Here is my take on Kai Leng. He should have been killed on Priority:Citadel. If you do not save Kirrahe or don’t talk to Thane. Shepard should kill Kai Leng. If you saved Kirrahe but don’t talk to Thane. Kirrahe comes out of cloak and bombards Leng with Scorpion rounds and Leng blows up. If you talked to Thane, Thane would blow Kai Leng’s head off. The only reason why Leng is presented as a threat is cutscene logic and bad one liners. 

But back to The Illusive Man and Harbinger

To make Harbinger work as the big bad, we need to have Harbinger constantly “ASSUME DIRECT CONTROL” 

Near the end of the first mission, before Shepard contacts the Normandy, we would see Harbinger’s hologram appear like it did in Arrival. Harbinger taunting Shepard. that the harvest begins. 

Instead of suggesting Control, The Illusive Man is basically saying The Reapers can uplift Humanity and ascend them and dominate the other races. With Harbinger’s help, Humanity will be the ultimate force in the galaxy

Everytime we fight Reaper forces, Harbinger is there to “ASSUME DIRECT CONTROL”

Kai Leng dies on The failed coup on the Citadel. The Illusive Man does not care as he is close to finding The Catalyst 

On Rannoch, instead of a Destroyer Reaper talking to Shepard, Harbinger’s hologram will appear. Harbinger will continue to taunt Shepard, but Shepard shows that everyone is coming together to end the Reapers once and for all. Harbinger would not say that the Reapers are needed to keep synthetics from killing organics. He would say The Reapers are there to ascend and are your salvation through destruction. Harbinger’s end quotes from ME2 is basically the premise of The Reapers end goals. That's all it needed to be.

On Thesia, The Illusive Man will explain to Shepard that Harbinger chose him. After The First Contact War, TIM found a Reaper artifact. In that artifact, he was contacted by Harbinger. He lost his human vision, but awakened to the truth and because of Harbinger’s guidance, he founded Cerberus. Strength for Cerberus is strength for humanity. TIM believes he and Harbinger together they could uplift and empower humanity over the lesser races. The Illusive Man is to Harbinger, as what Saren was for Soverign. He will then tell Shepard, he plans on using the Crucible to finish what the Collectors started. Completing the Human Reaper. Then TIM sends a group of Phantoms, Nemesis and Cerberus Dragons to face Shepard in place of Leng. Thesia falls. 

Sanctuary is used to create Husks and harvest humans to help create the Human Reaper

At Cerberus Headquarters, TIM says Harbinger knew more about the Citadel than Soverign. There is more than one Conduit and he found it. Vendetta will reveal that the Citadel was moved by Harbinger and taken it to Earth to complete the harvest

The confrontation between Shepard, Anderson and TIM happens but we know how TIM is on the Citadel and if you read my ending fix, you will know that Anderson would’ve went to the beam with Shepard and they are transported to the same place

Shepard will ask “Why didn’t Harbinger kill me?” “Because, we need you to understand and we need you to believe”

Same confrontation ends with either Shepard shooting TIM dead or TIM killing himself after Shepard uses paragon or renegade to reveal that Harbinger used him all his life

After Anderson passes. Harbinger “Assumes Control” over TIM’s dead body. Harbinger will explain the purpose of the Harvests. The explanation is the original ending of Dark energy. The Reapers as a whole were ‘nations’ of people who had fused together in the most horrific way possible to help find a way to stop the spread of the Dark Energy. The real reason for the Human Reaper was supposed to be the Reapers saving throw because they had run out of time. Humanity in Mass Effect is supposedly unique because of its genetic diversity and represented the universe’s best chance at stopping Dark Energy’s spread. We have a choice either Sacrifice humanity, allowing them to be horrifically processed in hopes that the end result will justify the means or use The Crucible to destroy The Reapers and find a way to stop the dark energy from spreading and it shows it is hopeful with a united galaxy. However, if we choose destroy, Harbinger will attempt to stop Shepard. A Reaperfied TIM appears and Shepard fights him, while The Normandy fights Harbinger. If we choose sacrifice humanity, Shepard will be the final catalyst to completing the Human Reaper.  But obviously no one will choose that choice as the entire point of the trilogy is to destroy The Reapers. So we get a hopeful ending. The united galaxy will work together to stop the spread of dark energy, as Hackett said “If we can put aside our grievances long enough to stop The Reapers, imagine what we can do together” 

There, I came up with a way to have the best of both worlds. Harbinger and The Illusive Man as the big bads. 

I also made The Reapers motivation to actually work. They are there to control the chaos. The harvests end with a creation of The Reaper and The Reapers are the pinnacle of evolution Harbinger’s speech at the end of ME2 was enough for a motivation. The Reapers are our salvation from the coming void. They want to ascend humanity to perfection. That makes complete sense and makes more sense than destroying everyone to save everyone????? WHo fucking wrote this Starchild garbage???

The point is, The Reapers and The Illusive Man could’ve worked as the big bads collectively together. 

[pink-bird-30]

Titans 3x09

Spoilers Ahead!!!!!

Read at own risk!!!!

I was not prepared to cry this episode. There are some many great things that happened, and somethings that Titans is still doing full blown bullshit on.

Lets dive in:

-Bruce. Master Wayne. Idiot extraordinaire. I didn't think in his older age he would still be making such terrible mistakes. Where is Diana, where is Clarke to kick this man's ass into logic? Does Bruce not know Jason is alive? Is he aware his son is going around Gotham killing people? or does he and he's ashamed and thinks killing himself is the logical solution to this problem?! For the love go X'hal, thank you Donna for coming and saving this man's ass. IDK how the Batfam survived without an Amazonian involved.

-Great, Titans is back on their shit of "This happened but we're not going to actually show you that it did." Rachel was in Thymascira for months. It's episode 9 and we just got a glimpse into what has been going on since she was there. A mere shard of what happened after Rachel left. And we pick up basically in the middle of nothing. I'm glad Rachel has more combat training, but what was it like when Rachel first arrived. Were the other warriors afraid of this unknown person? How did they react to Donna? Where is Diana? I need more context and not at time jump with vague happenings we did not see.

-Tim Drake. My bb boy. They really had to go and kill my bb to get Donna back to the living world, huh. That's some bullshit and you wanna know why? Tim does die at some point while being Robin, more specifically, when he is leader of his version of the Titans. Does this mean he will actually live a longer life? Idk, but what I do know is: someone get this kid therapy stat before we have another Jason situation.

-God, I've missed Hank. His comic relief has always been a favorite of mine, and seeing it during this very serious situation really made me less anxious to see what happened. "Deathstroke meets the gimp" I was fucking dying. or when Donna asked how he died and replied with, "Jason Fuckin' Todd" pure gold. And when Donna mentioned Dawn being devastated and he said, "She better be." I really missed this man, I hope he decides to take the Bridge someday with Donny.

-Connor Leslie is just honestly gorgeous. That it.

-Can we discuss how Donna was also peeved about how she went out. It's something that has always bothered me considering Donna is Diana's clone (If she is considered the comic version of her) which still makes is strange to me she died from electrocution. But I'm glad she's mad about it too, we all were.

-They really did Malcolm dirty. RIP man.

-I was ready to throw hands at the show during the bridge scene. Titans was not going to make me watch Hank Hall die a second time with the Ghoules. I'm grateful Hank was able to fight his way out and be reunited with Donny. Honestly made me really emotional.

Overall, this was a "Good" filler episode. It did answer some questions, but it still pulled away from the plot of the previous episode. I would have loved to see Dick and the rest of the Titans' reactions to Tim being shot and fighting for his life in the hospital. Also, Bruce's appearance made no sense whatsoever. So random and unexplained, annoyed the crap out of me since we haven't seen Bruce since he killed the Joker. Titans really needs to step up it continuity.

Finally, we just had a major shitshow at the end of 3x08 and there was no follow-up to it. I need to see what happened after the toxin got into the water system. They could've even had a minor scene seeing the people of Gotham start to lose their shit to get us interested in 3x10. But instead left it off at Donna saving Bruce which idk why that made any sense or why she knew to go there. Just a mess. They should have left it with Donny and Hank reuniting.

Welp, 'til next week guys

[lycanthrop-ee]

Ghosting - Empty House

A/N: !!!!! It’s here! I’m so, so pumped for this- welcome to the Empty House AU! This is the first piece of content I’m publishing and it’s a one-shot from a bigger universe, but it’s also absolutely a stand-alone fic. It’s a self-indulgent, analogical-centric human AU that’s has been floating around my hollow skull for months now, so there’s a lot of doodles backed up if any of yall would like to see that ;) There will be an AU taglist, but I also have an individual writing taglist!

Synopsis: Logan has finally moved out of his childhood home into a family-sized house where he plans to finish college online. His simple plans are complicated when a strange, sad-looking boy starts showing up outside...

Word count: 4,306

Ships: Endgame romantic Analogical

CW: (spoilers) Pre-plot major character death, swearing, anxiety attack, very mildly implied previous parental abuse, be safe kiddos and ask to tag!

The first time Logan saw the boy was the day he moved in. 

The empty house had stood hollowly beside its driveway, Logan feeling small without his siblings or parents or any of his rarely acquired friends by his side. He wasn’t a sociable person, but he’d always been surrounded by noise at home, and lots of it… he’d never been in a house as still as the one he stepped into that day. The dark wooden floors were cleanly swept, except for the corners and trimmings which had little fields of grey dust dotting the deep brown. The refrigerator made a hungry humming noise, protesting its suddenly empty shelves- Logan knew a family of four had lived there before, and that they’d given him a pretty hefty discount on the house. That’s all he knew.

The floor in the entrance hall creaked underfoot, and the walls seemed to turn away as they saw him- not who they’d been expecting, not worth their attention. That was fair. 

The house had three bedrooms and two floors- altogether a strange layout. Two of the bedrooms were downstairs, situated in a small hallway off the kitchen, and one was tucked into a little corner upstairs, where the only other rooms consisted of a bathroom and a large, carpeted playroom that was mostly empty now. Logan figured it would have been a favorite of the kids when they were smaller, but now the only furniture was a faux leather couch and a television, as well as a couple of out-of-place armchairs that had never gotten much human use from the look of their fur-covered seats.

With just him taking up the whole house, he hardly saw the point in using the upstairs bedroom. The house felt big already- rationally, it would be better to localize downstairs. All he really needed was his room, the kitchen, and the little living room next to the entrance. That was enough for him- in fact, even that was too silent. He missed the screams of his brothers as affectionately as anyone could- which honestly varied day to day. 

Today, he was disproportionately affectionate. 

It paired well with the fear.

Logan was just about ready to start tearing himself apart over the family members he’d left behind- the only ones that mattered- when the boy caught his eye.

The day had been gray and dreary, the trees heavy with the prospect of rain and the air cool enough to promise it, but it had only started drizzling in the few minutes since Logan had been inside. The sky had seemed to darken remarkably quickly, especially strange without the presence of thunder or even heavy rain, and in the middle of it all was a lanky figure who looked for all the world like a member of the fae.

He stood at the side of the road, looking in the house’s general direction- in Logan’s general direction, although he was sure the other wouldn’t be able to see through his windows. His face would’ve been hidden by the dark hair poking out from under his hood were he not so painfully pale, and his brown irises were visible to Logan only because of the piercing contrast of his skin. 

His jacket was oversized, but his beanpole frame managed to show through regardless. The rainwater gradually weighed it down until the boy looked almost a skeleton, Logan frozen watching him for what could have been minutes- and then the frame heaved in a breath and ambled stiffly away. 

Obviously Logan’s first worries had to do with an unhinged white male teenager breaking into his new house- the one he had full responsibility for and few precious savings to repair. It was irrational, he knew, but his second thought was that the boy hadn’t looked capable of any harm- or really of much at all. He looked weighed down, depressed, and Logan was sure that it wasn’t just the water soaking his sweatshirt. The boy had looked sad. 

And he continued to. Frighteningly often, the teenager appeared outside Logan’s house. Each time he looked quite the same: above average height but considerably shorter than Logan himself, skinny, and almost other-worldly in his strange mish-mash of dark eyes and pearly flesh. While Logan knew that his first sight of the boy had been strange in the sudden change of weather, he could- and completely intended to- count it as a coincidence of Florida’s strange climate.  

He settled into a sort of pattern, although the boy didn’t seem to follow one. Each time he saw the figure outside his house, he would take a break from his endless work. He’d make himself some tea, sit in the window, and wait for the boy to leave. This way, he told himself, if he tried anything, Logan would be there to intercept him. He chose not to think about the possibility of it happening at night or while he was away, and he kept far away from the crime shows he’d occasionally enjoyed in the past. This way, too, he could get a good look at his visitor each time. It was almost as though he was keeping tabs on him, and at the tail end of his fear came a strange protectiveness. 

It was after about a month of this- Logan looking for job applications and living off of his savings, edgewise- that Logan pulled into his driveway at one of the key moments of his life. The boy stood unsteadily at the side of the road, sweatshirt ever-present even in the heat. Logan got out of his car carefully, his heart in his throat- though, really, did any part of him think the boy capable of much at this point? 

He’d have expected the kid to run as soon as he’d pulled in, but when Logan looked him over he saw the boy studying him, bouncing on the balls of his feet. It struck Logan anew in their close proximity how thin he was.

Almost thoughtlessly, he started across the lawn towards the boy. He had to remind himself to uphold formalities- no matter how many times they’d stared at each other across the way, they’d never once spoken. He didn’t know this kid, not really- and now it occurred to him that the boy was more than a kid. He couldn’t be much younger than himself. Logan halted a few respectful steps from the boy, who eyed him strangely.

Close up… he looked, somehow, the same as he did from across the lawn. His features were simple, small mouth and nose easy to overlook for his huge, shadowed eyes. He really did remind one of a fairytale, or even- perhaps more accurately- a Tim Burton. 

Logan opened his mouth to speak, but paused for a moment. They watched each other.

“Would you like to come in for tea?” He finally inquired, the words escaping him overly familiar. The boy raised his eyebrows almost undetectably, seeming confused, and Logan caught himself almost leaning forward in anticipation of the other’s first words to him.

“You’re not Patton,” the boy said, voice just above a murmur and hoarse. Logan hesitated, confused, and studied the expression that would’ve been bored were it not for the slight tremble in his lips and a hint of surprise- Logan supposed neither of them had planned what had escaped their mouths. He reached up with a thin arm and brushed the back of his hand gently across his eyes. A spark of something strange flickered in Logan’s chest- this man was possibly not all there. He wracked his brain for labels- depression? Mild psychosis? Dissociation?

Either way, this was not someone he should invite into his house without more information- but as that regretfully occurred to him, the first drops of afternoon rain hit the tip of his noise. He wondered if the boy would stand out here after Logan went outside, and if so, for how long. 

“No, I’m not,” he found himself saying. “My name is Logan. It is raining- would you like to come in?”

He was exceedingly aware of the boy’s breathing as they stepped out of the rain, something that would normally drive him insane- somehow he didn’t mind this time. His presence was almost calming after weeks of bringing a break from Logan’s ceaseless work. It assured him that the ghostly pale man was real, which was never a problem he thought he’d be debating... but here was this skeleton-thin, strange-mannered man entering his house as though he’d been there a million times before.

He carefully slid his shoes off, paying close attention to the floor- and no attention to Logan. 

“I’ll make tea,” the latter found himself mumbling. “Do you want to come into the kitchen?”

“I’m gonna go upstairs,” the boy said. Logan blinked.

“I- you… this is my house?” He stuttered, trying to be assertive- surely that crossed a line? He’d never seen this kid before a month ago- but there he went, lugging himself up the stairs like he belonged there. O-kay. 

Logan backed into the drafty kitchen to put the kettle on.

Time to listen to his voice of reason, he decided. Clearly this boy had been in the house before- hopefully before Logan had moved in- and knew his way around. And clearly his mental state had some connection to the house- whether positive or negative, Logan couldn’t yet tell. So, he concluded, it’s possible that he had lived here before. The married couple that had sold him the house had mentioned a son, but they’d been moving out of town- how would the boy have made his way back almost daily? There was a bus line in the area... but who was Patton, and why had his absence been unexpected?

There was clearly missing information here, and thus the situation was theoretically dangerous. The logical thing to do would be to contact the authorities for more information- maybe the boy was a local that they were familiar with. If that were the case, they would know how to handle him. 

On the other hand… it was, put simply, a puzzle. Wasn’t it? Logan was smart; he was in online college and he was passing quite well. He had an A in psych so far. He just needed a few more minutes with the boy and he’d figure it out. He could help him... why else would he show up outside his house? 

He needed Logan.

There goes rational thought, Logan sighed as the kettle started to whistle, turning off the stovetop and moving the pot to the side. Something made him turn around- the boy was watching him from the doorway, looking almost more upset than usual. His wide eyes were watery, and as Logan hesitated he wiped an arm across his face again, expression turning to frustration. He avoided Logan’s gaze. “You said you were making tea?” He said, carefully controlled voice just above a whisper. Logan was startled out of his stupor by the boy’s coherence.

“I, um- yes! Yes, would you- what kind?”

“Earl grey? No sugar, just a bit of milk...” he carefully pulled a chair from the small table, slumping into it and reaching to fidget with the salt shaker. “Please.”

The boy’s words stirred Logan into movement and he grabbed two mugs out of the mostly barren cabinet before pulling a pre-packaged tea bag from the tea box on the counter. He unwrapped the tea and dropped one bag in each mug, pouring steaming water from the kettle into them with a satisfying noise. The warm humidity and pleasant smell caressed Logan’s face, and he took a moment to bask in it before returning to the present moment- if begrudgingly. As he set the empty kettle aside, the room quieted, the only sound the rain drizzling over the side of the roof. Logan crossed the space self-consciously to close the window. The boy’s eyes were pointedly focused on the table in front of him- Logan thought he felt more awkward this way than if the boy had been staring at him flat-out. Either way, he could feel his awareness of Logan like a thick fog. He snuck another look at the boy as he hovered beside a chair, unsure whether to sit opposite him. 

“My name is Logan,” he prompted, thoughts stumbling over each other to curse him for the repetition. 

“Thank you for the tea, Logan.”

...Well, at least that was something. His name sounded strange in the other boy’s hoarse, delicate voice- less mundane, somehow. He stood at the head of a table for one more moment that seemed to stretch out an eternity- the boy carefully spun the salt shaker around in his nimble fingers, swearing softly as some of the seasoning fell onto the table. Logan’s startled eyes studied the other’s flushed face.

And then his head caught up to him, and he shuttered into motion, rushing to the mostly empty fridge for milk and fetching the small bag of sugar he’d mercifully bought a few days before. 

“I... I’ve seen you around,” Logan’s mouth betrayed him again. That was creepy- although, looking at it objectively, it was much less creepy than being ‘around’ the way the boy had. The table behind was quiet for too long as he poured the milk. 

“...When’d you move in?” The voice was quiet and held a fragility that Logan hadn’t yet heard from the other. He was relieved to finally have an easy answer to one of the many questions he faced. And, indeed, his mouth finally obeyed him, even and direct.

“About a month ago.” He turned to face the table, the boy’s tea held stiffly between his hands. 

“Sorry,” he whispered as Logan set down the tea. “I knew someone’d moved in, but I guess… it was you.” The boy let out a hollow laugh, and Logan was swept with protectiveness once more.

“Don’t worry, I won’t alert the authorities.” Because that was the most comforting thing he could think of- he’d never been very tactful with delicate emotional situations. Predictably, the boy tensed. Logan decided it’d be advisable for him to move on. “What is your name, pray tell?”

Pray tell. Pray fucking tell? What was wrong with him? The boy cut him off before he could overthink the foot he’d just shoved in his mouth with the eloquence of an 1800s era schoolboy. 

“Patton.” A moment passed before a look of horror came over his face. “Or- no, I- it’s- Virgil! Virgil.”

Now- once again, logically- forgetting one's name was not a good sign. Of general coherence nor moral innocence. Logan knew this. 

Still, the boy looked uniquely upset by the mistake. 

Logan fetched his tea and sat down opposite him.

The other boy fidgeted incessantly, and Logan felt it fell on him to make Virgil more comfortable. He threw tact to the wind- it was tiresome anyway- in favor of distracting the other and himself from the strange fumble.

“Are you a local?”

He got a nod in response, Virgil holding the tea tightly between his hands. Logan couldn’t help but feel he’d made yet another mistake- obviously the boy wasn’t comfortable talking about himself, but was it worth Logan filling the silence with unprompted facts about himself? Would that bore Virgil? Was that rude? He let the gap in conversation rest for a moment before deciding he didn’t much care what was rude.

“This is my second year enrolled in online college- I skipped my senior year.”

The stupid non-sequitor sat in the middle of the table, sinking like a rock. Virgil managed to give him an incredulous look, even in the depths of... whatever it was that was affecting him. Logan panicked. 

Here are a few things about Logan Croft that were usually a given:

                  1. He often said things without regard to the effect they would have on others. 

                  2. He did not say things he didn’t believe to be true.

                  3. He did not readily employ personal information.

All of these rules had apparently been thrown out the window the second Virgil walked in his door. As soon as he realized this, he worked to reclaim them. “Virgil.”

The wind immediately blew out of his sails, and he closed his eyes, taking a deep breath. Speaking abrasively had never been difficult for him, and this was not the time to adopt a new weakness. “I need to know who you are. You have shown up outside of my house for the past month, and while the reasoning behind this is presumably personal and not necessarily critical for me to know, I will at least need you to tell me your full name. Against my better judgement, I will not contact the authorities about your incessant invasion of my privacy, because I don’t altogether mind it- but if you are to have regular access to my house, we can’t continue this one-sided conversation.” Regular access to his house? When had Logan considered that option? As soon as he asked himself the question, he knew the answer- the feeling of someone appearing in the doorway, seeking Logan’s company… it was something that he’d missed sorely. It was something he needed.

The boy looked startled and altogether terrified by the long stream of words. Logan, still working hard to recover his sense and new to the inclination of softening his words on the behalf of strangers, disregarded this as best he could as he waited for an answer. 

It didn’t look like he was going to get one.

Virgil opened and closed his mouth like a fish out of water, putting the salt shaker down on it’s side like he’d been caught doing something he wasn’t supposed to. Logan felt a tug in his stomach to right it, afraid he’d get more salt on his table, but now didn’t seem like the time. 

As the moment stretched forward, his attention was grabbed away anyways, trying to decipher Virgil’s expression. It didn’t look good. 

In fact, it made his heart drop.

The boy looked withdrawn, fearful- like a bird with an injured wing or a snared fox. Damn it, damn it, damn it- Logan’s split-second adopted mantra was less than helpful, but it showed no signs of tapering off to make room for useful thoughts. Virgil’s eyes squeezed shut, and the instincts left over from Logan’s career as an older brother took over. 

He rushed to Virgil’s side on blind autopilot, laying a warm hand over his bony back. The boy jumped at the unexpected touch- and then leaned into it, a choked sob tearing itself from his throat. Oh no. Oh god. Damn it. 

Logan didn’t consider himself good with emotions. He did his best to comfort his younger brothers- god knows they needed it- but strangers were a whole new situation and honestly he didn’t feel much better about this than he expected the boy did.

Nevertheless. 

“Hey, I-” he took a knee to lower himself to Virgil’s level, steadying himself against the table awkwardly. “Um-”

He choked on what to say, but his mind latched to the one thing he knew. Virgil had responded positively to touch- and with little further thought, Logan bundled the shivering boy into his arms.

Logan would’ve immediately taken back the show of affection by any means necessary if Virgil hadn’t melted into the touch so readily- Logan was reminded of an oversized cat. 

That being said, Logan was holding a sobbing stranger in his arms in his new house, alone. Damn it, damn it, damn it.

Logan had always been the kid at family gatherings who did everything in his power to ward off physical contact from his overbearing relatives. Although this situation was completely different and altogether impossible to plan for and avoid, he found himself reacting in somewhat of the same way- each place that Virgil’s thin, trembling body touched his screamed at him to recoil.

He did not.

He brought to mind his brothers- not that they’d ever been particularly physically affectionate with him. They’d always turned to each other, and he’d been left to himself. Understandably. But he imagined if they had seeked his reassurance, if they’d ever been as upset as this stranger was now. If they’d let him in. 

But now someone was leaning on him for comfort, and he was determined to provide for them. Imagine if Remus had come to him for help, he kept thinking. Imagine if it were Roman. 

And all of a sudden he had to hold back tears himself. He tensed, carefully leaning Virgill back onto his chair- Logan’s chair. Sensing the other’s discomfort, the boy came back to himself like a fire blazing across dry wood. 

“Fuck- fuck, I-I’m-” the boy was off at a rushed stutter, scrambling to right himself and wiping his eyes angrily. Logan shook his head, patting Virgil’s shoulder awkwardly. 

“Drink your tea,” Logan said stiffly. “It’s okay. I don’t- do you need something?” Good job, he thought sarcastically. Just pretend it never happened. Show him that, apologies, you seem to have made him think you’re an emotional resource. He was wrong, you’re actually a sociopath. Once again, sorry for any inconvenience. 

Logan’s thoughts stuttered and shouted as he tried to fix whatever he’d done. Virgil was quite obviously shaking, almost unable to hold his tea to his lips although he did make an effort, and Logan resorted back to psych class- maybe not a panic attack, but certainly an emotional breakdown and possibly an anxiety attack. “Do you have a history of generalized anxiety disorder?” Logan asked automatically, the place where he should have held a capacity for compassion currently void for whatever stupid reason. “Or even a suspected case?” The thunderstorm in his mind froze entirely as Virgil’s watery brown eyes focused on him. 

“...I guess,” he rasped quietly, eyes flickering back to his hands as they picked at each other violently. “I dunno.”

Logan let out a long breath, sliding furtively into the chair opposite Virgil. 

“If you’re having an anxiety attack, it could be caused by a persistent disorder or a recent traumatic event- although recent is a problematically inspecific measurement-” 

“Uh, then I- I dunno. Still. I guess…” He shrugged, looking away. “How recent is recently?”

Logan tried to hold back a sigh of relief at the comparatively simple question.

“Generally, anxiety attacks are caused by a buildup of unfinished tasks or other irritants, although there’s often an overarching problem or incident. A traumatic event can cause emotional turmoil for years after it occurs- or for the remainder of one’s life, depending on it’s nature- but in most to all cases, the effects lessen as time goes on.” Virgil nodded slowly. 

“And- and what are the symptoms? Of an anxiety attack?” He pulled his legs up to his chest, presumably placating the urge to make himself smaller. Logan rattled off the characteristics quickly.

“Shaking, a feeling of unease, impulsive thoughts, nausea, panic, the sensation of being trapped or cornered, restlessness, hyperventilation, trouble concentrating, dyspnea- shortness of breath, that is- am I making sense?” He wrapped his hands around the cooling cup of tea in front of him, feeling the need to steady himself. Virgil nodded again- it was apparent he was a man of few words. That worked out wonderfully, Logan thought, as he himself seemed so bent on talking as much as humanly possible. 

“Yeah,” Virgil muttered- then stood up abruptly. “Um- I should probably go. Sorry for… yeah.” Logan, decidedly more alarmed at the idea than he should’ve been, got to his feet as well.

“No- I mean, you don’t… have to. If you’d rather- but if you feel the need to go- I mean, I don’t want you to…” Logan paused, squeezing his eyes shut and trying to get his damn mouth under the control of his brain. Had he said something wrong? Well, obviously he’d said many things wrong in the past minutes, but… he thought over the conversation. He’d only been saying the facts- just what he knew. Was there something he should have kept to himself? Was any of it too personal? It was just facts, statistics, symptoms- he cursed himself mentally, although he couldn’t tell precisely what for.

While he’d been deliberating- not panicking, never panicking- Virgil had frozen in place. Right. The whole blazing trainwreck of words he’d let out for no apparent reason. Where the hell had that even come from? He’d known this kid for a month- five minutes face-to-face- and he was already being weird and nonsensical. It took considerable effort to bring the circumstances of their meeting to mind and even the playing field in his subconscious. If they were both creepy, did it even out? “I-I meant... you’re welcome here.” 

Logan could see the gears turning in Virgil’s head as he fell back into his chair. A weight slid off of his shoulders as the air between them settled- they were even. Or something. 

As much as he expected to regret his words, he was surprised at the lack of protest from his thoughts. It was, for once, blessedly quiet both inside his head and out. Logan sat back down warily. “You obviously have some- some connection to this house.” Like some sort of undead apparition, he thought- but he had the sense to keep that, at least, inside. “I can’t tell if it has a positive or negative effect on your mental state as I seem to be an uncalled for variable in your visit. I’m no psychological authority... I know you’ll come back either way, and I don’t like imagining you back out in the rain.” A shiver went through the boy like a roll of thunder, and he nodded. 

“When can I come here again?”

[daresplaining]

[ID: Excerpt from Lee’s Daredevil run. Jack Murdock is boxing with a blond-haired opponent in front of a large crowd. College-age Matt and Foggy are cheering him on from the sidelines.]

Jack: “The Fixer said I have to take a dive in the first round tonight! But my boy’s here tonight, to root for his dad! I’ve always trained him to do his best... I can’t disappoint him now!”

Fixer: “Murdock! You fool! Take it easy! What are you doin’?! If you’re tryin’ to double-cross me, you’ll live to regret it! You’re supposed to dive now... hear? Dive!”

Foggy: “He’s winnin’, Matt! Your dad’s pulverizing him!”

Matt: “(I know it! I can follow the fight perfectly, by hearing the sound of each blow, each footstep!)” 

Jack: “It’s my one chance! ...Maybe my last chance... to do something to make my son proud of me! I’m not gonna fail him! I’m gonna win... do ya hear... I’m gonna win!”

Daredevil vol. 1 #1 by Stan Lee, Bill Everett, and Sam Rosen

    This is unprompted by anything, but since it’s on my mind, I wanted to discuss it: 

    There’s a conversation that can be had about Jack’s decision to not throw his final fight, and whether or not it was a responsible thing to do. On the one hand, it was a powerful move that symbolically shaped the rest of Matt’s life. Jack makes the decision to stand up for his morals, and for himself, and with his son cheering for him, he does the impossible and wins a fight everyone told him he had to lose. This type of persistence against incredible odds is a major Daredevil motif. Jack’s decision to stand up to the Fixer and his cronies aligns with the bullying themes that exist throughout Matt’s origin story, and is reflected afterward by Matt’s decision to take that same stand and become a superhero. It’s also a beautiful, emotional depiction of a man who has struggled his entire life and finally achieves a sense of self-worth and empowerment. Jack’s final fight is a powerful picture of heroism, and this is why it is such a frequently-referenced moment in DD history. 

    But it also got Jack killed, and-- and this is the tricky bit-- he presumably knew it would. Jack was born and raised in a neighborhood dominated by organized crime. Whether or not you subscribe to the version of continuity in which he was blackmailed into working as a mob enforcer for a while, it’s a clear fact that Jack, having grown up in this environment, would have a sense of how gangsters operated, which means knowing what happens to those who anger them. While the earliest versions of the story (in Daredevil #1 and #53) gloss over the actual conversation between Jack and the Fixer before the big fight, Roger McKenzie spells it right out in his retelling in #164:

[ID: Excerpt from McKenzie’s Daredevil run. Jack Murdock is working out in a gym in nothing but short shorts (I swear...) when two gangster-looking men in fedoras come in. One (the Fixer) is short, the other is tall.]

Fixer: “Jackie boy, you been workin’ too hard. You ought’a take it easy. Real easy. So easy you lose your next fight, know what I mean?”

Jack: “Why, you lousy little--! I never threw a fight in my life! I sure as hell ain’t gonna start now!”

[ID: Jack tries to punch the Fixer, but the tall gangster grabs his wrist.]

Fixer: “Jackie boy, you either take a dive... or you’re a dead man!”

Daredevil vol. 1 #164 by Roger McKenzie, Frank Miller, and Glynis Wein

    Jack knows the stakes: if he doesn’t throw the match, he’ll be killed. Entering into this impossible situation is part of the tragedy of his story. He was previously aware of the Fixer by reputation, and avoided having anything to do with him until he had no other option. For Matt’s sake, Jack sacrifices both his morals and his personal safety by agreeing to associate with a manager who is known within the boxing community to be crooked and dangerous. 

[ID: Two panels from Thomas’s Daredevil run. In the first, Jack is walking down the street, away from the viewer, with his hands in his pockets. In the next he is in the office of a boxing manager, leaning over his desk. The manager is lighting a cigar.]

Jack: “I’m too old... haven’t been able to land a fight in weeks! But, I’ve got to keep fightin’... till Matt gets thru college! I owe him that!”

Matt (caption): “Finally, in desperation, Dad made a fatal decision...”

Guy: “Sorry, Murdock... but the only guy who’ll manage a has-been like you is... the Fixer!”

Jack: “The Fixer! I always swore to steer clear of a guy with his reputation! But now I’ve got no choice... I have to get a fight!”

Daredevil vol. 1 #53 by Roy Thomas, Gene Colan, and Artie Simek

    But in spite of this knowledge, Jack also shows a surprising degree of naivete in this situation. He’s a good person, maybe a little too trusting, maybe not quite as street smart as he ought to be. He is a victim, toyed with by people who are happy to prey on his earnestness and desperation. Despite being aware of how shady the Fixer is, Jack is still shocked to learn that his fights are being fixed, and affronted by the suggestion that he would agree to take part in that deception. But even so, once the situation becomes clear to him, he does know that the consequences will be dire for him if he refuses to throw the fight. For Jack, deciding to welcome those consequences and finding the strength to actually win the fight is a personal victory, but there’s an uncomfortable grey area within that decision, because by choosing to set a moral example for his son in spite of the risk, he is also choosing to abandon Matt. 

[ID: Excerpt from the Battlin’ Jack Murdock mini-series. Jack is in an alley, getting beaten up by several gangsters in fedoras. His face is bloody. One of the gangsters, Slade, holds a handgun to Jack’s head.]

Slade: “You ain’t scared, huh, tough guy?! Maybe after we’re done with you, we’ll go get your boy. Maybe we’ll make him deaf and dumb too! Whaddaya think about that, Murdock? You think we should go see your boy?”

Jack: “Heh heh. You... you do that. Ha. You go see my boy. Ha ha ha!”

Daredevil: Battlin’ Jack Murdock #4 by Zeb Wells and Carmine Di Giandomenico

    The Battlin’ Jack Murdock mini-series makes an effort to break down Jack’s mindset regarding this decision. Ultimately, it resorts to using a retcon (or at least, an addition to the canon not seen elsewhere) to justify Jack’s actions: Jack discovers Matt’s fighting abilities shortly before the match, and goes to his death safe in the knowledge that his son can take care of himself. I like this plot point just because the idea of Jack discovering Matt’s secret is fun to consider. But it doesn’t really work to smooth over this wrinkly bit of characterization, because a parent’s concern for their child’s wellbeing usually goes further than just “can my kid physically defend themself against possible future retribution stemming from my actions?”. Jack’s “Oh phew, Matt’s a badass!” doesn’t, I feel, go deep enough. Without Jack, Matt only has one other significant person in his life at this point: Foggy. And that does end up being enough-- Foggy’s support gets him through the initial anguish of losing his father, and Matt graduates college and builds a successful life for himself-- but it still looks a lot like selfishness. Jack may be trying to set a moral example for Matt by winning the fight, but what good is that when it’s a decision that ends up harming them both? Jack may be willing to die for the sake of taking a stand, but shouldn’t Matt, who is forced to suffer the emotional toll of losing his father, have a say in that decision too? 

    Jack wins that fight for himself and for the message it sends to Matt. This is firmly established. But what is also firmly established is that Jack would have done anything for Matt. He sacrificed everything to give his child the best life he could, and for a long time, the two of them only had each other. Jack certainly made mistakes, but it seems wrong to think that he would willingly choose to leave Matt alone. It is possible to read this moment as Jack deciding that Matt is ready to be left alone-- he was in college, well on his way to adulthood and independence, he had a caring best friend, and thus Jack felt safe in letting Matt go off on his own. I think that’s part of what Battlin’ Jack Murdock was trying to get at, and I do certainly think that was a factor. But I also believe strongly in the sheer emotional force of that moment in the ring when Jack made his fateful choice. 

[ID: Excerpt from the Daredevil: Yellow mini-series. Jack, in the ring, punches his opponent in the face while Matt and Foggy cheer him on from the sidelines.]

Matt: “Take him, Dad!”

Announcer: “Unbelievable! ‘Southpaw’ Jack Murdock has floored Creel with a hard right to the jaw!”

Daredevil: Yellow #1 by Jeph Loeb and Tim Sale

    I want nothing more than to give Jack the benefit of the doubt, and my personal interpretation of the decision is that there was no forethought involved. Jack goes into this fight angry and horribly conflicted, and then in the heat of it all he realizes he can win, he hears Matt cheering for him, and he just goes for it, unleashing a lifetime of grief and frustration, determined to behave heroically in front of the son who means more to him than his own life. Maybe, in the elation of the moment, he convinces himself that he’ll be able to handle the Fixer’s retribution, or maybe he no longer cares one way or the other. But it’s such a visceral scene that for me, I’m convinced that emotion was the main driving factor behind Jack’s decision. 

[michelles-garden-of-evil]

Ian Martin’s Strange Paradise, Part II: The Top 5 Worst Things

Last week, I listed my top five favorite things about the first 44 episodes of Strange Paradise, when Ian Martin was headwriter and when the show had a very different feel to it than in the final four weeks of the Maljardin arc. But no creative work is perfect, and, despite my fondness for this show, I’d be lying if I said I didn’t think that the writing for early Maljardin had several glaring flaws. Unlike Danny Horn, I don’t think that Ron Sproat was a better writer than Martin (actually, I consider Sproat the worst writer on SP), but that doesn’t mean that I don’t also feel that his writing needed some improvement. Note that this entry is specifically about the writing during this period, so things outside his creative control (e.g. the Conjure Man’s questionable casting) will be excluded from the list.

That said, here are my top five least favorite things about the writing in the first nine weeks of Strange Paradise:

5. Cheesy dialogue

More specifically, (1) bad jokes and (2) slang that was already outdated when these episodes originally aired in 1969. This one is #5 because, while these lines are cheesy, I can’t hate them because most of them make me laugh. Even my personal least favorite of Jacques’ jokes, the “pose” line from Episode 18, is kind of funny in an ironic, anti-humor sort of way, like the dad jokes that have become fashionable in recent years. While there are some jokes in this show that I find genuinely funny--Elizabeth’s Song of Solomon joke, for instance, or “the lady doth detest too much”--most others are the epitome of cornball. Sometimes you hear both in the same episode: Episode 21 is loaded with Devil jokes/puns that would be unforgivably corny if Colin Fox didn’t possess enough charisma to sell them, and yet the same episode also features a genuinely hilarious double entendre. The good jokes sneak up on you, sometimes amidst a hurricane of bad ones.

As for the slang, some comments that I’ve read mention that it was largely out of date even in the late sixties. My good friend Steve (with whom I often discuss SP) has told me that “you might not be aware of how campy that slang sounded in 1969 since you obviously did not live through the Sixties--this happened with a lot of TV shows during that period, the most egregious examples being the various ‘evil druggie Hippie’ episodes of DRAGNET.” Apparently Martin became infamous for using outdated slang later on when he wrote for CBS Radio Mystery Theater, putting lines like “I dig a man who’s far-out!” and “I think bein’ around here’s gonna be kicks!” in the mouths of some of his younger characters. Even if he had used up-to-date slang, it most likely would have still aged poorly (as slang typically does), especially for generations born after phrases like “the most” and “making the ___ scene” fell out of use.

4. Slow pace and excessive repetition

This one is also low on the list, because slow pace and repetition weren’t flaws when the show originally aired, but instead have aged poorly because of advances in technology that made them unnecessary. Before the advent of the programmable VCR, you had to be able to catch the program you wanted to watch on time or have someone you knew catch it on time and record it--which, in 1969, would have meant an audio-only tape recording. This meant that only the most fortunate and/or most loyal viewers would have been able to watch Strange Paradise every day, making it necessary to recap all the major events in subsequent episodes for those who missed out. This is also likely the reason why early SP (like most soaps of the time) has a relatively slow pace: if too much happens in one episode, you have to recap more and the people who missed the big episode are more disappointed.

Nowadays, with DVRs, video streaming, and DVD sets--not to mention certain legally-questionable means--it’s nearly impossible to miss an episode of your favorite show (with few exceptions), making extensive recap largely obsolete. Screenwriters can cram as many plot points as they want into one episode and no longer have to write five episodes of the other characters reacting to the news if they don’t want to.

Even so, just because the constant recap served a function at the time doesn’t mean I have to like it. It gets annoying hearing the same plot points reiterated episode after episode. Like I said while reviewing Episode 21, “if someone were to remake this show for Netflix or another streaming service, they could safely ignore about 75 percent of the original scripts and condense the remaining 25 percent quite a bit without omitting anything important.”

And don’t even get me started on the lampshading of absent cast members, like in Episode 9 when Jean Paul and Quito wasted two minutes searching for Raxl just to slow the plot down. It’s nothing compared to Ron Sproat’s “we must search for Quito” filler episode in Desmond Hall (Episode 78), but still, those scenes were pointless.

3. Extreme artistic license with certain historical/cultural details

Although Ian Martin did a surprising amount of research on certain subjects for Strange Paradise, there are some subjects where he either didn’t do enough research, or (more likely) made extensive use of artistic license. The first one is his portrayal of Jacques’ wife Huaco as an Inca princess despite their marriage occurring over a century after the fall of the Inca Empire. I discussed this all the way back in Part II of my review of the pilot, where I invented the theory of Jacques traveling back in time to marry her, but other possible explanations include Huaco being a 17th-century descendant of Inca royalty (as the Quechua people are still alive today), extreme artistic license, and/or critical research failure. I don’t know if we would have eventually gotten a good explanation if Martin had continued writing the series, but we would need a damn good one for the approximate equivalent of having a 21st-century character marry the Russian Grand Duchess Anastasia. I’m willing to suspend my disbelief and accept it considering that this is a fantasy series, but it still creates a lot of plot holes that need to be filled.[1]

Another example of artistic license about which I feel more ambivalent is the conflation of voodoo with the Aztec-inspired indigenous religion of Maljardin, which I’ve discussed before both in my Episode 23 review and Part I of this post series. I’m not sure if this is genius--religious syncretism is a real phenomenon throughout the Caribbean and Latin America, and some people today do syncretize the vodou Serpent God with Quetzalcoatl--or just an instance of Martin playing fast and loose with facts. I would like to think it’s the former, but it could just as easily be the latter (hence why I referenced it on both lists--I have mixed feelings about it).

2. Annoying inconsistencies

Does Raxl know that Jean Paul is possessed by Jacques Eloi des Mondes? Does Vangie? Why does Jacques’ portrait disappear in some episodes after he possesses Jean Paul, but not in others? All three of these things vary from episode to episode, and change annoyingly often as the plot demands. Steve and I have also discussed this subject in the past, and he believes that Martin used this device to make the story easier to follow; if that’s the case, it appears that he used Raxl and Vangie as audience surrogates, especially for new viewers or people who didn’t tune in every day. But surely there were other ways to do that without creating continuity errors? It may have served a function, but that doesn’t make it good writing. What Martin is essentially doing is filling and reopening the same plothole, episode after episode.

Regarding the portrait, I don’t know how much to blame Martin’s scripts for this inconsistency and how much to blame the directors, as I don’t have access to any SP scripts beyond the pilot script and the Vignettes. However, I’m going to assume that he’s at least partially to blame, because at least the pilot script mentions the disappearing portrait (which literally disappears in all three of the Paperback Library novels), Also, while none of the characters ever mention the portrait vanishing (unlike in the tie-in novels), some of his episodes have characters looking at it while Jacques is controlling Jean Paul and commenting on the uncanny resemblance. See also the diegesis tag for more discussion and analysis of the disappearing portrait.

1. Tim’s subplot

It should surprise none of my regular readers that Tim’s subplot is my #1 least favorite thing about the first nine weeks of Maljardin. I’ve already written an entire post about why I dislike this subplot, so I’ll keep my discussion of it here brief. Jean Paul saves the life of artist Tim Stanton when he hires him to paint Erica’s portrait, but then does nothing to make the commission easy for him--which is not a bad set-up for a plot in and of itself, but the execution is terrible. Tim chooses to use Holly as his model despite her barely resembling Erica, and Martin mostly uses their subsequent interactions to drive the old, tired, clichéd plot where two people who bicker and hate each other at first eventually fall in love (or at least he appears to be setting that up[2]). The payoff for the Holly portrait subplot finally occurs in Episode 33, but it’s underwhelming (not to mention barely recapped) and the already bland Tim quickly becomes a background character. In short, his subplot is a boring waste of time and should have either had more payoff or--preferably--been scrapped altogether.

That concludes my list of the worst things about Ian Martin’s Strange Paradise. Stay tuned for my review of Episode 45 within the next two weeks.

{<- Previous: The Top 5 Best Things }

Note

[1] Interestingly, there is a possible (if unlikely) historical explanation for Huaco’s sister Rahua having “skin as white as goat’s milk” and “hair like ripened wheat.” An early Spanish account of the Chachapoya people (aka Cloud People) of the Northern Andes describe them as “the whitest and most handsome of all the people that I have seen, and their wives were so beautiful that because of their gentleness, many of them deserved to be the Incas’ wives and to also be taken to the Sun Temple.” Assuming the Spanish account isn’t made up, this proves that reality is sometimes unrealistic.

[2] Thankfully, given the soap opera genre, it’s unlikely that Tim and Holly would have stayed together forever, even if they had eventually fallen in love during their painting-and-bickering sessions. Even so, that doesn’t make it a good subplot.

[taiblogcomics]

The Love Boat

Hey there, distractions from current events. Haven't had a restock yet, so we'll be beginning the year with more New 52 Teen Titans terribleness. It'll be fine, I'm sure~

Here's the cover:

I said we were going to save it, but now that she's on the cover, I guess we can rant about this Raven redesign now. Surprise, I hate it! I get that she's starting as a villain now (which is another thing I hate), but the original Raven managed villain while still keeping her cloak and leotard look. I think it's supposed to be feathers covering her face, but I never understood why that was ...anything. I never understood anything about that. It looks silly and I don't know how she sees out of it. Like, she doesn't have to look like the '80s version or the animated design. I've seen good modernised Raven costumes. But this ain't it, chief.

And that's only one bit of the cover! Like, this isn't part of "Death of the Family", but it is sort of an aftermath issue. Hey, know what wasn't part of "Death of the Family" in the end? The "Death" part. Yeah, none of the major characters actually died. I'm pretty sure I've got a trade around here, maybe we can cover that little piece of edgelord dreck for an anniversary someday. Anything else about this cover? Well, I didn't even notice this shining guy at first. That's pretty bad when you have a guy glowing like the sun and yet you completely overlook him when you pull the comic from the shelf~

Speaking of the light guy, think this'll be related? We open with a kid named Kwon Yi, who can manifest balls of light from his body. Unlike a lot of people, Kwon really hates having a superpower, so he's come to a really shady-looking doctor to have it removed. If that sounds like bunk to you, congratulations! You've read a story before. The doctor straps him down and a bunch of sharp instruments begin digging into Kwon's back. He dies as the powers are drained out of him, and fed into an emaciated man who's cackling to himself how he'll soon use all these powers to "lead them out of darkness". Anyway, all of this is foreshadowing and has nothing to do with the rest of the issue~

We join our heroes in a limo together, recovering from the events of "Death of the Family". They're pretty forgiving of Tim Drake for everything that happened, but Tim himself is pretty bummed that he let it happen at all, since he's supposed to be the leader. Cassie is pretty disgusted by the touchy-feely display, but luckily for her, Kid Flash interrupts at this point. He's running alongside the limo, and he's noticed that the limo isn't going to their usual penthouse tower. In fact, it's pulled up at the docks along the Hudson River. Tim mentions that he's gotten them a new place to live, and if you think this is leading up to a reveal of a new Titans Tower for this continuity, well...

...Sorry to disappoint you, but what Tim reveals is a big cruise ship. Yes, really. This is their new headquarters, and while most of them are speechless, Bunker is pretty thrilled. Since it's a cruise ship, it has individual quarters, a pool, a rec room, and so on. It even has a war room that attaches to Tim's own quarters. I really don't understand how a boat is more secure than a tower, but I'm not a former sidekick of Batman's, I guess. The group then breaks to go to sleep, since they're kind of exhausted after all the ordeals of never following a story for a single issue or series.

Kid Flash and Bunker, who have opted to bunk together for security, retire to their room. Kid Flash is, of course, the twitchy sort who can't settle down, especially in a new place. He confesses to Bunker that he doesn't remember any of his life pre-Titans, and Bunker tells him not to worry about it. He gives Kid Flash some actually good advice about how you have to live in the moment, since you can't change the past and the future will come regardless. He mentions that he misses his mom and boyfriend back in Mexico, but he's glad to be here, now, doing what he's doing. This is dramatically undercut by the next scene, showing his mom visiting his boyfriend in the hospital, where he is unconscious and glowing.

Tim Drake, however, did not go to bed. He's a Batman sidekick, being up all night is in his blood. So is monologuing, but it's quickly revealed he's actually talking outloud because he knows Solstice is there watching him. She's come back to apologise again for that bit during The Culling, where Tim was building a case against NOWHERE and didn't help a bunch of kids until he had evidence they needed help. And despite this issue coming out five years before the film, I swear, he does the Spiderverse "Hey" move, and swoops in to kiss Solstice. She protests "what about Kid Flash?", and Tim's all "I don't see him around, do you?" And so they keep making out. Oh good, instead of manufactured "pissy at each other" tension, we get love triangle tension instead.

We get a brief scene of a white-haired kid at a coffee shop getting pissy at how long the customer ahead of him is taking with their extremely specific order, which, like, don't go to a coffee shop, then. He gets pissed enough that suddenly his brain flares in a negative filter and kills all the people in the shop. A policeman comes rushing in to see what the commotion is, and they find nothing but bodies. The mysterious brain guy has already left, drinking the complicated order that the customer in front of him was ordering, deciding it was worth all the detail after all. Wah-wah.

And if you think the teen drama bullshit is going to stop there, Tim retires back to his room after making out with Solstice, only for Cassie to come looking in for him. She's wearing one of his shirts as sleepwear. He allows it, mentioning that he's loosened up since the ordeal of being in "Death of the Family". Cassie mentions that she came in here to "thank" him for helping to deal with Diesel, and the two of them start making out as well. Contrary to what you might expect, just coz I like reading comics about teen superheroes doesn't mean I like teen drama and romance plots~

And it might be a bit more than makeouts, since while it showed Solstice and Tim in full during their kiss, it cuts to silhouette and a shot from the doorway as Cassie and Tim kiss on the bed. Implied intercourse ahoy! And if you think that's creepy, it cuts over to Raven sitting on a throne, swirling a goblet of probably blood, while she uses magic to listen in on Cassie and Tim doing it. Um, ew.

Some old granny ghoul calls her over, saying her father Trigon wants to meet by the blood river, and Raven departs. The last page of the comic closes the story with Tim by himself in the war room, listening to the police reports of the coffee shop massacre, while his eyes glow red, implying he's probably under Raven's control or something.

Ugh, is it too late to go back to the edgelord crossover dreck~?

Seriously, this issue is bad. For one thing, it’s trying to set up, like, five different future plotlines all at once, and thus doesn’t have a consistant tone. And for two... Well, do I really need to say it? The main plot of the story is skeevy as all hell, and really makes Tim come off as a creepo. A lot of bad comics I review on here just make me angry, but this one makes me feel unclean. The sooner this storyline is over, the better. Ugh...

[koffein-art-archive]

Marble Hornets: Creativity through the static.

What was it that inspired you when you were younger? Was it a tv show? Perhaps a video game or even a series of books? Boundless creativity at your finger tips that led to portals that could whisk you away to different lands. To escape real life.

At the end of the 2000’s, and onto the 2010’s, there laid a piece of media that many would flock to in their time to indulge, engage, and escape through.

A simple web series called ‘Marble Hornets’.

Marble Hornets is, considered to be by the internet as an ARG, (an ARG standing for ‘Alternate Reality Game’), a web series that started on the video sharing platform Youtube. The first upload of the channel was uploaded onto the site on the twentieth of June, 2009. ‘Introduction’, a simple title for something that would grow into much more as time would go on. You never could expect the story to go down the road it did.

The contents of the story is summed up quite nicely in the first video. Jay, the main protagonist and cameraman of the series, explains that one of his old buddies from college, Alex Kralie, was trying to create a student film called ‘Marble Hornets’. His crew complained about his stress and irritability throughout the project, and Alex finally stopped production on the film due to ‘unworkable conditions’. When asked about what would happen to the tapes from production, Alex replied with two simple words; ‘Burn them’.

Throughout the series, several strange, or what could even be described as paranormal, events unfold for Jay and the rest of the cast as he goes about his journey to try and document odd things around him, wanting to know what exactly was going on with Alex after viewing the tapes. Little did he know that by doing so he would seal his fate, as well as the lives of those around him.

Marble Hornets ended on the twentieth of June, 2014, totaling in eighty-seven entries. Or one hundred and thirty-three entries if you include totheark, a separate youtube account that would respond and even sometimes hack the main Marble Hornets channel, contributing videos for the series as a whole. Though the series it self might get a little confusing at times, and it’s elements of storytelling might drag on at points, it’s still a great series to watch when times are a little tough and you need something to focus on. To dip into something out of this world and become immersed in the lore and characters.

Marble Hornets is immersive in the world it brings to the viewer, whether it be a quaint town, a lovely forest with luscious and vibrant trees, and or a strange entity that stalks those that encounter it.

Now to get into the meat and potatoes of this essay, the following topics will now be run down; the creativity of Marble Hornets, the mental illness subplot, and the macabre essence carefully sewn throughout the series as a whole.

To many fans, Marble Hornets is a wonderful piece of storytelling. It can be attributed with inspiring many people within the fan-base. Examples of this being the creation of what is known as the ‘Slenderverse’. The Slenderverse is typically described as ‘a series on the web, usually in the form of online video storytelling, that surrounds the mythos of the infamous Slenderman.’. A wildly popular set of series that took inspiration from Marble Hornets are the two video based web series ‘tribetwelve’ and ‘everymanhybrid’. And as the years pass by, more web series inspired by Marble Hornets continue to pop up.

Another creative aspect of the Marble Hornets series would be the countless fan works; from fans that dress up as the characters, to countless fanart and fanfictions. Some fanart and fanfiction tend to use the source material to create their own headcanons, or rather ideas that they have about characters in the series. While others are deconstructing the entire plot and rearranging Marble Hornets into an entirely new story.

The final point that needs to be talked about would be the visual and audio effects that the series is well known for. It’s no secret that the series didn’t have the best budget, but the crew made do with what they had and created something both wonderful and rather unsettling. From visual effects, such as static or cuts in the video feed itself, on the cameras used in production, to various distortions in audio that could make one's ears bleed.

A fun fact to note would be the use of tapes in the series. The tapes didn’t actually work on the cameras used to film. Instead, they were added in to give that ‘found footage’ staple that is unique for Marble Hornets.

Now let's get into a more ‘sensitive’ subject.

Marble Hornets has a few elements of mental illness. It deals with people who have gone through intense mental health, with their lives constantly being on the edge of danger from tapping into things that they were never meant to see with their own eyes. it’s discussed by the characters or physically shown through one's actions.

One of the major characters, Tim Wright, can be seen as one such character. He’s a clear advocate of mental illness as well as the importance of keeping your mental health in check.

Tim has suffered from intense mental health issues since his early childhood, even being sent to a hospital by his mother when things got bad. He’s constantly seen taking medication, in the form of pills, whenever his symptoms flare up. His symptoms ranging from blackouts, this is most known to be when Masky comes out, a sort of alter ego that seems to have appeared even when he was younger, especially with his bouts of anger issues and violent tendencies that was noted by doctors.

Another character that also deals with some of these symptoms is Jay, caused by prolonged exposure to the Operator. He gets gradually worse as the videos progress, and is even told by Tim to go to the doctor. When he doesn’t and continues digging deeper, Jay loses himself near the end of the series. This is something that can happen to a lot of un-medicated/untreated individuals of mental illness.

For a while now, fans have been able to see themselves through these characters. Either by actions or personality. Marble Hornets has often been used by fans as a means of comfort or even coping when dealing with their own issues.

Seeing a character deal with similar issues that the viewer has been dealing with can be something incredible, and not often seen in other forms for media nowadays, it was especially less prevalent back when Marble Hornets was still updating.

Marble Hornets is most known for it being a horror themed web series. But what kind of horror? The macabre? Something terrifying that makes one's skin crawl? Is it the endless fear of the unknown and wondering if or when you will be caught and killed?

In a way, it’s all of these things, all carefully sewn together to make the viewer want to watch more until the very end.

Various members of the series are plagued with stalkers, threats made towards them through cryptic videos as well as in-person encounters, and are always struck by the unknown. They live each day in paranoia, wondering if or when they will die. Be it from the operator, or by their own undoing.

They are paranoid about when they will be attacked next, or if they'll even survive the next attack. They are paranoid about being constantly surveyed, and fear the vulnerability that their stalkers can clearly see from them, whether it be through a camera feed or by being viewed from windows.

The static and noises that plague their dreams, the thing that stands in the corner of their eye, just there long enough to give them a fright and make them think they are going mad.

No one knows who the operator is, nor do they know its intentions. All that is known is that it wants something from the main cast of characters. Something that will cost the lives of them and others. Destruction, possibly.

The operator is perceived to be a type of entity, or even an eldritch being that stalks people. It controls people, infecting them with the urge to kill and cause mass destruction. It uses the main cast as puppets to do it’s dirty work.

Now doesn’t that sound scary? Something that can never really be proven to be real, or seen as fake by outsiders looking in, and having nowhere to turn to for help? It is scary. And that’s something that Marble Hornets does right.

To wrap this whole thing up as neatly as possible, there are many aspects of Marble Hornets that can still be discussed. The atmosphere, the story-line, even the various scenes that involved trees and forests. Marble Hornets is something so unique to the early 2010’s, something stuck in a perfect loop from 2009 to 2014 that would be very hard to replicate.

Marble Hornets is in no ways a masterpiece, it still has its faults. And that’s where the series shines the most. If it were perfect, it wouldn’t be, now would it? Countless questions still left unanswered, hearts aching at the ending of the series.

The series as a whole is a loop of unhappiness.

That’s what Marble Hornets is.

[hellyeahheroes]

Orphaned: How The New 10s Have FAILED Cassandra Cain

As we approach the end of “the New 10s”, how we came to call this decade (a term I will be using in the common usage, referring to all years with 201X number, not the proper one which ends with 2020), I took a look at one of the characters who I really feel got the short end of the stick through all of it  - Cassandra Cain.

There were some good things for the character in the decade. Writers like James Tynion IV, Bryan Edward Hill actually gave her as much respect as they could in given circumstances and she even made her first-ever appearance in animation. However, looking back I cannot say that it has been actually kind time for her . The bad just outweighs the good. I have isolated five reasons why I believe that to be the case.

1. The Erasure

This room is full of New 52 Cassandra Cain stories.

As always, everything boils down to New 52, the reboot that defined the New 10s for DC Comics. A reboot that asked us to assume Cassandra no longer exists and never existed, even if this did not mesh with the supposedly intact, just compressed, Batman continuity. The only writer who seems to have ignored it was Grant Morrison, whose Batman Inc. was caught by the reboot in the middle and seems to exist in a Schrödinger's relationship with two continuities - both part of the old and new DC Universe.

What is worse is that DC editorial has been silently stonewalling writers who wanted to use the character with vague excuses of her supposedly being toxic and little explanation beyond that. Scott Snyder was denied the use of her in Batman and had to create Harper Row as a replacement. Gail Simone’s pitch for a Batgirls book featuring Cassandra, Stephanie Brown and Barbara Gordon was rejected in favor of a solo Barbara book. In which both characters have been banned from appearing. The only exception was the Future’s Ends special, which was literally Simone’s final issue. It feels that this was done due to higher-ups' desire to push Barbara as the One True Batgirl. Which manifested in some of the editorial changes made to the book, like an artist being told, behind Simone’s back, to make a new villain look like Stephanie. Or Batman flat out calling Barbara “Only Good Batgirl” despite this making no sense in a continuity where she is literally the only one to ever use the name. The fact this ended up doing more harm than good to Barbara is a topic for another list like this altogether. The crux of it is, DC did their worst to make people forget Cassandra ever exists and alienate her fans for years, hoping to get rid of them entirely.  As the very existence of this article proves, their attempts were less than successful.

2. The Alienation

Once DC actually gave in and allowed Snyder to bring Cassandra back, other problems arose. The first one has come in the form of her new codename - Orphan. That name was supposed to allow her establishing her own identity instead of being defined by Bruce and Barbara. However, this argument seems dishonest when it is an identity previously used by her villainous father. The idea of Cassandra redeeming it has some merit, I admit. But this decision does send a message of her being defined solely by her abuser. It also serves to separate her from the rest of the Batfamily. Originally Cassandra has been portrayed as a member of the group and an adoptive sister to all of Bruce Wayne’s fellow sidekicks. Now it feels like her very name serves to single her out, an orphan among orphans.

This problem is not limited to the title. In general, Cassandra is now written as more isolated from the rest of the Batfamily, excluded from as many things as possible or having her role limited to nothing but a cameo. It has been 5 years and DC did as little as possible to reestablish her relationships with any people she was close with previously. In fact, with characters like Stephanie or Tim Drake, they seem to be betting on fans remembering their bonds from the previous continuity and act like they do not need to put in the work to rebuild them. Even if such measures have been taken for things like the reveal of her mother again. Her relationship with Barbara is as quickly cut as it was reestablished, without giving us anything but one or two scenes that work mostly as a reminder of what the two have lost from old continuity. She is not allowed to form new bonds with major characters either, her interactions with Jason Todd and Damian Wayne being kept to a bare minimum even more than before New 52. 

What’s worse is that new connections that she does form end quickly broken and undermined. After a big buildup of her friendship with Harper that girl gets completely written out of Batman comics altogether. Her relationships with Clayface and Batwoman were shattered with the former’s death. Not only that but DC seems entirely unwilling to follow on plot threads like this. It has been over a year by now since Kate was forced to kill Basil to save Cassandra’s life and not a single interaction between the characters seems to be allowed to ever bring that up, despite the effect it should have on both of them. I’ve gotten an impression they aren’t allowed to interact at all anymore, just stand awkwardly next to each other in group shots. Even Cassandra’s currently established bond with Duke Thomas feels constantly undermined by a looming threat he will end the story broken and turned into a villain. All of this sends a message that Cassandra is not a real part of the Batfamily, more a hired muscle than a real member of the group. 

Even the relationships with her villains have been taken away from her by simply erasing said villains. The same goes for many characters who once were her supporting cast, like Brenda or Onyx. Even her father had to be killed despite how many great scenes past writers could work out of confronting the two and exploring both how twisted his view of her is and what extent of the damage he has done to her. It gives an impression of outright spite, as if DC only agreed to bring her back at the cost of stripping her away from all interesting story threads.

3. The Jobbing

The less is said about Thomas Wayne vs Entire Batfamily, the better.

One of the problems with Cassandra’s portrayal is jobbing. For those who do not know, jobbing is a term in wrestling where a wrestler is made to lose a fight to put their opponent over with the audience. The bigger the reputation of a certified badass the jobber has, the more likely people are to buy the other guy as a genuine threat. A quote attributed to veteran wrestler Christian goes “If you can make the other guy look good you will always find a job, but you will have to do the job”.

Sadly, since her return, Cassandra has been reduced to a jobber. A character who is known as the best martial arts fighter in the Batfamily, if not in the DC Universe as a whole, is constantly made to lose to make someone else look good. In fact, between 2015 and 2019 the character had literally a single clean victory. By “clean” I mean a fair one on one fight. Every single one of her other victories was immediately being retconned as her opponent holding back (Dick Grayson) or undermined by her having the help of other characters (Lady Shiva, Azrael). Even the one opponent she was allowed to beat, Ismael, was a new character introduced just a few issues prior and his only show of skill to speak of was beating her in a previous fight. Meanwhile, she is constantly made to lose against opponents who have never been shown to possess skills or abilities that could make it believable, like Jason Todd, Helena Bertinelli or Karma. Thomas Wayne, a character whose use of guns was justified as compensation for his horrible hand-to-hand skills, is likely the worst example of them all. Cassandra is allowed to beat unnamed minions, be it Colony soldiers or League of Shadows ninjas. However, these do little to establish her as a force to be reckoned with she once was. After all, every single hero takes down hordes of minions constantly. Overall her status as a great fighter is at this point nothing more but an informed ability and DC has killed all credibility she once had.

There are painful and insulting implications that come along with Cassandra’s jobbing. This is because her skills as a martial artist have always been something she took great pride in and formed a lot of her self-esteem around. She finds comfort and relief from living with her disability in them. Her story is not one of a person “overcoming” their disability or have it nullified by superpowers that comic books are sadly full of. It is a story of a disabled person learning to live with their disability by finding solace in other skills she has and proving herself a true master despite said disability. By making her be beaten by everyone and their mother, DC turned that character arc into a cruel joke. Cassandra who is losing every fight is Cassandra that DC wants you to laugh at. Mock her for being delusional to think disabled people can be heroes and not just helpless victims. An ableist position very in line with a company that erased Barbara Gordon’s disability and history as Oracle, and to this day has editorial personally offended by the idea she could be anything but helpless in a wheelchair. As a result all Cassandra stories since her return just feel mean-spirited.

4. Shiva

Since Cassandra's return, the only two stories to focus on her have been about her mother, Lady Shiva. This has been a larger problem that has existed since Dan DiDio started meddling with the characters. We could see it in a classic story Destruction Daughter as well. There seems to be a desire on an editorial level to repeat and outdo the classic fan-favorite fight between them from Batgirl #25. Which is by many considered the best Cassandra story and the pinnacle of Kelley Puckett's run. But the editorial does not want to simply “top” that fight. They also want to somehow integrate it into a bigger story that ties Shiva with League of Assassins. I mean no disrespect to James Tynion or Bryan Hill or Anderson Gabrych, but none of them managed to truly make it work. The stories, while still well-written, seem to be inherently contrived. And I believe the future attempts will never truly work no matter who is writing them. The whole premise is nonsensical. Shiva that works with Ras Al’Ghul and his League is by definition out of character as the two have no aligning goals to speak of. There is nothing he can offer her and she doesn’t care for his goals. And the idea of sticking with him to fight challenging opponents is undermined by a fact she could get a good fight by simply slaughtering his entire organization. I started comparing this to Street Fighter to easily explain my issue with this. For Shiva to work with Ras makes as little sense as for Akuma to be M. Bison’s lackey.  DC is constantly trying to sell to us a story that does not work and then angrily try again when it is not hailed as better than Batgirl #25. It seems that Cassandra has become a means to an end in all of it. That she exists solely to get Shiva over as a minion to a bigger villain she has no good reason to follow in the first place.

This does nothing to make Cassandra less of a jobber either, as Shiva has been stuck in the same position for the entire decade herself and at this point is no more threatening than a Teletubby. Especially if the same stories that are supposed to reestablish Shiva as a threat are the stories where she fights her daughter. It feels like the two characters are trying to each regain their credibility by beating the other one because DC did such a good job of undermining them they wouldn’t be allowed to defeat anyone else.

While I want Shiva to be an antagonistic force in Cassandra’s life and she is a great villain, the way it is done does nothing for either character. Their complex relationship and clashing philosophies don't need to be violent or even physical at all to be compelling. It effectively squanders all potential the two have, seemingly for no other reason than to put Ras Al’Ghul over.

5. No Focus

Some of you may have caught on the prevailing theme of these points. Cassandra is no longer being written as a character in her own right. She is erased or pushed in the background to not overshadow Barbara. Her relationships are not being built upon and her plotlines are being dropped in favor of focusing on other characters. She is isolated from her new family and her membership is undermined even by her own codename. She keeps losing so that villains can look strong and cannot score a victory to not make someone “more important” look weak. She keeps being dragged into fights with Shiva to push Ras Al’Ghul as a bigger deal. She is constantly on team books that are always about other people first. 

This pattern speaks for itself. Despite an ever-increasing number of her fans and even writers who adore her, DC does not care about Cassandra Cain. This whole decade the company has shown the only role they see for her is someone used to push characters the editorial wants people to like instead. DC’s treatment of her betrays their arrogance, the belief the editors know better what the fans want than the fans themselves. Sadly it seems to have spilled onto other media as well. From what we know about her appearance in the upcoming Birds of Prey movie, Cassandra is the only character the creators did not care to get right, just somebody to make others look good. This is also why I am not holding my breath for her upcoming appearances in DCeased and Harley Quinn and the Birds of Prey books. At the end of the day these are still not her stories, just someone else’s books she was allowed to be in. Do not get me wrong, I hope we really get this “Cass Renaissance” the fandom is getting excited about. But outside of Shadow of the Batgirl, which will actually be a story about her, I do not trust DC to treat her as more than a glorified prop for other characters. If there is one thing I learned is that you can never expect good things from the Big 2. You can hope for the best and prepare for the worst. But they will very rarely offer you a surprise that is actually pleasant.

- Admin

[bigskydreaming]

I'm not sure if you got my request because i didn't had internet when i sent it, so i'll write it again xd Do you think Dick (and the batboys in general) are famouse like Bruce? Because in the comics there's not any clue about it, i've never seen anyone say something like "oh look! Its Dick Grayson!, y'know, Wayne's first ward/son And its a shame, because reporters would make such a hard life to all of them, it would maka a good narrative tool

Honestly, this is a prime example of that inconsistency I rant about, and also DC’s refusal to just COMMIT on even the most basic aspects of their universe like….uh…how many kids does Batman have. 

afhsahfklahsklfhal

Like, you would think that would meet the MINIMUM requirements of “shit you should probably have figured out and make sure everybody’s on the same page with” but DC’s like….nah, that’s not important.

So I mean…..I’m reasonably certain - like this is just my personal belief, but I’d put money on it being right, lol - but I think the primary reason there’s so little mention in the comics of how Bruce’s kids are viewed in the public eye/how much the public are aware of them (in the New 52, at least, as pre-Flashpoint there was a lot more plot around that kind of thing, especially back in the 80s and 90s)……

…is because 90% of the writers and editors have no clue either, and nobody wants to be the one to ask, and like, open that can of worms. I 100% think you could ask five different writers at DC which kids Bruce has OFFICIALLY adopted in this current continuity, and get five different answers, lol.

There’s been so much handwaving about Dick’s status ever since Spyral, and again - I think its because nobody bothered to think through the logistics of the Hypnos/global-mindwipe machine BEFORE writing it into the story, and then once it did occur to any of them to like….wonder just how specifically it worked, they were like, fuck it, better just be as vague as possible. So, according to Grayson, everyone Helena didn’t program into the exclusion list before the satellite was activated should have no recollection of Dick Grayson, which is why he was able to ‘go back to his old life’ and be Nightwing again, without worrying about his secret identity having been unmasked…..

But what does that mean for his official identity as adopted son or even just ward of billionaire Bruce Wayne? People can’t have NO memory of Dick Grayson and still remember that Bruce Wayne took in a kid named Dick Grayson. I mean, as far as I can tell, the overall consensus in the comics seems to be that after the satellite was activated, Dick just kinda started from scratch as ‘Dick Grayson’ like, he was free to be himself again, but it was like he was a blank slate/came out of nowhere as far as everyone else was concerned. But again, that means as far as anyone outside of their close circle of family and friends know….Dick Grayson is a non-entity to Bruce Wayne and the two have no history. 

Which I mean, is fairly shitty and you’d think if nothing else, there’d be massive story potential there for delving into Dick’s character and his relationship with Bruce and examining how he felt about ‘having his old life/identity back’….except with the caveat that as far as the world is concerned, his life and identity don’t and have never included his father.

Cut to DC: Naaaaaaaah.

But even WITH that, plot holes persist, and abound, because…..why didn’t the satellite erase the Court of Owls’ knowledge/memory of Dick? Even before Luthor gave Cobb those goggles and files to help him with bringing Ric into the fold, Cobb clearly was already stalking Ric and knew exactly who he was….the Court obviously already had that doctor in place while he was still in recovery…so, whoops. I mean, you could probably come up with an explanation about the Court, via their own tech and resources, having had some protections in place 24/7 that kept the satellite from affecting them even though they weren’t on guard for it specifically…..but again, Occam’s Razor….I feel like the real answer is DC just didn’t care enough to think things that far through. Especially since the average Bludhaven citizen, like Bea, at least didn’t seem totally blown away when Ric revealed to her that amnesia aside, he was supposedly some rich billionaire’s adopted kid….which again suggests that as far as the writers were thinking, people in general are familiar with the idea that Bruce Wayne has more than one kid.

Then you’ve got Jason’s whole situation, and to be honest….I really only have the vaguest idea what’s going on there, because reading Lobdell books is against my religion, and I am a devout and deeply spiritual person, as you all probably can tell. I mean, I know that there’s something going on where like, Jason had himself legally resurrected in the public eye and is openly referring to himself as Bruce Wayne’s formerly-assumed dead foster kid……but like, is that the official official word, or would other writers if you asked them say they’d been operating under the assumption Bruce had adopted Jason too at some point in the Rebirth timeline, or….idek, man.

I…..honestly don’t have the faintest fucking clue what to make of the many back-and-forth retcons about Tim and his parents and his official place in the Batfam/relationship with Bruce, and am actually slightly terrified of even trying to make sense of that clusterfuck of a Gordian knot, so my official stance on Tim is to just like….back sloooooowly away from the anthropomorphic-migraine-masquerading-as-a-backstory, without like….agitating it and accidentally setting off another multiverse Crisis birthed wholly from just that one all-consuming black hole of a retcon.

I mean, there’s a reason I basically just shoehorn all the kids’ official pre-Flashpoint family statuses into anything I write in Rebirth continuity, and that’s not just stubbornness and my refusal to play the “now this kid is adopted…now he’s not…now he is again….except he’s not….oh he’s adopted again…..oh wait now he’s not again" game. 

Its like. Also for the sake of my sanity and stuff.

(And also hahahahaha fuck you DC times infinity, every time you use the words “blood son,” or “real family” in a comic, or have one of Bruce’s other kids refer to Bruce as “your father” when talking to Damian, as if that’s not an utterly bizarre and roundabout way for any sibling to refer to their mutual parent and thus I j’ete REFUSE to acknowledge it as valid….ahem, anyway, my point is, every time they do that in a comic, I double down and headcanon Bruce throwing a random as fuck gala for literally no other purpose than to remind all of Gotham that he has half a dozen kids and they’re all better than everyone else’s. Ugh. Kill it. Kill the “blood son” nonsense with fire and lightning and also lots of stabbing maybe).

Anyway, that’s my official stance on DC’s stance on Damian in the books.

Then as far as Cass goes….ugh, her origins were pretty much utterly butchered by the New 52, which IMO has also failed to give us Cass and Bruce bonding and dynamics sufficient to Sate Mine Ire™, sooooooo…..I mean, my perception of the current canon is that Cassandra’s official status is “secret mystery foster child that nobody really knows about,” but because I do not care for that and there’s the whole not sufficiently sated ire thing I mentioned, I officially reject this canon and willfully replace it with pre-Flashpoint Bruce and Cass love and adoption. DC’s welcome to kiss my critically acclaimed hiney if I’m doing it wrong.

Which brings us last, but certainly not least, as its only this way because I go sequentially and Duke is still Shiny and New comparative to the others and will be until the next inevitable fostering/adoption/clone hi-jinks bumps him up the sequential ladder (except I randomly switched Damian and Cass around this time because LOOK I DONT MAKE THE RULES, THERE ARE NO RULES i hvea Adhd hiccup sob leavem e aloooone soooooob)…..

Duke’s official status, much like the rest of the Batkids, can be summed up as Honestly, I Really Don’t Have A Fucking Clue And Am Just Winging This Whole Thing.

I mean, there’s less inconsistency with him, due mostly to the fact that so few writers other than Snyder use him (boo, hiss, and not just because I hate having to give Snyder credit for stuff - look, I love his Duke, but I loathe how he writes Dami, its a thing, I just…don’t get me started). But what inconsistencies there are….well….they’re a bit glaring.

Basically one major storyline showed Duke as being an official foster kid/ward of Bruce’s and living out of the Manor with Bruce and Damian and occasionally Tim when he’s not off road-tripping around the multiverse….and then Batman and the Signal had Duke in the care of his uncle, who was stated to be his legal guardian and Duke was constantly sneaking out in order to meet Bruce in the special Signal-cave he built specifically for Duke to operate out of so he didn’t have to like, drive all the way out to the Manor to change just so he could then drive back into the city and patrol. And then Batman and the Outsiders just said fuck all that, here’s Duke and Cass hopping hemispheres with the Outsiders every other issue, so apparently nobody’s making unscheduled visits anywhere back in Gotham to make sure these two are where they’re legally assumed to be, which again, for the record is…..*error, source not found*

LOLOL and the really fun thing about this little back and forth is I’m pretty sure allllll these conflicting takes are all the work of the same writer. Like. GET ON YOUR OWN PAGE, DUDE.

Also, again I have to assume the “Can’t Be Bothered To Give A Shit, Or Maybe They’re All Just Really Bad At Logic” curse has struck again, because….uhhhh…..

….at no point anywhere in Duke’s stories have I seen Bruce or literally anyone else express concern about the fact that Duke living with Bruce as his official foster, like he definitely and clearly was at some point at least…..means that literally every single one of his We Are Robin friends who knows that he was taken in by the Batfam (and there’s several of them who know this)….like, by the transcendent properties of You Can’t Honestly Think They’re That Dumb, that’s a good five or six civilians out there who probably took all of five seconds to play connect the dots and figure out the Wayne family, having officially taken Duke in on paper…..is pretty likely the Batfamily.

I mean, I like all of Duke’s friends and would definitely headcanon/write them as all being trustworthy and able to keep this knowledge to themselves for Duke’s sake, if nothing else, but I mean, its pretty unprecedented for Bruce to out himself and all of his kids/allies by extension, to like, that many civilian teenagers all in one swoop….

…sooooooo, you’d think, AGAIN, logically, maybe, perhaps, this is the kind of thing that should be brought up in a narrative somewhere as a plot point worth delving into, y’know, just for shits and giggles and maybe a little bit of that whatchamacallit - oh right, character development, but.

Cut to DC: Naaaaaaah.

 *throws up hands and does the I Can’t Even Shuffle all the way home*

In conclusion:

DC is a mess. The official/public status of each and every Batkid is a mess. Except for Damian, the blood son, but we have that pencilled in on the schedule to be killed with fire and also stabbing, so he can get filed under ‘just a fucking mess’ with the rest of his siblings. Hashtag Solidarity.

I mean, I say just write or headcanon their official status however you damn well please, and it’ll STILL be more effort than I believe DC has put into organizing and staying consistent with all of this, and thus STILL make more sense than what we currently have to work with.

*Shrugs* If they don’t care enough to provide a clear canon blueprint to follow when mapping the Bat Family Tree, I can’t be bothered to care if the one I make up myself happens to contradict one single mention of one kid’s official status as claimed by one issue of one book.

Especially if it was written by Lobdell.

Jason’s just a foster son my ass. grumble mumble bitter vengeful swears and a pox on all DC’s houses. WHY DO YOU PEOPLE HATE ADOPTION SO MUCH, INQUIRING MINDS WANT TO KNOW AND ALSO FUCK YOU.

[gtgrandom]

Where Young Justice: Outsiders went wrong

(And before you tell me to just stop watching if I don’t like it - I’ve been supporting the show since 2011 by creating a significant amount of content and giving back monetarily. I have every right to critique the writing, thank you).

Honestly, I think they pulled their act together in the finale, and this season left me much more satisfied than I anticipated. That being said, there are some issues I want to address.

Major flaws:

Overabundance of characters

Undeveloped Relationships

Lack of Continuity

Problematic Representation (getting better)

Weak Dialogue 

Lower Quality Animation

The Message

Overabundance of characters

I think we can all agree on this one. There were far too many characters in season 2, but season 3 is laughable. It’s hardly a story anymore. Instead it’s an episodic series featuring new heroes each episode to appease niche comic fans.

There’s a formula for a superhero show (and any group-oriented tale in general), and that’s having a central team of five or less. Then you can introduce one or two new characters max per episode as side characters or villains. But you always circle back to your main team. YJ did a nice job of this in season one. So did most CW superhero shows before they made the same mistake of expanding their cast to make their writing task easier. (Yes, easier - new characters means you can stop developing old ones, especially with time jumps).  YJ started to narrow down the team by the end of the season, but it still left many mains as side characters / aesthetics. 

It’s great seeing these characters brought to life - I won’t deny it. But you can’t delve deep if you have this many. You can’t focus on character development or meaningful relationship development (hence why nearly every ship was established off screen). Furthermore, you frustrate fans when you focus on one group more than another. With a smaller cast you can always count on appealing to your audience because their "fave” is always present in some way. In many ways, fans feel like they’re being dragged along simply waiting for their character to pop up because of a one time cameo. It’s not fair to the audience.

The relationships

I think the only romantic relationships we’ve seen develop on screen are:

Violet/Brion

Spitfire

SuperMartian

Robin/Zatanna

sort of Roy/Jade

- and all but one were introduced in season 1. 

The others were simply introduced as a couple with little to no previous interaction. Like:

Tim/Cassie

Dick/Babs

Jaime/Traci

Bart/Ed

Kaldur/Wyynde

Gardita

M’gann/La’gaan

Mal/Karen

That is not how you write romance. You don’t stick it in there for the sake of it. You have to show us why they work, how they got there, and why we should care.  I’m not saying there HAS to be romance, but if there is, it still has to be written well. 

Continuity

This begins to overlap into the next issue, which is continuity.  I understand that Outsiders is not necessarily a new chapter to Young Justice, but if you are going to call it Young Justice Season 3, then I expect story lines to bleed over beyond just villainous deeds.  

Let’s look at Dick Grayson, for instance.  He’s one of the only mains who has had a very consistent, though shallow, character arc throughout the series.  First he wants to lead, then fears it because of the sacrifices he would have to make - because he didn’t want to be Batman.  In season 2 though, he becomes his worst nightmare.  He risks the lives of his friends, lies to his team, and ends up losing his best friend anyway.  And in season 3, we actually get a little bit of continuity here with Dick mourning Wally and being afraid to take on another team after season 2.  It could have been expanded upon, but it was still present, and I applaud the writers for that.  Especially for driving home his leadership qualities at the end there.

Now, what about the other characters, specifically those introduced in season 2?  This season is called “Outsiders,” and yet, it seems to only focus on the original team and Violet’s new group.   

What about Bart’s entire arc of coming back, stopping the apocalypse, and then losing Wally, his mentor?  What about Jaime’s home life and the lasting effects of being turned into a villain who nearly killed all his friends?  What about TIM and his role as the new leader??  Where did that plotline go?? Why is the unfamiliar Beast Boy now the leader of this Outsiders group?  How did Ed overcome his anger issues and repair his relationship with his dad?  How did Jade go from being a supportive wife and mother into the opposite?   

The writers tried to avoid all these problems by giving us a time jump.  But that’s just lazy writing if you don’t take the time to answer how things have changed!    

Also, I’ve said this before, but continuity isn’t simply having characters mourn a dead character.  You can’t keep using that plot device to give heart to the narrative.  If that’s your only source of true pathos...and that character is dead...then you’ve got a problem. 

The representation

Okay, I’ll admit they saved their asses with Kaldur. I love my wholesome pansexual rep. Would I have preferred to see his relationship occur with a character we’d already been introduced to outside the comics? Yes. But I’ll take it.

Disappointed with Ed/Bart and Bluepulse. They could have shown us more, but they didn’t. They could have given us a story, but they didn’t.  And don’t hit me with “this is a children’s show - we’re lucky to get what we get” BS.  Because it’s not anymore.  This show is literally written by adults for adults.

I really don’t want to talk about the whole Halo/Harper kiss because it was just so wrong in so many ways, but it needs to be addressed. So, first of all, if you excuse cheating in any capacity, shame on you. I don’t care what the characters are going through or how old they are. You don’t both recognize that you have significant others and then proceed to make out!! Second, what the hell?? You’re going to have the first lgbt content be a bisexual stereotype of two girls cheating on their boyfriends (and two characters who have only interacted in one episode before??) Not to mention, underage drinking and gun use? That sends the wrong message to the audience, even if the teens were reprimanded.  

Also, Halo is supposedly non-binary, and yet they explained it away by technology, so idk, I’m hesitant to count it as legitimate rep. I still think it was a good discussion to have. But yeah...

Finally, Halo is not Muslim rep after all.  She’s a hijab wearing character, but she does not identify with her faith or her culture. She outright rejects it in her scene with Harper. So...what? Is she diversity points that you can continue to violently kill off over and over?  Not a fantastic way to treat POC. I don’t think the creators meant any harm by it, but it’s something they need to consider going forward.

(I do appreciate the number of POC characters that have been introduced however. Especially the Latinx and black characters. This show has improved its diversity. But without proper characterization, they’re sort of just...there).

Dialogue

I can’t be the only one who cringed through entire episodes this season?  Some episodes had stellar writing. But the bad ones were very, very bad.   Obviously, not every joke is going to stick the landing, but if you’re going to kill off your beloved comic relief character, you have to have a better backup plan.   

Like, do you guys remember how witty some of the lines from the pilot were?  The whole “Speedy” vs. “Kid Flash” debate in the opening sequence?  You can tell how much effort went into those scenes.  How much love was given to those characters. Because they knew that was their only chance to hook the audience, to get a green light for a full season.  So they put everything into character development and plot - and now they’ve lost so much of what made the show precious in the first place.  (It’s still precious, but it’s tainted in many ways for me now).

Animation

It’s gone downhill. That’s really all I can say without being mean.  Some episodes seem slightly better than others, but if you compare the animation from 3x01 to an episode like Failsafe...there’s just no comparison.  I could hardly watch Wally’s scene without frowning at the frame rate.

Message

I don’t understand what the show is telling us anymore (or I didn’t, before Black Lightning gave a very “on the nose” speech about what it is that we were supposed to take away from this season).

I mean this has always been an issue with the show, but at least it was a little clearer in season 1.  Then, we had several themes:

Found family (+ Actions speak louder than heritage)

Don’t call us sidekicks (AKA the kids can make a difference)

Secrets are poison (They can tear a team apart. Trust in friends)

Season 2 was a little convoluted...and sort of just recycled material. 

Secrets are poison (dammit, Dick)

You are in charge of your own destiny (Jaime/Connor)

Sacrifice (Kaldur, Artemis, Wally, Bart...they all gave something up for the greater good).

But what is the message of season 3?

Secrets are still poison (Tara, Violet, Batman v. Wonder Woman team)

I suppose it’s about healing and letting others in?  Like how  Brion and Victor have both worked through their anger?  Artemis and Jefferson and Dick and Gar sorting through their grief...somehow...off-screen...(except for the episode devoted to Artemis saying goodbye to Wally.)

Perhaps...accepting yourself?  (Victor, Violet, Brion, Connor?)

Do you see my issue here?  How much harder it is to see what I’m supposed to take away from the show now?  I’m not saying there aren’t any good messages being told, but they’re difficult to interpret.  Sometimes that can be good.  But this time I’m on the fence.

Conclusion

I love many of the characters from this show, but the fandom acts as if the writing is impeccable, and that’s just not true.  Not everything is bad.  Some of it is still miles beyond other animated television (looking at you vld).  And I genuinely enjoyed about half of the episodes this season. But I think it’s important to recognize the flaws in media, as a writer myself, and as a consumer of these shows.  

Plz be civil in the comments, and understand that this is only my opinion. 

[peterstanslizzie]

Re-watching Lizzie Mcguire: Episode 1.25 (Facts of Life)

We should give this trio a group name. I mean, Andi Mack has the ‘Good Hair Crew’, which comprises of Andi, Buffy and Cyrus. So, it’s only fitting that we give this group a name. Any ideas?

- Gordo has too many eggs in one basket; On top of having to finish three book reports and a science project, he decided to burden himself even more by joining glee club. This is so he can diversity his school resume with non-academic activities. 

- Side note: It’s cool that the writers acknowledged that Miranda had joined glee club back in episode 1.14 since it was kinda randomly thrown into that episode. 

- Mr. Escobar clearly isn’t impressed with his students’ singing chops and urges them to practice at home. After their glee club session, Lizzie suggests to her friends they should try out for the ‘Fact-athlon’. They don’t think it’s a great idea since Gordo is already under a lot of stress.

Getting a reward is always good motivation

- But when Lizzie brings up the fact that the winners will get a free trip to Miami, the tone suddenly shifts from nay to yay. Plus. this would be a nice addition to Gordo’s already packed resume. 

Bring it on ‘Fact-athlon’!

Preparation

- Lizzie and Miranda are busy studying and quizzing each other History facts in Lizzie’s living room. Gordo arrives and is supposed to bring donuts for his friends but he ate them on the way. That’s literally me lol. 

- Gordo mentions to them that they need to get a faculty advisor for their team. Lizzie suggests a teacher who has a huge head but apparently, Kate has already snatched him; So I guess Kate’s also competiting in the ‘Fact-athlon’. Luckily, Gordo says they have Mrs. Trimmer as their back-up. 

“What does a cannibal call a phonebook? A menu”. I don’t think jokes are Lizzie’s thing lmao.

- The next day in school, Gordo draws up a study plan that recommends 4 hours of studying each day in preparation for the upcoming competition. I have a lot of respect for those who are willing to put themselves through these kind of things, even if it’s all for a prize. 

- We come to find out that Mrs. Trimmer has left the country (for no stated reason...) and Mr. Dig will be replacing her as their advisor for the ‘Fact-athlon’. I think Mr. Dig is great and all but good luck to them lol. I will still give him the benefit of the doubt though. 

Team Lizzie vs Team Kate

- We come to find out later that ‘Team Kate’ comprises of her, Claire and Larry; Smart strategy to rope in Larry. Team Lizzie is about to start their study session with Mr. Dig and they brought in with them every math book they can get their hands on from the school library. 

- But with Mr. Dig, you can’t expect to have a conventional study session with him; The only study tool he’ll be using to teach math is a deck of cards. This doesn’t sit well with Gordo because he feels that they should be studying from books and not from playing blackjack. Gordo and I share the same sentiment on this. 

- But after getting teased by Miranda for being an “old man at 13″, Gordo decides to go along with Mr. Dig’s creative way of teaching Math, Science, English and History. And we then get to see a montage of him doing just that. 

No shade but Team Lizzie is just clowning around whilst Team Kate is actually doing the proper preparation for the ‘Fact-athlon’. Don’t get me wrong, Mr. Dig’s method of teaching by showing is definitely effective but when it comes to a trivia competition, cramming facts into your brain as much as you can in a short period of time is the best strategy. 

Day of the Fact-athlon

Team Kate is getting down to business but as you can see, 2 of the 3 members are a nervous-wreck

VS

Team Lizzie seems confident but maybe a little too confident

- The competition then kicks off with English History and Team Kate is owning Team Lizzie from the get-go. As expected, Team Lizzie doesn’t know all the black and white facts like the dates and names when it comes to historic events. 

- As Team Lizzie continues to get creamed in the ‘Fact-athlon’, Lizzie comes up with a plan to get out of the competition without forfeiting by telling Gordo to fake being sick and asking Miranda to trigger the water sprinklers. They follow the plan accordingly and manage to get themselves out of the embarrassing situation they were in. If I were them, I would be worried about getting punished for doing all of that lol.

I love how Gordo committed to his fake heart-attack though 

- After the whole fainting and water-sprinklers fiasco, Team Lizzie are sitting on the stairwell suffering from their epic defeat. Team Kate rubs in their faces that they’ve lost so badly that Mr. Dig is quitting as a teacher. Yikes! Now things are getting serious.

- The find Mr. Dig packing his things from the classroom and they plead with him not to quit. They tell him that they’ve learned a lot from him and he has shown them that learning can be fun and how seemingly boring subjects like World History can be interesting. Now that’s the ultimate goal of a teacher; To inspire his/her students.

- Also, it turns out that going to Miami wasn’t the best prize for Team Kate:

Kate got bit by sand fleas, Claire stepped on a sea urchin and Larry got extreme sunburn. Wow, they were really unlucky over there.

B-Plot: Matt and Lanny are Starting A Band

- In the kitchen, Matt asks his parents if they have any musical instruments lying around the house that they can borrow. Sam suggests his old guitar he had used when he was in his own band with his cousin and his friend called “Midnight Sam and the Love Patrol”. Matt, Lanny and even Jo don’t seem impressed with this and they even laughed at the idea that he was in a band. 

The song they were playing in this video was actually pretty good. I wonder if it’s an actual song in real life?

- Before I continue, I have always wondered why isn’t Matt in school for majority of these episodes whilst Lizzie is? I know this is a fictional show but it’s a funny pattern I’ve been noticing for quite some time now. 

- Anyways, they are holding auditions to find a third band member in the backyard and Matt’s parents seem to be okay with the idea; They are such chill parents, I can’t. After viewing a bunch of ‘meh’ performances (well I thought that the oboe player was pretty good), they finally get a good audition...from a grown man by the name of Rick Marotta.

This is an adult who wants to be in a band with a couple of kids....I have questions

- I looked up Rick Marotta and he’s legit a big-time drummer in real life! His credits include playing with Linda Ronstadt, James Taylor, Steely Dan, John Lennon (as mentioned in the show) plus Carly Simon, Stevie Nicks and Randy Newman. Woah, impressive! But anyways, he is the best one so far and he gets the gig! Later, they start playing together for the first time and let’s just say, they don’t sound too good.

- It then escalates to the point where Sam and Jo can’t even stand the sound of them playing anymore. It’s cute how they don’t want to disappoint Matt by telling what he can or can’t do but if I were them, I would definitely put my foot down and ask them to stop the ruckus. Like please.

- We fast forward two days later on Sunday and Matt’s band is holding their first ever live performance and I must say; They look stylin’:

And they gave an incredible performance. Bravo! Of course it’s unrealistic for them to get so good after a short period of time but hey, I can definitely let this slide. 

- In the end, however, Matt and Lanny want to move on to another hobby instead of continuing on with their band *facepalms

Overall Thoughts

- I really enjoyed re-watching this episode. They did a great job making an episode that centers around a ‘Fact-athlon’ quite entertaining. Plus, the writing and the dialog used in this episode was really witty. Kudos to Douglas Tuber & Tim Maile for writing this episode. 

- I also like how they showcased the contrast between traditional ways of studying versus interactive/non-conventional ways of studying. Obviously, the former is more effective when it comes to trivia contests/quizzes but the latter makes students enjoy and really soak up what they’re learning. I also have to give props to Arvie Lowe Jr. for doing a great job as Mr. Dig in this particular episode. I loved seeing the bond between him and Lizzie, Gordo and Miranda. Teachers like him are absolutely gold.

- As for Matt and Lanny’s storyline, it was pretty good. I obviously don’t care about it as much as I do with the A-storyline but I definitely have to give them credit for their performance towards the end of the episode; It was great and I also like how Matt/Lanny didn’t annoy me as much as usual lol. 

[seawolvesanddragons]

NCIS - Season 16, and Why I Still Watch

Guys, this season has been a goddamn blessing. As someone who has watched NCIS for nearly ten years, I’ve seen almost every major cast change, excepting Kate and Jenny. The show stayed stable enough to keep me on after Ziva left, after Tony left, but I was having my doubts about NCIS without Abby, especially after season 14/15. Not that those seasons were bad, but they lacked the spark NCIS usually has. It was at the point where my buddy and I were preferring NCIS LA episodes over the original ones. But this season? My god, this season has been wonderful, in terms of dynamic, episodes, development...I just love it.  Full disclosure - this is about to get weirdly personal and also all over the place, and LONG, because I have thoughts that are demanding they get out. If you want full in depth and clinical analysis of NCIS, look elsewhere. 

These last few episodes, “Her” “Once Upon a Tim” and “Crossing the Line” hit particularly hard. I don’t cry easily, and I didn’t here either, but my heart absolutely did the whole “constrict with emotions” thing several times during those three episodes, particularly with “Her.” And let me say, those who stopped watching the show because Cote or Michael or Pauley left, because these new guys can’t be as good as the nostalgia colored dream team, because the writers/producers “aren’t as good, are riding the coattails of past success” etc...I think you’re making a mistake. Quite plainly, I think you’re wrong, or as Vance would say, I disagree with your opinion. Like I said, I’ve been a fan NCIS for years. I remember the very first episode I saw - it was where Vance had his face off with Kai, the assassin. My dad was  a fan, and it was just a custom in my household that on Tuesday nights, he would watch it while my mom and sister watched Glee in a different room. I wandered in one night, and thought that, as a high school freshman, I could try out some of these “grown up” shows. I remember the line that made me fall in love with the show - “kai-jacked.” I remember thinking “I get that joke. It was funny. I understand this show’s dialogue and jokes.” And that was it. I was hooked. It became a thing, between my dad and I - sure, mom watched it more often than not with us, and my sister was aware of the characters, but it was our thing. Tuesday nights, NCIS. More then once was I quizzed on whatever test I had for Wednesday during commercial breaks, because we didn’t want to wait until Friday to see the episode. It was our little in joke that my dad, former Navy, was listed as “Gibbs” in my contacts back when having nicknames for everyone’s contact was a thing in high school. My dad wasn’t nearly half the taciturn, tunnel visioned, “the second b is for bastard” person Gibbs could be - practically the only thing they shared was a past in the Marines/Navy and a soft spot for family - but somehow it fit. Dad was the Gibbs of my teenaged years. More then once he referred to me not as Ziva, the badass Ninja I admired so, but as Tony, the one I had silently noted was probably the most like me - and that my Dad had noticed as well. I never got an actual head slap, but Dad got the Gibbs stare down pat. Scarily well. I’ve met a few other friends over the years that have watched the show, but most dropped out in the last few years. I don’t blame them - for most it was a time commitment, though some weren’t willing to give the new characters a chance. Others just let watching it slide somewhere around season 14, when the show had a rough patch. I noticed some of the lower moments myself, and its been years since I’ve watched it faithfully every week. But I could never quit it entirely. Even now, when in a different country, I end up sitting down and bingeing on it. Cause a decade down the line, that was dad and mine show. Our connection. Overall, season 16 has been a turn around from the last few years. The development of the characters is consistent, but not rushed. Seeing Jimmy continue to be established as a self confident, intelligent and well trusted confidante makes my heart swell in happiness. He has come such a long way, and the scene this season where he and McGee discuss Vietnam, paralleling Ducky and Gibbs, was wonderfully done. McGee is also doing an amazing job, his role as Lead Agent/Mentor as well as father now reaching a more static position. Remembering his early days back in season 1/2 is incredible. Casey is a great addition, and I love that while Nick is still learning a little to play with a team, his obvious feelings for Ellie are part of his development, not hers. But it was these last three episodes that really cinched the season for me. “Her” was just terrific overall - like I said, I admired Ziva and saw a lot of myself in Tony. Any mention of them gets a thumbs up for me. But it was more of the acknowledgment of how far this show has come in recent years - Tony and Ziva being replaced by Torres and Bishop, Abby by Casey, Ducky slowly by Jimmy. Its largely a new team, just with the same leader. This change eerily paralleled my life - Cote left just as I was starting college. Tony left when I graduated. Abby mere months before I moved continents. My own team, my sphere on influencers back when I started watching the show, is somewhat different now than it was 6 years ago. New people entered my life, and others took on a backround role, or disappeared entirely. As Gibbs’ team changed, so did my stages of life. It’s a somehow comforting parallel, and one that “Her” really drove home for me. “Once Upon a Tim” was just great for some classic Tim character development and storyline - Tim often got overshadowed by his teammates backstories and arcs, so its have a very Tim centric episode, especially one that includes Delilah and the twins as central to his life but isn’t focused on them.

But “Crossing the Line?” That was the episode that hit me where I wasn’t expecting it. All through the episode, you get the feeling that Max is clearly more than he appears. The twist that he’s the son of an agent killed in the bombing? That was the unseen bullet. See, I remember that season finale probably better than any other NCIS season finale I have seen or will ever see. The bombing. Chaos. Ducky’s collapse on the beach with the phone call. The uncertainty I had of if everyone was going to survive this. It’s burned into my memory, because not three weeks after I watched Ducky collapse from a heart attack, my Dad died unexpectedly from one. Its become a part of life I’ve had to accept, but needless to say NCIS always brings up memories of my father, and certain episodes are harder to watch because of it. I’ve never seen that season finale after it aired - I can’t bring myself to. But Tony leaving the show a few years later felt like reopening the wound, as if Tony and Gibbs no longer being on screen together was another nail in the coffin of my own “Gibbs and Tony” chapter. This episode had a similar impact. Watching Max, six years later, try and deal with his own pain, mirroring my own similar journey...it affected me in a way tv shows rarely do. Particularly about deaths - hollywood is terrible at writing teenagers with dead parents, and death in general, and NCIS is not always an exception. Listening to Torres open up to Max, hearing someone talk about how this pain of six years sucks, but also isn’t going away, meant something to me. This wasn’t writers phoning it in or riding coattails. This was actual, genuine writing, acting, and emotion. Even if the dead parent always having a “saying” is an age old cliche - of course the dead relative always said some wise adage that fits the situation. Because people talk like that, right? The line “I’m not my father” was another emotional hit, particularly following Tim’s episode. I had actually been hoping that the writers would take a different route with it though - following the dead parent’s footprints is another cliche, and NCIS loves it. That instead of Max agreeing with Torres that he could consider an agent, that not being his father was meant that he was lesser or couldn’t live up to him, it was Max saying he could remember and honor his father in different ways. Because I know those words, “I am not my father.” I’ve been running with those words as far away from his shadow for five years. After his death, everyone wanted to see my father in me, at the expense of my mother’s traits, and my own personality. From my looks, my voice, my sense of humor, my morals, random little things I did or that happened to me - all of it could be traced, somehow, back to one half of my genetic code. I tried to follow his footsteps - did the whole navy path for a year or so, struggled with the difference between what I wanted, what I thought I wanted, and what was expected - just as 16 year old Tim did in “Once Upon a Tim.” But I wanted different things out of life. I learned that I could love and remember my father’s memory without going down some pre-trodden path of mirrors. And I wish that NCIS had taken that risk with this episode, and acknowledged that kids don’t have to become their parents, especially their dead parents. So yeah, this post is long and rambling and has no set structure and is strangely detailed on my emotional state and family troubles circa 2012. But the moral is, NCIS is not past it’s prime. It’s not recycling characters or plots. It’s not going downhill because people left. It’s growing and changing, staying dynamic with time. And it is still capable of creating amazing episodes, characters, and seasons; Season 16 is certain proof of that.

[centaurianthropology]

The Magnus Archives ‘Return to Sender’ (S03E16) Analysis

With what feels like two separate stories slammed together in this episode, it was never going to be my favorite.  And though we have some tasty meta, I was left feeling a bit disappointed, and more than a bit confused on several points.  Come on in to hear what I think about ‘Return to Sender’.

It was inevitable that, after the extreme high water mark that has been the first part of season 3 (the initial bloc of episodes contained some of the strongest material to date from the show, in my opinion), having an episode that really didn’t land for me was inevitable, and would inevitably feel jarring.  That was ‘Return to Sender’, which felt like two good episodes both trimmed way down and slammed together.  It was the same problem I had with ‘Section 31’ last season.  There were several stories in that one, all potentially promising, and all severely undernourished to the point of not being memorable at all.  

‘Return to Sender’ only has two such stories, but they still have that distinct feeling of not being long enough to realize their full potential.  Both feel important.  Both feel like they have a lot to say, both about the plot and about where Sims is as a character right now.  So it’s a real shame that the whole thing feels rushed, and major beats fly by without being given the weight I felt like they deserved.

I’ll talk about the two separately first, and I’ll dig into what meta we can glean.  Then I’ll talk about why the episode, when taken as a whole, didn’t really work for me.  

The first story, which seemed to work better for me, involves Jon going to investigate the previous location of Breekon & Hope.  We find out that Breekon & Hope was the name of the company before the delivery men we know took it off the former owner and took the names for themselves.  We also know that they are all but confirmed to have been the two strong-men from the Circus of the Other.  Given that, their purpose, which had seemed to me to be a bit more freelance, is actually to move important artifacts around in service of the Stranger.  

As Sims himself mentioned in this part, it’s a bit light on meta, but understandably.  I never thought Breekon & Hope were going to be wealths of information, being more ferrymen than players in the game.  Why he felt so hellbent to find their story, I’m not sure, though I figure it’s the Archivist driving him on, making him desperate for any new story.

Indeed, the real intrigue in the first part is Sims’ reaction to standing in this location where someone died, having collected the statement from where Elias left it for him. He himself is bothered by the notion that the death seems inconsequential to him, that his major irritation comes from Elias being a showy prick, rather than the fact that a man struggled and died in that place.  Sims sounds more like Gertrude in this part of the episode than he ever has before, and following on the heels of me dubbing him Head Asshole of the Magnus Institute last week for not even bothering to check in with Martin and the rest of the assistants, this seems properly worrisome.  His humanity seems to be slipping away at an accelerated rate, and he’s not even trying to hold onto it.

So, yes, the story was a bit light on meta, but it was a good story, and well told.  It was nice to hear Jon read a statement again.  It was interesting to see him realizing how quickly the Archivist is eclipsing Jonathan Sims.  Spooled out a bit, maybe with a confrontation with Elias or something, and I think that this would have been a really good episode.

But instead, brace yourself for whiplash, because we transition directly into the second story. These two are nominally tied together with the log book Jon found at Breekon & Hope, which has allowed him to track the shipments of the Stranger’s packages.  This, again, would be a really interesting idea.  Concluding the Breekon & Hope episode with the idea that he’s going to start using that book to trach these packages would have been a good hook.  

Instead, we hard cut to him at the taxidermy shop from ‘Still Life’, apparently working without any sort of fuss or fear with Daisy.  Um, what? I don’t expect this show to hand-hold me or spoon-feed me information.  Far from it.  But a bit of context is always a good thing.  How long is this segment after the former one?  Does Jon have Daisy’s number in his phone?  Did he contact Elias, who sent Daisy to pick him up?  Is this the first time they’ve worked together? Certainly they seem weirdly comfortable in one another’s company all of a sudden, which is quite the change from Daisy wanting to shoot him in the face.  Also there was no mention at all of Basira, like Daisy asking after her and Jon not having an answer because he hasn’t bothered to check on Basira since she was taken hostage?  That would have been an ideal conversation for these two to have.

But, no.  Sudden jump to them confronting Sarah Baldwin, and I feel really bad for that character.  Having her shoehorned into the end of this episode after some great buildup early in the series feels like a disservice.  I’m hoping we get more of her later to let her shine, because this came and went too fast to leave any sort of notion who she is now or what the Anglerfish’s thing might be.  

We’re also missing the bridge between Sims being at least concerned with his slipping humanity in a rather detached way, and the stone cold Sims we get in this latter half.  He’s shaking off any threat Daisy might pose, and the only time he broke his cool was at the mention of Sasha.  He didn’t seem to mind that Sarah Baldwin escaped, nor was he shocked.  He’d got her statement, the story, and that was all that mattered.  The hunger for information was good, but needed room to breathe in the middle of everything else happening.  

And we’re also introduced to the taxidermy skin from ‘Still Life’ again.  Apparently it’s a critical piece of the Unknowing, and to slow that down Gertrude had murdered the former owner of the shop and stolen the skin. And then, in a move that felt more like Jonathan Sims, idiot extraordinaire, than anything else in that latter half of the episode, Sims just out and out admits he has no idea where the skin is.  Sarah bolts, ready to tell the Stranger that the new Archivist is a moron, and that’s that.

Like I said before, each of these halves could have been a really good episode unto itself.  The first would have been a quieter episode, but I could have dug that.  The latter would have been fairly fraught, but Jon actively interrogating a being—not asking for a statement, but a proper interrogation—would have been a really cool thing to explore over 20 minutes.  Jon and Daisy having to uncomfortably work with one another would have been interesting.  Giving Sarah Baldwin more time to draw out the creepiness of the Anglerfish, still one of the most frightening entities from this series, would have been phenomenal.

Instead, everything felt like it was rushed, and all the story threads got the short shrift in order to pack them in.  I think that both parts of this were probably necessary, and maybe the numbering of the episodes just didn’t work for them to be two episodes and still get to the mid-season finale on episode 20 of this season.  But I really wish they had found a way.

I don’t want to make it sound like there was nothing good here.  Though it was rushed, I now imagine that the Stranger’s efforts to retrieve the skin are going to lie at the center of the mid-season finale.  I also think that Jon doesn’t yet realize how dangerous that information is.  If I can figure that out, you bet that Nichola Orsinov can.  And you bet she’ll be sending some visitors to the Archives to retrieve that skin.

And the assistants STILL don’t know anything, what with Jon apparently now partered with fucking Daisy of all people.  Without the key information about the Unknowing and the Stranger, the assistants don’t know not to help some envoy of the Stranger.  They don’t know not to let someone from the circus in.  And Nichola would almost certainly view killing them all as an added fuck-you to the Beholding, so you know she’d do it if she could.  And even if Elias could stop any direct incursions by the Stranger, what if the Stranger were to approach someone like Tim?  What if Nichola were to offer Tim freedom in exchange for a creepy old bit of taxidermy skin?  He’d go for it in a second.

And speaking of Elias, we also have the most interesting line of the episode from Sarah Baldwin: “Is that what he’s calling himself now?”  This, alone, was the one line I’m happy they breezed past.  It was the one beat that didn’t feel rushed, because it should be something that spools out over many episodes.  So as far as pacing goes, that beat did land really well for me.

It seems pretty clear that whoever Elias Bouchard was before, the thing wearing his body is at least no longer him in entirety.  There likely was the original stoner Elias, but he was either replaced by someone else or willingly took on the mantle of something else, making him a hybrid of his own personality and that of something else.  And honestly, I have to wonder if that personality isn’t Jonah Magnus. What if the founder of the Institute found a way to pass from body to body, either completely consuming or living in symbiosis with the current head of the Institute?  It would lend a lot more weight to Elias’ arrogance so far, if he was the beating heart of the Magnus Institute by literally being the beating heart keeping Magnus alive.  And when he dies, he would pass into the next head of the Institute. When he said that killing him would kill everyone there, he wasn’t talking about the body of Elias, perhaps, but the mind of Jonah Magnus.

Or at least that’s the theory I’m running with.  It’s by far the most interesting meta coming out of this episode, as Elias continues to be one of the most intriguing aspects of season 3, even when he isn’t there.

But whoever Elias truly is, I get the feeling that he’s not as in control as he thinks.  He loves playing games, proving how observant he is to Jon.  He wants Jon afraid and impressed.  But Jon’s getting a bit sick of it, and the one thing Elias really can’t seem to control is Jon’s bad decision train.  And that train feels like it’s about to come into station.  Jon’s diminishing humanity is something Elias is clearly pushing, but I don’t think it’s nearly as good a thing as Elias imagines it to be.  It’s endangering his assistants, and rather than using them as touchstones and ways to cling to whatever sympathy and caring he has left in him, he’s running around with Daisy, who isn’t exactly a boost to anyone’s humanity.  And without the emotional connection, he’s clearly missing obvious conclusions.  He’s too focused on the story, and not enough on the people.  

As we come up hard toward the mid-season break (which will follow episode 20 of season 3, for anyone who didn’t know yet), I get the feeling they’re going to leave us with either a cliffhanger or a real shakeup of the current situation.  We know that the first half of this season has been Jon going out and trying to be proactive.  He’s letting the notion that he’s supposed to save the world go to his head. He’s drifting further away from caring about others and falling further and further into the hunger for information. He’s becoming Elias’ sort of Archivist, and I don’t think that’s going to work out well.

Conclusions

Like I said, this felt like about half of two good episodes accidentally put in a tumble dryer together. We get the first half, which explores Breekon & Hope and Jon’s ever-diminishing humanity, and we have the latter half in which Jon is somehow working with Daisy, who is apparently cool with that now.  And Sarah Baldwin is there.  And she gets away to tell the Stranger that the new Archivist has no clue what his predecessor did with the skin that’s critical to the Unknowing.  So a lot happens in a rather disjointed manner, leaving me feeling unsatisfied.  The informational bits we got were good, sure, but lacking in context and grounding. Too much happened too quickly with too little reason to string it all together.  And to waste a character like Sarah Baldwin on what amounted to a cameo feels like a damn shame.

I know these episodes can’t all be to my taste, and that’s fine.  Really, it’s a testament to the high quality of this series that an episode like this, where my problems stem from writing decisions rather than character actions, feels so jarring to me.  I’m guessing this was a one-off thing, made necessary by getting all this information out by the mid-season finale.  I’ve very little doubt that next week we’ll be back on track, and I’ll be loving every minute.

Hopefully Jon, as a character, gets his head out of his ass in time to realize what he’s just done. I want to believe that he’s at least smart enough to realize that the Stranger is going to believe that skin is at the Archives, and will likely either try to infiltrate or attack it directly. It would be nice if Sims remembered that there are people at the Archive that he might remember as being friendly with him at some point.  

And Jon needs those people, because without them his humanity is slipping away fast.  So valuing them and keeping them informed? Sort of a thing he has to start doing if he’s going to be this dumb on the regular.