#Forced Vengeance

[theactioneer]

Forced Vengeance (James Fargo, 1982)

[lobbycards]

Forced Vengeance, US lobby card (Spanish Market). 1982

[brokehorrorfan]

Forced Vengeance will be released on Blu-ray on January 2 via Shout Studios. The 1982 action film stars Chuck Norris.

James Fargo (The Enforcer, Every Which Way But Loose) directs from a script he co-wrote with Franklin Thompson. Mary Louise Weller, Camila Grigg, and Michael Cavanaugh round out the cast.

Forced Vengeance has been newly scanned from the interpositive. The only extra is the trailer.

Special features:

Theatrical trailer

Lady Luck has fled Hong Kong's Lucky Dragon Casino. Its manager has squandered the profits and the owner has been killed by the mob. The heir to the casino is in hiding. But Lucky Dragon still holds one last ace: security expert Josh Randall (Chuck Norris). Determined to find the underworld boss behind the death of his friend and boss, Randall goes on the hunt. Trouble will soon follow.

Pre-order Forced Vengeance.

[a-person-on-the-internet]

Epic the Musical AU where post-vengeance-saga Poseidon becomes mortal because he got tortured so hard that he lost his godhood temporarily (I imagine it lasts til Ody dies). And then he ends up in Iythica, and Odysseus is entirely too done with this shit and doesn't want to be dealing with this. Poseidon doesn't want to be dealing with this either, frankly, and Penelope isn't exactly delighted by the situation, but none of them really have other options at the moment.

There's multiple myths where various gods (including Poseidon) lose divinity and live a moral life, so I don't think it's out of the realm of possibility, and also it would be REALLY FUNNY. Or angsty, if you're more into that - I can see some really sad drama and hurt/comfort from Odysseus having Poseidon even more at his mercy than ever before, and also from Poseidon being lowkey forced into having open arms.

This also could totally be ship or not, I don't really have a preference either way. On one hand, the drama works well without romance and Poseidon being forced to third wheel Ody and Penelope is hilarious, but on the other hand... god made mortal and the canonical torture and the reversal of power dynamics is REALLY HOT.

[captainmyveryowndreamland]

You guys ever think that the prophet didn't want to help Odysseus because he asked him to work in the afterlife?

Like, I work at an ice cream shop but if I died tomorrow and someone sought me out in the beyond so I could clock in again, I think I'd be salty too

[rin-solo]

These are all just really rough concept sketches but... My point is if I ever make a 600 Strike animatic, it will be so freaking unhinged

Ever since I wrote that essay about the vulnerability in this scene, I've been so normal about this scene, I swear (I say like a liar who lies very lyingly)

[saixria]

@angels-bullshit well you asked for it TELEMACHUS RAMBLE

I’m sure there’s no doubt in anyone’s mind that Telemachus represents open arms. For one, he immediately accepts Athena as his friend with open arms and offers the goddess of wisdom some wisdom in We’ll be fine, that’s just. Peak open arms behavior.

Besides the obvious, we can look into the motif (literary, not musical) of light vs dark in the musical (which might also be obvious but anyway). Even if we ignore Polites’ whole cut song “Your Light” about being Odysseus’ “light”, the light motif is actually kept in Open Arms — “we can light up the world here’s how to start”. I think this motif symbolizes the positive impact of open arms. Much like Circe said, “maybe showing one act of kindness leads to kinder souls down the road”. If you inspire the world around you by being kind, you will in turn be treated with kindness. This is contrasted by the motifs of darkness in “I am your darkest moment” and “the world is dark” signifying ruthlessness. Instead of trying to change the ruthless world around you, you must become ruthless too to survive. There’s inherent selfishness to ruthlessness since you’re ensuring your own survival over others.

WHAT A TANGENT OK HOW DOES THIS RELATE TO TELEMACHUS? He has this line in Legendary “so I could bring the world some light” which references Polites’ whole “light up the world”. Let’s not forget “tell me Athena why you came to my aid” has the same melody as “what keeps you up so late at night my friend” from cut song Ismarus where Polites is asking Odysseus this. (HM I WONDER WHAT OTHER CHARACTER IS UNABLE TO SLEEP DUE TO GUILT)

The light thing comes back so many times in we’ll be fine. “Then his light went dark” (can be interpreted as Polites, his “light”, dying, but I prefer to interpret it as him basically getting traumatized, losing his original enthusiasm in his belief that everything would go smoothly and he’d be able to get home with all 600 men as he suffers his very first casualties) “life could be that bright” — Not only is Athena talking about Odysseus losing his light, she herself has also lost hers as she lost her one and only friend and the positive impact he had on her life, and now it feels as though her life has gone dark.

“I know it’s light you’ll find” — Telemachus is literally acting as Athena’s light here as Polites was Odysseus’ 😭😭 he encourages her to help Odysseus, to embrace the Open Arms ideology of making a positive impact on the world around you and you’ll end up positively affected as well. In bringing Odysseus light, perhaps she herself will also regain hers. From all this, Telemachus clearly represents Open Arms and is to Athena what Polites was to Odysseus.

Now how does Telemachus embody ruthlessness? This part is much shorter since we don’t have as much to analyze (perhaps we’ll get more in Ithaca saga) but Telemachus doesn’t shy away from being ruthless when the need arises either. He fights Antinuous in Little Wolf to defend his family’s honor, and in Ithaca saga he will also help kill the suitors (perhaps we will get more on his mindset here, but don’t take my word on that). He is willing to do what it takes, even if it’s cruel like hunting down all the suitors, to protect his family, and killing the suitors IS what’s necessary and an act of ruthlessness.

(Though actually this is making me realize “boy I wish I could so I could bring the world some light” was referring to… killing monsters. Maybe this shows that even in Legendary he’s wanted to make a positive impact on the world by being ruthless in a way, further showing that he’s the true balance of Ruthlessness and Open Arms)

Anyway, Telemachus was really only able to achieve this balance because of his circumstances, just as Odysseus was forced to fully embrace ruthlessness because of his. While Telemachus has faced hardships (the suitors) that requires ruthlessness to be dealt with, hes also a crowned, sheltered prince, largely unaffected by even darker aspects of the world like war and death as Odysseus has been, so Telemachus was able to retain part of his innocence and his “light” while Odysseus’ was stripped from him. Both of them were products of their environments, and it’s quite fitting how Odysseus went to war to protect his son, and his son ended up being a “better” person than Odysseus was forced to become. Telemachus means “far from battle”, and indeed Odysseus has succeeded in keeping his son far from the darkness of war and its aftermath.

[trappedinafantasy37]

Oathbreaker

[bigbshell]

lizzie will win wild life btw. the watchers told me so themselves

[lobbycards]

Forced Vengeance, US lobby card (Spanish Market). 1982

[backpackingspace]

I mm. I don't really like the last song of the vengeance saga. I know it makes sense narritive wise that odysseus would 1. Beat posiden and 2. Torture him into giving in. But like the way that yanked me out of the story? Because a mortal? Beat? Posiden? I just. Not a fan.

That being said there ARE some absolutely banger lines. 'How do you sleep at night?' 'Next to my wife' I DIED. That's such a good line. And the way posiden slowly goes from the ruthlessness is mercy to mercy ??? I'm going insane!

[schlock-luster-video]

On October 14, 1983, Forced Vengeance debuted in West Germany.

[pant--eater]

AAAAAAA I JUST FINISHED WATCHING VENGEANCE MOST FOWL so spoilers ahead!!

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Aaaaaaaaaa Wallace rubbing Gromit's head in the end was so cute and sayisfying 😭😭😭😭😭❤️❤️❤️❤️❤️

Also.....

"I can't live without me best friend" STAAAAHHHHHHHHHHPPPPPPPP IVE BEEN YEARNING FOR A SCENE LIKE THIS WHERE WALLACE AUDIBLY EXPRESSES HIS LOVE FOR GROMIT IN A DESPERATE SITUATION

If only Wallace was more active in the final battle and actually was the one to save Gromit instead of the gnomes

I was not gonna lie sceptical first because Chicken Run 2 was a letdown (and I went through the giga disappointment that was Arcane season 2), but this one I had a fun time watching, Nick Park's handprint def showed!! and I will definitely be rewatching it to catch more details and to form my final opinion of the film better!

HOWEVER i did feel like the film fumbled its anti AI message in the end with Wallace and Gromit keeping the Norbots????? Even though they were a clear AI metaphor with the narrative framing them as creepy soulless robots to replace Gromit. Its again one of those films that are "good 80% of its runtime but i would have changed the ending"

[thegurlwhoisntthere]

Currently thinking about the end of the Vengeance saga (if you know you know), but it’s Charlie Morningstar and her Trident from the last episode stabbing Adam

[boyfriendgideon]

as yr favorite local jason todd fan sometimes i get so fed up with the apparent inability of most dc comic writers to write a class conscious narrative about him.

and yes, i know that comics are a very ephemeral and constantly evolving and self-conflicting medium.

and yes, i know they’re a profit-driven art medium created in a capitalistic society, so there are very few times where comics are going to be created solely out of the desire to authentically and carefully and deliberately represent a character and take them from one emotional narrative place to another, because dc cares about profit and sometimes playing it safe is what sells.

and yes, i know comics and other forms of art reflect and recreate the society within which they were conceived as ideas, and so the dominant societal ideas about gender and race and class and so on are going to be recreated within comics (and/or will be responded to, if the writer is particularly societally conscious).

but jesus christ. you (the writer/writers) have a working class character who has been homeless, who has lost multiple parents, who has been in close proximity to someone struggling with addiction, who has had to steal to survive, who may have (depending on your reading of several different moments across different comics created by different people) been a victim of csa, who has clearly (subtextually) struggled with his mental health, who was a victim of a violent murder, and who has an entirely distinct and unique perspective on justice that has evolved based on his lived experiences.

and instead of delving into any of that, or examining the myriad of ways that classism in the writers’ room and the editors’ room and the readers’ heads affected jason’s character to make sure you’re writing him responsibly, or giving him a plotline where his views on what justice looks like are challenged by another working class character, or allowing him to demonstrate actual autonomy and agency in deciding what relationships he wants to have with people who he loves but sees as having failed him in different ways, or thinking carefully about what his having chosen an alias that once belonged to his murderer says about his decision-making and motivations, you keep him stuck in a loop of going by the red hood, addressing crime by occupying a position of relative power that perpetuates crime & harm rather than ever getting at the root causes, and seesawing between a) agreeing with his adoptive family entirely about fighting nonlethally in ways that are often inconsistent with his apparent motivations or b) disagreeing and experiencing unnecessarily brutal and violent reactions from his adoptive father as if that kind of violence isn’t the kind of thing he experienced as a child and something bruce himself is trying to prevent jason from perpetuating. because a comic with red hood, quips, high stakes, and familial drama sells.

it doesn’t matter if it keeps jason trapped, torn between an unanswered moral and philosophical question, a collection of identities that no longer fit him, and a family that accepts him circumstantially. it doesn’t matter if jason’s characterization is so utterly inconsistent that the only way to mesh it together is to piece different aspects of different titles and plotlines together like a jigsaw. it doesn’t matter if you do a disservice to his character, because in the end you don’t want to transform him or even understand him deeply enough to identify what makes him compelling and focus on that.

and i love jason!!!!! i love him. and i think about the stories we could have, if quality and art and doing justice to the character were prioritized as much as selling a title and having a dark and brooding batfam member besides bruce just to be the black sheep character are prioritized. and i just get a little sad.