#I should also add that this person has never reviewed or favorited or engaged with any of my other stories

[carolinanadeau]

Yeah I should not have engaged with that person. geez

[elizabethisreading]

Book Review: Mickey7 by Edward Ashton

Genre: Dystopian/science fiction

Rating: 5/5

TW: blood, death, human experimentation.

Theme Song: “Afraid” by The Neighbourhood

Summary:

Set in the distant future where humanity has begun interplanetary colonization, our story follows a man named Mickey Barnes, a resident of a beachhead colony on a foreign planet. As part of an effort to colonize the ice planet Niflheim, Mickey works as an "Expendable"—a person who performs jobs that almost guarantee their death. Whether it's testing an unpredictable new vaccine or scouting out a terrain infested with carnivorous alien creatures, Mickey is the guy for the job. And every time he dies, his superiors reprint his body with all his memories and personality, so he can continue to die for the cause again, and again, and again.

The job goes as well as it can for Mickey—until he returns from a mission where he unexpectedly lives and finds Mickey8 in his bed. With limited rations and supplies available, a commander who doesn't see multiples as human, and an impending infestation of a native alien population known as creepers, the life of Mickeys Seven and Eight hangs in the balance.

Favorite Quote:

"I've died seven goddman times," I say over my shoulder. "That's six times more than anyone should. Don't tell me what I wouldn't dare."

REVIEW BELOW

I'll begin this review by admitting I haven't read much science fiction in my time. While I like to think I read diversely in terms of genre, science fiction is one I've rarely gravitated towards (pun intended). The reason I decided to give this book a try is because it's getting a film adaptation in March, directed by Bong Joon-ho and starring my parasocial husband, Robert Pattinson.

And I must say, this might be the book that turns me into a sci-fi reader, because I loved this book.

To me, this book's biggest strength is its narrator. Mickey Barnes is such a funny and engaging narrator that I was never bored throughout the story. He deals with the absurd life or death situations he finds himself in with a dry, sarcastic sense of humor that's somewhat reminiscent of Mark Watney from Andy Weir's The Martian. Except unlike Mark Watney, who is knowledgeable enough to science his way to survival, Mickey is not the smartest guy in the room, and this makes him a relatable and refreshing main character.

Another thing that impresses me about this book is how it goes about giving exposition. When it comes to writing speculative fiction, there's a lot of talk about info-dumping. Much writing advice warns authors against vomiting up too much world-building information onto the reader, lest the story's momentum slows down and bores them. There are a fair amount of info-dumping sections in this book, but I think they work really well. This is for two reasons:

One, Mickey is a history nerd. He spends much of his time reading about past space colonies that have failed and succeeded, so him talking to us about the history of the colonies, how they work, how human space expansion has happened, etc. makes sense for his character. Add the fact that Mickey's conversational tone makes it feel like he's chatting with you personally about it rather than reading off a Wikipedia page for this world.

And secondly, much of these info-dumps happen during lower-stress points of the plot, so it never feels like the story is stopping to a halt to world-build at you. Ashton allows us to learn about the world from Mickey's restricted position on the colony during moments where we as the readers get to breathe a little.

In my opinion, the best books are the ones that are both fun and thoughtful at the some time. Enjoyable but not brainless. Mickey7 is a great example of said book.

In between its snarky narration and death-defying alien encounters, the novel has a lot of interesting ideas that it's playing with. Ashton explores not only expansionism and space colonization, but also at broader systems that treat human lives as...well, expendable. And how desperate circumstances can pushing people into jobs that quite literally kill them for the sake of empowering those at the very top.

Ideas that Bong Joon-ho will no doubt explore in his film adaptation, since systems that dehumanize people tend to be a theme in his movies.

The novel also has a lot of fun just exploring the implications of having multiple copies of the same person. At one point, Mickey describes a story of a man who once tried to take over an entire planet with an army of his own clones (with disasterous results). There's many references to the Ship of Theseus and immortality, and whether each copy of Mickey is still "the real him."

On top of all this, the book has a great supporting cast of characters. I was especially fond of Mickey's girlfriend Nasha. This woman does not give a fuck and I love her for it.

It's funny, I spent a good chunk of this book thinking, "Man if I were Nasha and I found out there were two copies of my boyfriend, I would have some fun with it." And then:

What can I say but good for her.

Even characters like Berto, who had me saying "fuck this guy" several times, he eventually grew on me. While I did find Marshall, the colony's uptight commander, a bit stereotypical and one-note, I was so satisfied when Mickey stood up to him in the end that I simply did not care.

Overall, Mickey7 is an engaging story that combines sci-fi thrills with fascinating philosophical insight, all brought to us by a fumbling but lovable main character. I look forward to reading its sequel, Antimatter Blues.

And I also look forward to seeing not one but two versions of my celebrity crush when the movie comes out.

(Mr. Pattinson hiiiiii 😉)

[lunas-otome-blog]

Luna's Review: even if TEMPEST

Official Summary:

In a world where witch trials and witch hunts are commonplace, a tragedy occurs.

Bolstered by the power to rewind time via death, the heroine Anastasia throws herself to the flames to save those she loves... and to achieve sweet revenge.

.

(SPOILERS) Luna's Thoughts:

I've decided not to bother with route discussion for this game, because aside from a choice of two characters at the beginning, the order is predetermined.

I'll say it right up front. This game made me angry. It is poorly written, with nonsensical mechanics and an arbitrary magic system. I was so excited based on the premise of this game and it's nothing but a let down the whole time.

The game starts by showing you what a poor, pathetic person Anastasia is. She's been locked up for years in a tiny room, picked on by her older stepsister and treated like garbage for her father for a reason which, by the way, is never explained. The game sort of implies it's because his new wife is a witch at the beginning, but nope, she's just a terrible person who doesn't like Anastasia. And her father is just cool with that...ok.

Then you get a try at the witch trial system, which I figured would be something like a tutorial for later, but again, nope. Nothing you choose matters here and Anastasia just decides killing herself is a better option.

Then you get another go, this time becoming engaged to Prince Conrad. For no reason whatsoever, he puts you in charge of the kingdom's finances. What? Anastasia is literally an uneducated shut-in who hasn't been out of her room in eight years. But let's put her in charge of the entire kingdom's financial documents?

Anyway, Anastasia then discovers Prince Conrad is doing bad things through the financial documents and we can't have that getting out, so she dies again. Eventually she goes back in time and gets to redo her past, this time breaking out of her tiny room and becoming a badass night. This is the only major move I enjoyed in this entire narrative.

This is about three hours into the damn game, btw, and you still have made zero choices. When you get to your first choice, which involves how you treat a rude man at a bar, again, it seems like a tutorial. The first choice you make dooms you to death. Then the game explains that you should go back and choose the other option.

Oh, ok, I thought. This is how the game teaches you that your choices have consequences in a visual novel. But again, NOPE. The second choice also kills you for some reason, and you have to go back yet again and choose a third option that has just appeared. Why do this?

This is the part of the game where you are introduced to the Scary Murder Clown, who is basically the lazy way that this game kills you if you make the wrong choice. To me, it felt like they wanted to add more "interactivity" by adding more choices but didn't feel like writing proper branches or coming up with actual ways that choice dooms you. So you just get Scary Murder Clown sometimes for no reason.

Finally, you get a choice of two characters, and you can pick either the Tyril I Lister route or the Crius Castlerock route. I picked Crius first and while the route itself was fine, in the end, he makes an absolutely baffling choice for seemingly no reason. (Jk I know the reason. It's to end the route lol.)

I never felt particularly attached to Crius because there isn't much depth to his character, apart from a mysterious disease that doesn't end up being a problem anyway due to a convenient plot twist.

Tyril's route was more interesting, and he was my all around favorite character because I love a tsundere. But again, he makes an absolutely stupid decision at the end for the express purpose of moving the game along.

Then you're shunted to Zenn's route before heading off to Prince Lucien's route and finally, to the end of the game. Neither one was remarkable so I remember very little about either of them, except Zenn is from Earth and Lucien is Good Boy McGoodBoy. Honestly, none of the characters bothered me that much, they were mostly fine.

What bothered me most is what I thought would be the most fun for me, the witch trials (or Carnival, as they call it here) ended up being a huge disappointment. I figured it would be a DanganRonpa-style logic game where you have to choose your ammo carefully, but the game actually has safety rails installed that make any choice pointless. For example, you're asked to decide which characters to investigate in a short period of time. If you pick the wrong ones, the game dead ends and you have to go back and pick the right ones. So what's the point of asking you to choose??

If you pick the wrong options during the witch trial, similarly, the game will correct you and let you try again. What. Is. The Point.

Not to mention the entire witch trial system is very silly. There are lots of stupid little rules that seem to have been created to make the game operate a certain way and move the story along rather than to create a cohesive system. If you wrote down all the rules in a list, they would seem arbitrary, confusing and often pointless. This was supposed to be a witch trial, not the Death Note.

And here is my absolute favorite (read: most loathed) part of all this. When you finish the regular game, you will have questions. So many questions. How does the game address this? There is a literal Q&A that you can go through to "tie up" all the loose ends. I use quotation marks because some of the answers do not actually answer the questions at all. For example, the Scary Murder Clown is not fully explained.

All in all, this game left me frustrated. The overall plot wasn't awful, but it's riddled with strange narrative choices and bad gameplay. It would have been a much smoother and less idiotic game if it ran like a regular visual novel.

All in all, I would not recommend this game. I know I'm in the minority and a lot of others liked it, but I don't see how anyone with common sense would enjoy even if TEMPEST.

[avissapiens]

Avis' Subject Symposium

A Crash Course in Trance Pt 1: Files.

(Art by Acro @sodalite96/https://twitter.com/sodalite96 Used with their permission. Go check them out!)

So often new subjects come to me and they don’t know the first thing about trance. None of its mechanics or methods, and so it can be very daunting for them; to step into such a wide abyss without knowing what to expect and what is expected of you. Many of them, even experienced subjects, expect that 100% of the work is and should be done by the Hypnotist. In truth both parties, the hypnotist and the subject, must be willing and able. But while it’s more readily apparent what must be done in order for a tist to be successful in their endeavors, many subjects/potential subjects can have a hard time understanding what it takes to get the most out of their trance, both from pre-recorded files, and from live sessions with a hypnotist. So, I’m here to give you what is in my opinion, the essential Crash Course to Trance, starting first with trancing to files.

Location

Find yourself somewhere nice, darkened and quiet, where you know you won’t be disturbed. This is already a hard task for a lot of subjects, living with other people always increases the chance that one might barge in on you, eyes glazed over, drooling all over yourself. Or that someone’s reckless pounding from above might shake the abyss so thoroughly that it takes you out of trance. But here is the thing I will stress. While physical quiet is a good idea as it allows you to focus on the words and suggestions streaming into your head. What matters so much more is internal peace and quiet. A location where you can feel at ease and safe and secure in yourself. A locked bedroom surrounded by mountains of pillows. Your favorite plush armchair that threatens to swallow you almost as well as the Abyss of Trance. The peaceful morning route on the train whose path you know so well that you can be lulled into trance just by the rumbling vibrations of the tracks beneath your seat. Wherever you can be comfortable.

The ideal location for trance I'm sure does exist in some government facility or therapists office somewhere, where you can be dropped into an isolation tank and be brainwashed clean. But most of us will never encounter that. So what matters then is the ideal mindset for trance, which is one of peace, safety, trust and assurance.

Equipment

This is one of the reasons so many love using files. Because its barrier to entry is so low. All you really need is something to play the file on and a place to listen. This is in contrast to working directly with a tist where you need, at the very least, A good internet connection, maybe a camera, Another person who you trust and who might be wildly inconsistent. Or working in person which probably will require a whole location and time-table to get set up. No, Files are relatively simple and they are no better or worse than live sessions for certain purposes. However, like all simple things, they can be elevated by improving its ingredients. A box cake from the store and a home-made chiffon are functionally the same, but their difference comes in the ingredients and technique.

So for trance I recommend spoiling yourself a little, at the very least buy yourself some decent quality over-ear headphones. Many file-makers (myself included) add frequencies and binaural beats underneath the main track. These serve the purpose of training your own brain’s waveforms to a certain frequency, thus more easily taking you into trance. But they can only be detected and properly registered with some good headphones. Additionally, The encapsulation of headphones provides a more immersive experience, isolating you and transporting you through the trance experience like you are in your own little world. Trust me. $600 studio headphones aren’t needed, But a good quality wired $40 headset goes a long way and is multi-purpose. A decent quality chair or mattress also will serve you well, not just in trance but in life.

Focus

Trance is a very tricky state that, like all things, requires practice and patience to master. Staying in trance is like a tightrope walk, teetering gently between the realm of consciousness and awareness, and the oblivion of total subconscious and sleep. It is the liminal space between the two, that subconscious space that makes trance and hypnosis possible. It is the state where your mind is most open to total suggestion and where magical things can happen. So how does one walk the line between these two modes of being? The answer is focus. Or rather Half-focus. Focusing without focusing. With descriptions like that it can sound like some kind of Zen riddle, but that is often what it feels like sometimes. Now this is not a laser focus like you would expect in a classroom setting, no one is being tested here. It's a more gentle and subtle focus. Like focusing on the world around you. Focusing on the wind on your face, the rise and fall of your lungs; On the way your body just goes loose and slumps over. The trick is to go in and to follow along, to listen and pay attention and try to comply with the suggestions given at first. Suspend your disbelief and engage with it unironically and without pretense. If you notice yourself drifting, don’t try to force it back to focus. Simply let it explore where it wants and to carry on organically. Nothing in trance needs to be forced. Simply focused on and allowed to happen.

Many subs oscillate in trance, their minds ebbing and flowing like a Sine wave; wavering in and out of trance, one minute aware, the next minute completely blank and asleep, and then for a brief moment in bliss. But it averages out to trance at the end of it. One must also not fear dropping out of trance. Focusing too much on that eventuality makes it a self fulfilling prophecy. Just Focus-not-focus-half-focus and enjoy yourself.

Apprehension

So many subjects look at files and their mind begins to spin with endless questions and anxieties. Worries about “losing themselves” or “changing too much” or “doing things they don’t want to do.” It’s a valid set of concerns for a new subject, uninitiated in the true mechanics of trance and only knowing of hypnosis what is shown in the media. Evil villains and monsters brainwashing our heroes to do horribly enticing and arousing things. So ingrained is this idea that it even crossed over into the allure of hypnosis files. And while I won’t say it's impossible for that to happen, I have 3 comments on it to ease your mind. First, with Files, one of the best things about it is that the subject gets to control practically every single aspect of the experience. When you do it, how many times you listen, and whether you listen at all to begin with. While all files should be clearly labelled with Content and trigger warnings and given an explicit summary of what they are and what they do, we know that is not the case. The amount of “Mystery files” I've seen on various forums irks me to no end. But it appeals to some people. However, for those who are not particularly fond of surprises you have the absolute power to review the file before you trance to it. You can give it a fully aware walk through, or just jump through segments to look for anything that doesn’t suit your taste.

Once you’ve done that however you might still be conflicted about some content. Not openly averse to it, but unsure. Dumbing down and IQ reduction are probably number one on this list. People are so terrified of somehow losing everything when they learn to stop overthinking things. For these concerns my second point suggests Introspection. Ask yourself “Why do I/Don’t I want this?” “Is it really as bad as my anxiety is making it out to be?” Because if you like something a lot, and really want it, then why should you deny yourself it out of fear? Even aside from dumbing, many desires are tinged with this air of guilt or fear. Terrified to acknowledge or grab hold of what we truly want and own up to it. In my estimation Hypnosis can be one of the best ways of dabbling with those desires because in trance there is no shame or judgement. Finally, my 3rd point says you don’t have to worry. If you really don’t like a suggestion you can always leave it behind. Your mind has built in fail-safes to reject suggestions you haven’t agreed to. A file cannot make you do something unless you want it, at least subconsciously. The old cliche goes “All Hypnosis is Self-Hypnosis” and what that fundamentally means is that as a subject you are the one who decides what happens. You consent and go along with things and allow them to happen to you. It is your desire, your focus, your arousal and your own subconscious that allows hypnosis to work. Subjects have more power than they know. I really hope it assists some people in vibing better with trance and files. I’ll be putting out another version for Live hypnotists later this month.

Thanks again to Acro for letting me use their Art, definitely go and support them on twitter. And If you want to support the creation of more hypnotic experiences that might help you practice that balance of focus then you can do so by subscribing to my Patreon, or to my Youtube channel. And if you want to interact more closely with me and my supportive community you can join my Discord server.

[mooncademia]

Caught in Love

PAIRING ~ Aizawa x reader

GENRE ~ fluff

SUMMARY ~ After getting a job offer at U.A, your love life w/ Aizawa has officially transferred to school. And you loved it.

But wait...something is different about Class 1-A homeroom teacher! And it has definitely caught a few suspicious eyes.. who may or may not have an idea up their sleeves to satisfy their burning curiosity. 

First day working at U.A, you realized that you didn’t have to wake up at your usual morning alarm at 5:30 a.m.

Ah yes, the pro hero days of waking up super early, going to the agency, giving Aizawa (who continued to sleep beside you) a peck on his cheek before you left were now over.

And instead, you were introduced to a new routine.

A fresh one.

However, things weren’t going to change that fast, after all, you’ve been pro-hero for years! And your sleep cycle has stuck to your 5:30 a.m alarm and Aizawa, your husband, did not appreciate that.

“We are going to work, together!” You squealed as you flung open the blankets that covered you and Aizawa. You hopped out of bed and shook his shoulder, making Aizawa mumble a groan.

You kissed his cheek passionately and ruffled his messy raven-black hair a little bit.

“Come on,” you said. “Wake up, I’m going to make some coffee.”

Aizawa turned to the side to peek at the clock on the bed side table. He let out another groan when he saw the three digits.

“Y/N, it’s literally 5:34 a.m. You just need to be at U.A at 8 and we don’t live that far.”

“Yeah, well,” you said with an exciting smile. “You can never be too prepared!”

You scurried out of the room and turned on your coffee machine in the kitchen.  Aizawa turned around and saw his bedroom now empty. His wrinkled long black sleeve was bunched up to his waist and he frowned as he got up this early for the first time in months. You knew your husband was a rationally-driven man, sometimes a lone cat who prefers privacy and waking up a lot later. But what you didn’t know was that when Principal Nezu asked him if his wife could teach at U.A after All Might retired, he was thrilled.

So despite it being before 6 a.m, his excitement was bubbling over that it made him finally leave the bed.

But of course, he had to play it cool. With rational excuses, right?!

“Well, I guess I do have to review the school schedule with you,” he mumbled as he palmed the back of his neck and walked out of the bedroom.

When you saw your husband slumping down on the dining chair with his half-lidded eyes, your heart immediately flipped and you poured a nice cup of hot coffee for him.  

You knew him well enough that he didn’t wake up this early in the morning for no reason. You set the cup on the table and leaned down to give him a peck on the corner of his lips as a gesture of gratitude.

But at the very last second of pulling away, Aizawa got the best of you and wrapped your waist with his strong arms, causing you to sit down on his lap—santa lap style.

He hugged you warmly and you slung your arms around his neck. Aizawa snuggled his head between your neck and shoulder and sighed blissfully with his eyes closed. You laughed with your head tilted slightly back.

Yeah, he definitely was not a morning person.

After much time of Aizawa discussing you about the school system for the millionth time during breakfast and almost having a mental breakdown of whether or not you could actually teach (we all have those moments, right?), you were on your way to U.A.

And it really took your breath away.

The school was located on the top hill in Musutafu with the whole neighborhood revolving around it. Glass windows seemed to reach the sky and when you realized how freakin’ big the campus actually was, you couldn’t tear your eyes away from the building, not even a second.

But that wasn’t the best thing of all.

Because the best thing was having to walk to work with your favorite (and sometimes most annoying, but you love him nonetheless) person beside you. It was like having your best friend as a partner for your science project in high school. Ease poured over you as you found it quite pleasant to have a strong arm to lean delightedly upon, a familiar face that peers down at you with a gentle smile, and a reassuring voice to tell you that things will be okay.

It was still an hour before class but you and Aizawa were—of course—there early.

The two of you were walking down the halls. Sooner or later you’ll have to let go of your arm that was crossed with Aizawa’s before entering the teacher’s office because one thing that you both agreed upon was to keep the relationship low-key. No one knew that Aizawa’s wife was going to be the new teacher at U.A except for some of the faculty and of course…Hizashi Yamada, aka: the loudest person in the world in Shouta’s opinion.

“Y/N!!!!!!!!!!!!!!!!” Present Mic shouted when he saw you step into the teacher’s office. His blonde hair that was religiously shifted upward was too iconic to not be noticed from far away. You giggled at the sight as he threw his arm around his best friend, Aizawa, poking him teasingly on the shoulder. You were great friends with Hizashi and in fact, he was the one who introduced you to Aizawa in the first place.

“Oi, Eraserhead, you’re so lucky your wife goes to work with you,” Hizashi teasingly snickered with his arm still slung around Shouta’s neck. Aizawa tried to shrug him off but it only made him tighten his grip. “So they managed to get Y/N to teach here but they haven’t even implemented my great idea?!”

“Please no, Mic.” Aizawa groaned, trying again to pull away from Hizashi’s grip.

You sat down your bag. “What’s your  ‘idea?’ ”

Hizashi let go of Aizawa’s neck and casually slung his arm around yours, making you giggle in surprise.

“Well of course it’s my HERO FM radio! Every Friday from 1:00-5:00 p.m!” He announced proudly (or more like promoting) making you laugh even more as Aizawa facepalmed himself. “I told the staff that they should let me add one more day, you know, because of my great increasing popularity! But they said one day a week is already “enough,” he said letting go of you to make air quotes with a disgusted expression on his face.

“Get to work Mic,” Aizawa called as he headed towards his desk to gather up some assignments for his morning class.

Hizashi winked at you before he trotted off, throwing you a thumbs-up sign. “Get ready for some ‘strict Aizawa-sensei.’ One day during U.A fest, I wanted to hear Class 1-A perform but Aizawa kept on saying that I should be on patrol duty—“

“Which you should’ve. It was your shift.” Aizawa interrupted bluntly.

“But I just wanted an INSEY WINCEY listen!!” Hizashi stomped on his feet childishly which made Aizawa roll his eyes and let out a sigh.

You went to your husband and stood on your tippy-toes to land a small peck on his cheek. Aizawa blushed at your move because of the fact that you two were in a semi-public place, but he didn’t complain at all.

“Oh, don’t worry.” You seductively caressed his shoulder and gave him a charming smile as you leaned in deadly closer to his face with your hips arched a bit. “I can’t wait to see… what Aizawa-sensei is like.”

Your tone was silky smooth and you rolled out the last word so slowly that it made Aizawa’s mouth part open just a bit. He stared at you dumbfoundedly. Your eyes flickered down to his lips and he swallowed a gulp. He felt like Cupid just shot his heart and he was totally falling for you once again because the fact that you called him ‘sensei’ totally did not make his stomach or heart heat up.

Yeah…he really was goddamn lucky to have you work at U.A alongside him.

———

“Overall, ‘Plus Ultra’ doesn’t always necessarily means you need to exceed your limits physically. But it also means mentally. It’s how your brain exercises to solve complex situations. What are your strategies like? Are you saving those who need saving in quick time while doing minimal damage to your surroundings? I hope next week’s practice can allow you to exercise these brain muscles of yours that I reviewed today because listening to your thoughts and being mentally stable/prepared is more important than how powerful your quirk is. Listen to that hero gut instinct of yours, because at the end, especially in dearest times… it’s going to help you immensely.” You finished with an encouraging smile that made the class almost want to clap at your amazing class. You were glad to see their engaging faces and raising their hands when they had a question.

Class 1-A was truly remarkable. Though, the only student that left you curiously wondering about was the small boy with purple balls on his head because he seemed to be staring at you so intensely that you swore his eyes were bugging out of their sockets.

Aizawa bowed at you when you finished and you gave him a smirk.

The class began to exchange small chats as you bowed back to Aizawa.

“Wow, I think this teacher is really good! She’s so pretty and smart!” Ashido excitedly whispered to Tsuyu behind her with her eyes widened.

“That’s pro-hero for you,” Kaminari added with his index finger and thumb pointed high up. “Plus, she even made Aizawa-sensei stand there awake the whole entire time listening.”

Some of the classmates nodded eagerly in return, truly astounded that their homeroom teacher did not retreat to his traditional yellow sleeping bag that he usually does.  

“Thank you L/N-sensei,” Aizawa said, popping the class back to the board ahead. You bowed at him in return, but before you headed out, you saw Aizawa gave you the tiniest nod and wait…was that a smile creeping on his lips?!

You exhaled silently in relief. You have been so nervous and worried about teaching at U.A. When Principal Nezu offered you the position, you were shocked to even know that he had you on his mind. You previously thought that Aizawa proposed the option but that guess was quickly diminished when he told you that he had nothing to do with it.

You were just a pro-hero doing your job and when the amazing opportunity arose, you immediately accepted it, knowing that you deeply wanted to help students find their way to hero-life.

And Aizawa knew you had been nervous about U.A since accepting the offer. You have stayed up countless nights just reviewing paperwork, going over the school schedule many times, and even looking through practice exams from the past, thinking about what further lessons you can teach to these students.

You folded your lips and returned a small nod, eyes twinkling as you slid the door to head out.

The class truly captured the small moment you and Aizawa had, but then all shrugged away when they heard their homeroom teacher begin handing out today’s assignments.

As you trotted away from the class back to the main office, you smiled at yourself as you hugged your folders tighter to your chest.

Hm… I could definitely get used to this.

———

Days seemed to go by faster than you had expected.

Wake up (sometimes not that early anymore thanks to Aizawa hugging you down even after your 5:30 alarm rings), enjoy breakfast, head to U.A, teach, and then go back home with Aizawa (when everyone else is —of course— away).

You’ve had your ups and downs at U.A. Some days, work seemed to flow by very smoothly while other days, work was more than just grading papers or checking assignments. There were a few days where work overloaded and you and Aizawa will be staying up past midnight checking over paperwork. But it was times like these where you truly felt utmost grateful to have a mentor there to help you. And it was even better that your mentor was your favorite person in the world.

It has been ten days since your first day at U.A.

Which means: ten days Aizawa not sleeping a wink during your long lectures about hero work that he already confidently knows. And to some of the classmates who knew their homeroom teacher well enough that his yellow sleeping bag was his best friend, it was a bit…odd.

“Don’t you think it's weird that Aizawa-sensei stays awake only during L/N-sensei’s lectures?” Uraraka asked Kaminari on their way to the Lunch Rush.  

“What do you mean?” Kaminari shrugged and chuckled. “It should be weird that a teacher sleeps during class in the first place, right?” He grabbed his food tray excitingly, his eyes focused closely on it, clearly not noticing Uraraka’s suspicious tone nor mischievous eyes.

Tsuyu popped in between with the two and let out a sigh. “Boys……You have to read in between the lines. Uraraka’s right.” She snapped her finger perkily.  “Aizawa-sensei is not just awake but he’s seemed very engaged to L/N-sensei.”

Kaminari stared at Tsuyu and Uraraka obliviously as he sat down with the rest of the classmates. “Huh?”

Uraraka rolled her eyes. “You know! From the way he nods his head when she talks or oh! That smile?! I have never seen his lips tilt upwards besides haunting us on how difficult practice exams are going to be.” She tiredly sighed, thinking about her teacher’s wicked smirk every time a huge exam was coming. It was like he found pleasure in challenging the students to surpass their limits.

But Tsuyu and Uraraka knew that Aizawa’s expression when you were in the room wasn’t that wicked grin that he had when announcing an upcoming exam or event. Instead, it was a mixture of awe and sincerity. And it definitely made the two girls exchange some giggles and fun guesses.

“What’s up?” Jirou said, sitting down beside Tsuyu with her cafeteria tray, noticing her friends laughing loudly.

Uraraka leaned forward on the table to peer over at Jirou. “It's about Aizawa-sensei and the new teacher!”  Her voice was loud enough that it caught the other classmates’ ears, making her furiously blush afterward from her spontaneous excitement.

But of course, of all the pairs of ears in Class 1-A, there was always the one come rushing in when it’s about his favorite subject: women.

“L/N-SENSEI?!” Mineta’s ears visibly perked up from Uraraka’s gush, clearly engrossed with the topic of the new teacher. “She’s SO gorgeous and oh lord, her—“

“Quit it, Mineta.” Kirishima slapped the back of Mineta’s head beside him before he could finish his lewd statement. He hooked his arm around Kaminari with a giant smirk plastered on his face.

“Why don’t we find out, huh?” Kirishima proposed as Kaminari tried to wiggle his way free from his grasp.

“Hey man, watch your grip!”

Uraraka waved her hand to dismiss Kaminari's racket and stared back up at Kirishima. “About what?” She asked curiously, taking another bite of her rice.

“Girls…” Kaminari mocked sarcastically with a sigh, mirroring Tsuyu’s earlier comment that she made on him. The two girls rolled their eyes and punched his shoulder.

Kirishima leaned into the group closer with slyness flickering in his eyes. He grinned and bopped his head at Jirou. “We can find out if there’s anything special between Aizawa-sensei and L/N-sensei…using Jirou’s quirk!”

Jirou scoffed and leaned back with her arms crossed before Kirishima could continue. “Uh, you’re using me to get info about our homeroom teacher’s private life? That doesn’t sound very friend-like to me if I say so myself.”

“Come on Jirou,” Kaminari whined. “It’ll be fun!”

Jirou raised her brows and sneered. “Since when did you get interested in this?”

Tsuyu shook her head and waved her hands, dismissing the rising chaos. “No, you’re right,” She said, trying not to show her disappointing face. “It’s not fair to just use Jirou to grab juicy news about our teachers, you know…even if it can be so great to the point that it makes us cheerful and excited despite upcoming exams.”

Uraraka bobbled her head up and down, religiously agreeing to everything Tsuyu had to say with a pout on her lips and closed eyes. “Or it can even help us lift our spirits.”

Tsuyu nodded. “Even if it is just a tiny bit, it can-“

“Alright, guys! I get it! Fine!” Jirou said over Tsuyu, earning grins from the boys and giggles from the girls. Jirou sighed and pinched her nose bridge. She looked up at her friends and darted a death glare at Kirishima and Kaminari. “I’m only doing this for the girls.”

It was half-true. Jirou didn’t want to agree to this for the boys. But another reason was because of school lately.  With heavy workload that the whole class was dealing with, plus the hero-work after school and training, school has been…well, quite draining. And similar to the time where the whole class decided to hold a competition for “best dorm room” last year to raise everyone’s spirits from the whole villain chaos, she thought maybe this can raise spirits up again too. Even if it’s just miscellaneous curiosity or excitement. She knew and sensed that her friends needed something exciting happening, besides school work.

So the plan that Kirishima introduced was to head over to the teacher’s lounge at this moment during lunch break. Since it was merely the beginning of lunch and there was still a good 45 minutes left, it was the perfect time for teachers to be on their desks with students the last thing on their minds. Jirou can place her earphone jacks in the wall to hear the voices inside to retrieve any news from the two teachers.

“And if we got nothing, that’s totally okay as well.” Kirishima shrugged. “We can always try next time!”

“NEXT TIME?!” Jirou exclaimed uneasily, twirling her earphone jacks. “Let’s just see what happens now, and focus on next time later.”

“All right then!” Uraraka clapped her hands excitingly and bumped her shoulder against Tsuyu’s with a beam. “Mission: FIONA starts now!“

“Fiona?” Kaminari raised his brow, getting out of his seat with the rest of his friends.

Uraraka pointed her finger up in the air pridefully. “Find-Info-ON-Aizawa. I couldn’t think of an acronym for ‘ON’ so just leave it together and you’ll get—wooah!”

Jirou and Tsuyu locked elbows with her and dragged her away before she could finished,  followed by Kirishima and Kaminari trotting behind their footsteps.

“If you keep explaining it’s going to be Mission: GIT!” Jirou sneered, giving Uraraka’s elbows a good tug.

“GIT?”

Tsuyu smirked as the five of them head towards the teacher’s office. “GETTING INTO TROUBLE!”

———

Lunch breaks were times where you and Aizawa could finally heave a sigh of relief and chat with each other freely. You were happy to work at U.A with Aizawa because now since work schedules were parallel, you could efficiently have the time to hang out with him. When you were pro-hero at your original agency, you’ll often come back home with no trace of Aizawa since he was still in school working on students’ assignments till late evening.

But now, you had all the time in the world to chat with him. Okay maybe not all the time, just an hour and a half, but it was definitely enough for you.

Aizawa was sitting next to you on your desk, nodding along to your talks about your recent lectures with other classes as he gave some advice on teaching.

You let out a wistful sigh and rested your head on Aizawa’s shoulder. You closed your eyes and let out a hum. “Thanks for helping me through all this. I can’t believe teacher work is this much.”

Aizawa let out a puff of air and smirked. He peered down at you from the corner of his eye. “So are you gonna apologize for all the times you were scolding me for not coming back home early?”

You shot your head back up with your eyes widened and a jaw exasperated dropped. You knew that Aizawa was joking from on his tone but you pressed your hand on your chest and squinted your eyes at him, giving him a death glare. “Excuse me? Uhm, sir, I don’t think that’s fair. And besides! All the hours you were gone, I really really missed you and-“

Aizawa leaned forward, a hand snaking to the back of your neck, taking you by surprise as he crashed his lips against yours. You were completely shell-shocked that your eyes stayed open the entire time. Sure, you have kissed Aizawa a thousand times before, but he rarely made the first move. And oh did your heart fluttered!

Aizawa pulled away with a smile dancing on his lips. “And I really missed you too.”

Before you could open your mouth to respond, you heard a loud gasp from outside, making you unconsciously turn your head towards the sound.

A muffled voice transmitted through the walls. “KEEP IT DOWN, KAMINARI!”  

A female’s voice? Or was it a boy?

More muffling voices continued and you couldn’t really understand it, but one thing you knew for sure was that there was someone outside.

You twirled your head back to Aizawa. His face hardened and got up from the chair, walking towards the door.

“SH- ! HE- COMING!” A familiar voice echoed through the walls that you could only capture words of.

Aizawa finally opened the door and looked to his right.

Caught red-handed.

All five students were crunched down to the ground. With Jirou’s earplugs on the wall with Uraraka and Tsuyu beside her, plus Kaminar and Kirishima hovering right above her not missing any detail she was saying, Aizawa knew exactly what was up.

“Shouta? What’s wrong?” You asked, making your way to the door when you saw his cold expression.

You sucked in a breath when you saw the scene to your right.  

“RUN!” Jirou shouted but it was too late. Aizawa immediately caught the five of them with his trusty gray scarf so fast that you swore you didn’t even notice it. His scarf rolled all five up into a bundle individually so that their arms were glued to their sides.

All of the students heated up from shame.

“Soooooo……..” Kaminari mumbled weakly, trying to make the matter less intensive. “Are you two dating..or..something?” His voice squeaked higher and higher as Aizawa’s brows got deeper and deeper.

You knew you had every right to be mad that these students who were invading you and Aizawa’s privacy, and you should! But to your surprised, your offended emotions were quickly replaced with a comical one as you saw all the students’ ducking their heads in shame, darting their eyes away from Aizawa’s hardened glare.

Ah well…they would’ve found out sooner or later.

You let out a chuckle. Aizawa turned his head at you with his eyes widened, not knowing that you would be taking this matter so lightly. But you returned him with a kind of smile that immediately released the tension of his grip and the eyebrows on his face.

The students perked their heads up in confusion from your reaction, and you flashed them a smile as you snaked your hand behind Aizawa’s back.

“Dating? Hmmm…,” you said, a lopsided smirk dancing across your lips.

“I think it’s a little bit more than that.”

And with those words, Uraraka and Tsuyu couldn’t help but squeal in delight despite still being bonded.  Kaminari swore he never felt this wholesome since getting accepted into U.A, and Kirishima—on the other hand—twirled his head away from you and mumbled with his eyebrows furrowed in great passion: “…He’s so manly!”

And Aizawa? Well, he definitely looked at you in surprise for being so open, but no less than a second, he felt a warm breeze rushing through his body.

Your laugh after seeing the students’ reaction was the most beautiful sound he has ever heard.  

It always has been.

And hearing that made him feel like hey…

Perhaps people knowing wouldn’t hurt! And maybe it’s because he just loved you that much, or maybe it’s that fact that he realized, that no matter if his class or the freakin’ public knows or not….

Nothing…absolutely nothing, is going to disrupt the beautiful relationship the two of you have.

[seriouslysam8]

I know it probably doesn’t mean anything to you, but when I wake up on every Sunday morning, the first thing I do is check my phone and tumblr to see if the last chapter of Legerdemain is posted. I love hinny in that story so much and I really want to see them have a proper ending. You put so much work into Legerdemain, and so much work into MOT, so I hope you do give not only the story, but the entire series a very much deserved finale. I feel like the closure is needed. I know your motivation is gone and it makes me so sad that you couldn’t keep going with it, but I hope you know that whether it takes a month, or two months, or a year, I will still read the final chapter. I truly hope you can write a proper ending for MOT, because you put so much blood sweat and tears into it and I think your work deserves a happy ending. I wish you the best of luck with your new series, and as an author and mother and person in general. MOT got me through some very sad and scary times of my life, and if you do finish it, it would make my heart and soul so happy. And I hope it will make you happy if you can complete it and be proud of your work, because you should be so proud. 💗💗💗

I had a very long winded reply written but I edited it down because you guys don’t need me to go on a soapbox.

Anyway…

It does matter to me. I’m so glad that there are still people who enjoyed the story so much that they check back weekly for the update. By the same token, it upsets me that I have lost all my motivation to give those readers the opportunity for closure.

Here’s the thing, if you like a story, just review. Say “love it!” And if there’s a chapter you really love, then add another sentence. I often say one of my favorite reviewers is scrappy8. They review every chapter with something simple. If you really have a good chapter, they add more. It’s like a fun little game I play as to how I can get scrappy to say more than two words. It’s also just damn inspirational and motivating to go back and see how many reviews you get in a chapter and then reread them (which is why I ask for reviews on the story and not just tumblr comments so I can go back and read). But not all reviews are good. If I get a terrible review, it stays with me. It makes me upset. So if you have something nasty to say, click the x and keep it to yourself.

What I’m trying to say is engagement is why I write and share with you guys. I want to engage with you. It’s why I created a tumblr even though I’m not a big fan of social media. I’m not on any other social media platforms really. I have no idea if you’re one of my casual reviewers, loyal reviewers, or never reviewers because you’re anonymous. But if you don’t review, start reviewing. You can’t expect someone to spend hours upon hours of their time to write a story and want to continue doing it when they get a shit ton of negativity or their reviews start to dwindle. My motivation is gone, so much so that I’ve abandoned this entire series and want something new.

I’ve said it once and I’ll say it again, the moment this stops being fun is the moment I’m done posting. I’ll always write, but I’ll keep it in my head or I’ll try my hand at original stories or something. It’s only fun for me when I get engagement because I do not get paid. My payment is literally engaging with you guys. That’s all I want.

I don’t read a lot, but if I’m reading, you know I’m reading your stories because I always review. Even if I don’t know what to say and give you a sentence, I review. It’s hard for me to review, I get it. I’m socially awkward and I have fears people will think I’m stupid or silly, but I work hard to get out of my comfort zone and review. I’m on both Hinny discords but rarely talk because I’m nervous to speak because what if I’m seen as dumb? Sometimes it’s hard for me to answer your asks because I’m anxious I’ll say the wrong thing or didn’t think something through (which has happened plenty of times where I’ve deleted asks because I did say something stupid because I was so fucking nervous) or whatever but I try to push past it because I understand if I want engagement, I have to give engagement. It’s the same for you guys. You want stories, you have to engage too. I started to feel like I was in a non-paying job for awhile with Legerdemain. I was just getting shit for Rayly, shit for Lily, shit for the divorce, shit for veering from canon while refreshing my mail waiting for something positive.

What I’m trying to say in this shortened down long winded speech is that I hear you. You are disappointed. But nobody is more disappointed than me. This story I spent a year on, giving literally so much time and effort into crafting and writing, has lost its sparkle. I let the negativity and the decrease reviews upset me. It just wasn’t fun anymore.

I hope to find the motivation to write that last chapter. I’m really trying, but I open the document and just stare at it.

[cafeinthemoon]

Headcanons for Founders trio with an s/o who's a bookworm 📚

I don’t know if this has been done before but I myself am a bookworm and when this idea came, it was funny to imagine how each of the founders would react to having a partner who’s passionate about books

Ps: I’m sorry that I’m not capable of writing a short list of headcanons okay I really try but I can’t sorry

Fandom: Naruto | Founders trio

Symbols: 💗 | ◼ | ▶▶

Hashirama

First of all, I don’t see him as a book lover, but neither he’s book hater. He’s just the average person who can live in peace with the fact that there are books in this world without being too attached or disgusted by them

This is bc he probably has some trauma from reading caused by the huge piles of paper he has to deal in his office (he tries to avoid them by procrastinating and then begs for his brother’s help)

But he has a genuine interest in your passion bc well, he loves you, which means he loves almost everything about you and believes that understanding this hobby is a way to understand you as a person

And bc of that he always goes with you when you say you want to go to the library or the bookstore

Hashirama is the guy who’s capable of getting excited with your enthusiasm though he’s not really into the same stuff as you

So he will have so much fun following you around those corridors and shelves full of books

And will analyze every book cover you show him aka agree with all of your reviews on the covers bc he trusts your capacity of analyzing things

He will also hear when you talk about your favorite plots, characters, writing styles and quotes

If you get indecisive between one book and other you certainly will he will try to help you make up your mind by telling you that “this one’s cover is prettier than the other’s” or “I think this one will have more exciting adventures”

He will be content whether you choose this book or the other, and will laugh if you decide to get them both

Plus: Hashirama is good at spoiling his s/o so he will insist on buying any book you lay your eyes on to the point you’ll have to argue for him to let you pay for your own books

And when it’s time to go home, he will help you with the piles of books you borrowed from the library or bought from your favorite bookstore (with a significative % of discount ofc)

So we can agree that despite not having a great love for books, Hashirama will be the most fun company for a bookworm like you 💕

But this doesn’t extend to the occasions when you recommend something for him to read

He always promises he will read that book soon but you know he’s going to forget that the book exists right after you leave it with him and will only remember it when you ask it back 😐

Tobirama

Now, with this guy things are way different

Bc if you think of yourself as a bookworm, Tobirama says GET READY TO KNOW WHAT REALLY MEANS TO BE A BOOKWORM

Seriously, he has been reading since he can remember. It’s a part of him as much as the shinobi life

He reads absolutely anything. Politics? Yes. History? Ofc. Poetry? Same. Cookbook? He had already gave it a try. And do not let him start with Science 🔍

And he has a prodigious memory for what he reads, so he’s capable of spotting any book he has in his personal library with his eyes closed, so that even if you remember only one quote from the book, he will find it for you

The best part of this is that you can talk about anything about any book bc Tobirama probably has read it and will understand your point, and if he hadn’t read it yet, it’s just a question of time until he adds it to his collection

Or he will make comparisons between this book and others that are similar to it that he already has and that’s what he does to understand the whole point

The connection that comes from this is something unique. Your love for him grows as much as your love for the books you read

But everything has its dark side, and in this case it’s called COMPETITION

I’m sorry to give you such sad news, but Tobirama is that person who can turn the most innocent hobby into a competition if he feels threatened thinks you’re becoming more experienced than him in it. So expect to see him become a bit petty

He will not start a proper fight but you will sense that he’s getting into discussions about trivial details more often. He doesn’t need an invitation: if you say something that he mildly disagrees, he will discuss it until he convinces you of his pov (or you say you give up)

If you’re really into discussions and such, you might enjoy it like a sport. However, if you don’t like conflicts, I feel sorry for you lmao

If it extends for too long, it will become a reason for a serious fight, because he will get to the point of saying that “you need to refine your taste for books a little” or that “you should slow your pace in order to pay more attention to what you’re reading and have a better understanding of the book’s subject”

If things get to this point the only person who will be able to help you to make amends is Hashirama. But I hope it never happens

Now, the biggest advantage of being Tobirama’s s/o and loving books is that you almost never need to buy books, bc he’s the owner of the greatest library in the village (he has all the books you won’t find in the public library)

Ofc you manage to buy some, but you don’t use to do book hauls because you don’t wanna end up broken he always gets the books you want

That doesn’t mean you two don’t spend time out on bookstores and get back home late sometimes ❤

Madara

Can’t believe I couldn’t find that gif of him reading a book with his Sharingan

I don’t know but Madara and books in the same sentence sounds peculiar to me lol

I think his attitude towards books is similar to Hashirama’s in some points, except that he promptly recognizes the importance of books as knowledge and intelectual development’s tools. But in general terms he’s not the most passionate person about them

The thing is that he prefers activities outside the house, that push him to the limits of his body. You know, with this man it is about the PHYSICAL

So things like staying indoors, enjoying a good book doesn’t have appeal to him. You might love it, but to him it sounds a bit tedious

But he respects and admires this preference of yours. It’s good to see his s/o engaging in a healthy and safe activity

Sometimes, when he gets home, he might ask casually what you are reading this time, but this is not to be understood as an invitation to a long talk. He just came home, he’s tired and the last thing he wants is to hear about things in which he’s not quite interested, so it’s better just to say the book’s title or the genre

If he’s in a good mood, he will sit by your side and watch you while you read. Getting close to you and observe what you’re doing is a habit of him no matter what task you’re performing, but seeing you immersed in something you’re passionate about is different

He likes to pay attention to the way your eyes go through the lines, your lips move to repeat the characters’ sentences, your expression changing to follow your emotions and the delicate manners with which your fingers touch the pages

If you stop reading to look at him, he won’t even try to disguise 😁

And if you ask him what is it, he will just smug and continue to stare at you

Observing you is like a hobby to him, it’s his way to get in touch with you

Now, talking about your readings is something complicated when you have a partner like Madara

I believe the best way to talk about books with him is doing it indirectly. For example, instead of saying things like “I’ve read it in a book that if you…”, just say “Maybe it’s just the case that they will…”. Just bring out the idea itself and leave the source aside

He knows that you probably found it in one of your books, but he will not be bothered. Instead, he will praise the fact that your readings turn you into a smart and observing person, with a deep understanding of the world and its people

As you can imagine, going with you to buy books is to him what going with a s/o to buy shoes is to other men. Yes, he is that guy that tries to make you walk in another direction so that you won’t pass in front of a bookstore or the village’s library bc he knows that once you step into these places, you won’t leave so soon

Bc of this you use to go alone to do your book hauls or to ask your friends to go with you. Sometimes you wish you could make Madara change his mind, for you love his company, but you’re ok knowing that it’s not going to happen and try to concentrate on being in good terms with him ❤

[ordinaryschmuck]

What I Thought About The Mitchells vs. the Machines

The Falcon and the Winter Soldier is up there as one of the best installments of the MCU. Sure, the action and CGI sucks, and the season finale could use a bit more polish, but there is so much more of what it does right. It brings up an engaging discussion through Karli; the bromance between Bucky and Sam is incredible; Zemo's surprisingly a riot, and U.S. Agent is a character whose inner psychology is something I would like to study. Plus, the series really dives deep into the themes of race and the realistic hesitance that comes with making a black man Captain America. It's easily an 8/10 series that is worth an in-depth discussion.

But f**k that s**t, because I'm talking about The Mitchells vs. the Machines instead!

I know it might be questionable that reviewing a movie starring a predominantly white family of idiots saving the world instead of the TV series about the powerful journey of a black man taking the mantle of an American icon...but this movie is fun, alright? And yes, I'm going to spoil it to explain how. So if you still have a Netflix account, I highly suggest you check it out when you have time.

Because, random people on the internet who most likely won't read this, this Ordinary Schmuck who writes stories and reviews and draws comics and cartoons is going to explain why The Mitchells vs. the Machines might just be my favorite film of the year (steep contest, I know).

WHAT I LIKE

The Animation: Let's get this out of the way right here and right now: If a single person ever tells you that this movie has awful animation, or the worst animation they have ever seen, just go ahead and assume that person is an idiot. Because holy hot cheese sticks, does this movie look amazing!

Say what you want about most of Sony Pictures Animation's movies, but you have to admit that they nail making a CGI movie looking like it could be in 2D. And The Mitchells vs. The Machines is the peak of that style. Every character in nearly every frame looks like they could work well if the movie was hand-drawn, and I love it. I am addicted to seeing films that look 2D with a 3D makeover because there has to be ten times the amount of effort to get that look just right, what with modeling each character in unique ways to nail that style wherein a hand-drawn film, you could just, well, draw it. Not to mention that the cell-shading and certain hand-drawn elements also add to the aesthetic.

Plus, there is so much attention to details, such as most of Katie's character model being covered in sharpie, or how you can see a hint of Eric and Deborabot 3000's drawn on faces even though their black screens are showing something else. Seriously, you can listen to any criticism this movie gets, but don't you dare let someone get away with telling you that it looks awful. It doesn't. It's incredible, and I SO wish that I could have seen it all on the big screen.

The Comedy: On top of being incredibly well-animated, this movie is also incredibly funny. Like, really funny. I shouldn't be surprised since it's made by the same people responsible for Clone High and The Lego Movie, but yeah, I found myself laughing, chuckling, and snorting with nearly every joke in the film. Not every joke works, to be fair. But because of the fast-paced humor, the bad jokes are almost immediately followed up with better ones soon after. What's even better is that the writers know when to take a break with the humor and let some surprisingly compelling drama take over. And even then, when there are jokes during the dramatic moments, they add sincerity to the scene rather than take anything away. Looking at you, The Amazing World of Gumball...I mean, I love you, but sheesh, you need to learn to let a solemn moment play out.

Anyways, the comedy is hilarious. And while I won't spoil every joke, I will go over some bits that might have gotten to me the most.

Katie Mitchell: Let's just go ahead and add Katie Mitchell to the list of characters I highly relate to on a personal level (which is getting longer by the minute, hot damn). But jokes aside, I really like Katie. Her love and desire to make movies is something I identify with, and her goal to just go to a place where she feels like she belongs is easy to understand. Trust me, if I found out there was a group of weirdos who like the same things I do and enjoy the things I make, I’d be willing to pack everything I have and go to them as fast as possible too. Plus, I feel like a lot of us can relate to a character who lives in a household where people question if our career goal is something we can make a living with. I remember two years ago when I told my aunt that I wanted to make my own animated series, and her reaction is a little too similar to Rick's when Katie showed him her movie. They mean well, but sometimes it's for the best to have a cheerleader rather than a critic, especially if that person is family.

Now, Katie isn't perfect as her enthusiasm can get a little annoying at times, and her desire to leave can be conceived as a little too harsh as well. Still, she's pretty cool and serves her role as a protagonist pretty well...also, if the movie gets a sequel, let's hope she and Jude become cannon by then. GIVE KATIE A GIRLFRIEND, DAMN IT!

Aaron Mitchell: But as great as Katie is, it's this goober that earns the reward for my favorite character. At times it looks like Aaron is nothing more than a source of comedy, but he handles some dramatic moments really well. Partial credit goes to Michael Rianda for that one. Yeah, having a child actor would have made Aaron sound more like a kid, but no other voice could have fit him better than what Michael offers as he comes across as weird but never obnoxious.

Also, let's give the writer points for making a character who is clearly neurodivergent. Yet also refraining from having him be annoying or useless to the rest of the cast. No one ever really disrespects or belittles Aaron and instead chooses to work with him rather than against him. Especially Katie, who forms a solid sibling bond with Aaron as a fellow weirdo. It's genuinely sweet to see, and I loved every minute that the writers showed that just because someone acts on a different wavelength doesn't mean they shouldn't be treated any less because of it. You get that with Katie, a little bit, but I see it much more with Aaron, for some reason. And I love him every minute, so that’s a win.

(Plus, I may or may not have had a dinosaur phase when I was younger, so go ahead and add him to the list of relatable characters too.)

Rick Mitchell: This is probably a character you will either love or hate, and I can see both sides of that argument. Because on the one hand, I really like Rick Mitchell. His motivation is clear and understandable from the first set of home videos with him and Katie, both near the beginning and the end. Sure, he messes up a lot, but he is still a man who cares deeply about his daughter, as well as his entire family. He gets to the point where he would make great sacrifices for all of them, especially Katie. Plus, it's just pleasant seeing a cartoon dad who isn't a complete idiot or overprotective regarding his daughter's love life.

However, there are times when Rick comes across as an irresponsible d**k. When he does things like smash the family's phones without telling them or giving them screwdrivers for "presents," you're either gonna find that funny or you won't. Personally, I enjoy Rick and his antics, and I have no problem with irresponsible cartoon dads. As long as they don't cross the line toward Modern-Peter Griffin territory, I've got no problem with dads like Rick, who I believe has never even got that bad. Still, some people might think differently, and I can't blame them. Because after getting great cartoon dads like Greg Universe, I can understand if some people won't be interested in characters like Rick Mitchell.

Rick’s and Katie’s relationship: Alongside the top-notch animation and gut-busting comedy, Rick and Katie's relationship is what I consider the movie's most essential asset. These two are the main characters of the film, and as such, they develop through each other. And what's crazy is that they have very conflicting goals. Katie wants to escape and be with her people, where Rich just wants one last chance to have a good memory with Katie before she leaves. To do so, they first have to understand each other. Katie has to learn why Rick is so desperate to spend time with her, and Rick has to realize why Katie is, well, Katie. What I love most about it is that they try. These two don't spend the entire movie arguing and being at each other's throats until a sudden "Oh" moment in the end. No, there are actual moments when they genuinely try to understand one another and fix their relationship. It's nice to watch, and I especially love when it cuts to Linda and Aaron celebrating each time Katie and Rick get closer to each other. When recommending this movie, I'd say come for the animation and comedy, stay for the phenomenal relationship building.

Monchi: There are probably people already comparing Monchi to Mater or the Minions due to being a comic relief with nothing else to add...but gosh dangit, do I love this little gentleman. Maybe it's because I'm a dog person, but I find Monchie to be incredibly adorable, and I will fight anybody who disrespects this king of kings. Probably not physically, 'cause I'm a wuss, but I will verbally. So WATCH IT!

“HeLlO. i Am DoG.”: Have I mentioned that this movie is funny?

Rick’s videotapes of him and Katie: And right there. Rick's motivation for everything is set in stone through a solid case of visual storytelling.

PAL: The writers do almost everything they should have with this character. PAL might not have the most creative evil plan in the world, but to me, a villain can have a generic scheme as long as they're funny. Thankfully, PAL is funny. Not only is the idea of a smartphone ruling the planet hilarious in all the right ways, but Olivia Colman delivers such a great cynical energy that the character needs. The way PAL reacts to people explaining why humans are worth living is just the best, and her flopping around in a fit of rage successfully gets to me.

If I had to nitpick, I'd say that I wish PAL had more of a meaningful resolution to her character. The movie builds up that she makes a big deal about Mark dropping her, so it feels weird that neither of them really get any actual closure with each other. I'll get more into that in the dislikes, but I wish PAL had more of a fitting end than just dying after accidentally getting dropped in a glass of water. Other than that, she's a great comedic villain for a comedic movie.

PAL MAX Robots: These guys are the funniest characters in the movie. Half of it is the bits of visual humor, while the other half comes from the solid line delivery from Beck Bennett. Especially with Bennett's and Fred Armisen's Eric and Deborahbot 3000. These two are definitely the comedic highlights, as nearly every line they say is both hilarious and kind of adorable at times. And just like with Monchi, if you dare disrespect these characters, I will fight you. Because they are funny, and I will not hear otherwise.

PAL demonstrating what it’s like to be a phone: Have I mentioned that this movie is funny?

(Don't disrespect your phones, kids. Otherwise, they'll try to take over the world.)

PAL turning off the Wi-Fi: Again, have I mentioned this movie is funny?

“I love the dog. You love the dog. We all love the dog. But at some point, you’re gonna have to eat the dog.”: It's the sick jokes that get to me the most. Everyone booing Rick afterward is just the cherry on top.

Attack of the Furbies: Have I. Mentioned. That this movie. Is funny?

Seriously, if you haven't lost your s**t during every second of this scene, then you never had to deal with the demonic entity that is a Furby. In a way, I commend you. But you also don't get to appreciate the comedic genius of all of this. So I also weirdly feel bad for you.

The Mitchells deciding how to celebrate: You don't have a real family if you spend more time arguing about how to celebrate after saving the world than you do about how to save the world. I don't make the rules. I just abide by them.

The PAL MAX Primes: There's not much to say about them. The PAL MAX primes look and act pretty cool, are brilliantly animated, and raise the stakes while still being funny at times. I love 'em, but I don't have much to analyze with them either.

The origin of the moose: ...I'd make the "I didn't need my heart anyway" joke, but to be honest, it's still shattered after WandaVision.

(For real, though, this is a really effective scene that establishes why Rick makes a big deal with the moose and why he might feel hurt that Katie is willing to disregard it completely)

The Theme of Technology and Social Media: There's a theme about how family is important, and working hard on making things work is worth the effort. But that's a bit too generic for my tastes, so instead, I'm gonna talk about the equally important message this movie has about technology. Because as twisted as she is, PAL makes a great point. The technology we have today helps us in a variety of ways. It's especially useful with sites like YouTube, allowing content creators like Katie to reach out and share their voices. The only issue with technology is how people use it. Take note that the main reason why the Mitchells stand a chance against PAL is by using her own tech against her. Yes, over-relying on all the advancements around us can be dangerous, but if we're smart with how we use them, we can get by just fine. This movie isn't about purging all technology like most robot apocalypse stories are. Instead, it's about using it correctly and not being helpless sheep the second the Wi-Fi gets turned off. Which might just be the most unique thing this movie has going for it story-wise (more on that later).

The Climax: The Mitchells vs. The Machines has everything that I think I climax should have. First off, it utilizes callbacks and jokes that I wouldn't have thought twice on actually coming in handy for how the Mitchells win the day. But showing that Monchi causes the robots to malfunction turns a pretty "eh" joke into a solid case of foreshadowing.

Second, everyone does something. Some characters do more than others, sure, but the fact that every Mitchell, even Monchi, has a hand in beating PAL and her robots is a great sense of writing to me. It shows that you really can't cut anyone from the main cast, as they each add value to how they are essential to the plot. Even Aaron, who arguably does the least in the climax, still manages to be the catalyst to what is easily the best scene in the movie. Speaking of which...

Linda Kicks Ass: By the way, that's the actual name on the soundtrack. I'm not even kidding. Check it.

Anyways, for the most part, Linda seemed like a decent cartoon mom. She's insanely supportive but still has the common sense to keep her foot down, like agreeing with Rick to stay safe in the dino stop the second the apocalypse starts. A pretty fun character, for sure, but nothing too noteworthy...but the second she loses her s**t, Linda Mitchell frickin' SKYROCKETS to the best-cartoon-mom territory! Believe me when I tell you that seeing her slice and dice robots like a middle-aged female Samurai Jack is as awesome as it is hilarious. Does it make sense how she can suddenly do this? No, but at the same time, who gives a s**t about common sense?! Because this moment was epic, and I don't think I'll ever get tired of watching it over and over again.

Rick Learning How to Internet...Again: I consider this the funniest moment in the movie. Trust me, the Furby scene is a close, close, CLOSE, second...but I think this scene was funnier.

The final goodbye: This is what I'm talking about when I say humor adds to the dramatic moments. The Mitchells saying "I love you" in moose is pretty funny, but it's also a sweet moment given that this is absolutely how this family of weirdos would say goodbye to each other. And, yeah, I got a little misty-eyed during this scene. Especially when Rick saw Katie pocketing the moose. That s**t just cuts deep, man.

Alex Hirsch Voices a Character: ...That's it. I look up to Alex Hirsh as everything I want to be as a creator, and the fact that his name is on this movie fills me with joy. He's also a story consultant, so that can also explain why the movie turned out as great as it did...although there are some imperfections.

WHAT I DISLIKE

Katie-vision: What's Katie-vision? Well, throughout the movie, we get to see how Katie views the world as there are these hand-drawn elements that look like effects Katie would add if she was the one who made the movie. At times it can be subtle and cute, like when this little beating heart appears when Katie is talking with Jude and her other friends. It's when the movie is in your face with Katie-vision does it get annoying. Like showing how Katie is lying about being certain she can drive up a vertical ramp or signifying what is the Rick Mitchell Special. Even if you justify that this would be how Katie would edit the movie, it still doesn't change how obnoxious these moments can be. For instance, Monchi is justified to be essential for the plot, but that doesn't mean people won't hate him...I'll still fight them if they do, but that's beside the point.

I can totally accept this being a personal issue, as I'm sure some people enjoy it. As for me, I think Katie-vision works best when used subtly instead of crudely.

The Meme humor: It's something similar here. Because some people like meme humor...but I don't. To me, it just dates your story if you reference memes even once. Now, a show, movie, or book being partially dated is nothing new. We Bare Bears, a series that I love, reference memes, apps, and social media constantly. Yet, the show still has a timeless feel to it as it doesn't rely on those references too much. The Mitchells vs. the Machines doesn't rely on memes as much either. But even then, that doesn't make a difference about how annoying that gibbon monkey joke was. Seriously, what the f**k was that? And how is THAT the joke that gets used twice!?

Underutilizing Mark Bowman: It really bothers me how this guy barely does much. I mean, Mark Bowman is the main reason that anything happens in the movie. Because he mistreated PAL, Mark acts as the catalyst for events to come. So the fact that he could have been written out the second PAL takes control doesn't make sense to me. It's worse since I could see more potential with his character through his relationship with PAL. These two could be anti-Rick and Katie, as Mark and PAL show what happens when people disrespect their family. So separating them halfway through the story, and keeping them as such, is a huge mistake as it results in neither having a proper resolution to their arcs. Like I said, Rick and Katie develop through each other, and the same could have happened with Mark and PAL. It doesn't, making it something that I can't help but feel disappointed about.

The Poseys: These are characters I feel like work better with multiple appearances. Sure, they only have the one joke about being a perfect family, but at the same time, you can make a joke like that work. Look at Yvonne from Shaun of the Dead (Which might just be my favorite movie). That's a bit-character whose only purpose is showing how better she is than Shaun despite being in an eerily similar situation. But she works well as we constantly see how great she's doing in every instance we see her. The same could be done with the Poseys, as using a similar joke for one scene is underutilizing great potential to make an already good movie into a better one.

Plus, if you're gonna shoehorn in a romance between Aaron and Abby Posey, the least you could do is have more than one scene developing that...just saying.

Katie’s and Rick’s “Oh” Moments: I want to make it clear that I actually like these scenes. They're well written and effectively emotional. My problem is that they also happen two seconds apart. There's nothing wrong with having a character realize the error of their ways through a tear-jerking moment. It's a popular tactic for a reason. And given how both Rick and Katie are the protagonists, they both need their own "oh" moment. But you gotta space them out, as it makes things easier to see the emotional manipulation that you're clearly trying to pull on the audience. They work, but putting them back to back is an issue easily solved with at least two minutes of padding, not two seconds.

Katie’s Death Fakeout: This is one of the few instances that a joke doesn't work in the movie, made even more annoying with the fact that I could see the punchline a mile away and kept thinking, "Just get to it already." I'm pretty sure no one bought this, especially when Katie didn't look like she could have gotten killed in any way after throwing PAL. It's poorly handled and proof that even the funniest comedies have a stale joke every now and again.

Nothing New is really being done here: Keep in mind that in terms of style, this movie is incredibly innovative. And here's hoping future animated projects can take notes. But narratively speaking? Yeah, there's nothing really new that this movie is offering.

A story about how technology will be the death of us? Been there.

A story about a group of idiots miraculously saving the world? Done that.

A story about a father forcing their teenager on a road trip so they can spend quality time with each other, thus ruining the teen's chance of hanging out with their girlfriend? Believe it or not, I have seen A Goofy Movie...multiple times...both as a kid and as an adult.

Now, I have no issue with a movie's plot being a bit by-the-books, and in some cases, cliche. If done effectively, and if I still have a good time, I don't think there’s much to complain about. And there isn't with The Mitchells vs. The Machines. The problem lies with that I'll forget this movie along with the dozens of others like it in a couple years. Which might just be the biggest issue any film can have.

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Overall, I'd give The Mitchells vs. the Machines a well-earned A-. It has nitpicks, sure, but it's still a blast to watch. It might not be innovative or groundbreaking as movies like the last Sony Pictures Animation movie, Spider-Man: Into the Spiderverse. However, it is fun. And when the world is burning down around us, it's nice to have a fun movie that can distract us from all of it. So feel free to log in to Netflix the next time you're in the mood for a film that is great for the whole family. You won’t be disapointed

(And I will talk about The Falcon and the Winter Soldier pretty soon. I just needed to get this out of my system first.)

[infinitelytheheartexpands]

My Personal Opinions on Some French Grand Opéras

Here we go. I’ll be focusing solely on pieces in what’s widely considered the “Golden Age” of grand opéra (from 1828 to about 1870).

1828, Auber: La muette de Portici: never seen or heard so I cannot comment, but I do think it slaps that it helped start both the Belgian Revolution and the genre of grand opéra.

1829, Rossini: Guillaume Tell: I love this one. it’s one of the few grand opéras that has a happy ending and it’s fully deserved. it’s long but it all has a point-- the first act introduces us to the community spirit that drives the rest of the action; even though it’s called Guillaume Tell, it’s not just about Guillaume Tell. it’s about a whole movement coming together, with all these vividly-drawn people of different social statuses, ages, heritages, and livelihoods coming together to do good in the world in the face of oppression. also it’s Rossini so it bops start to finish. the finale is one of opera’s best. I could not have higher praise and admiration for this piece.

1831, Meyerbeer: Robert le diable: another rare case of a grand opéra with a happy ending, but it feels a bit more contrived, something I wrote about when I watched it about a year ago for the first time. it’s quite a clever ending, however, and I love that these lovely characters get a happy ending. Robert is the least interesting principal character both musically and dramatically; the musical highlights of the show are mostly Bertram and Isabelle’s big scenes. the former is also arguably grand opéra’s most exciting ballet sequence, the Act III ballet of the nuns (or as I like to call it, the Zombie Nun Ballet). it’s long but it is incredibly worth it. overall, I really do enjoy this opera although it is very much an uneven piece.

1833, Auber: Gustave III, ou le bal masqué: here’s a thing I wrote about it like 3 months ago and I stand by every word.

1835, Halévy: La juive: It’s damn near impossible to find an even remotely close to complete recording. However, what the recordings have is excellent. The score is marvelous all the way through, although for the most part I tend to prefer the ensembles to the arias (the exception, of course, being Éléazar’s 11 o’clock number). Speaking of Éléazar, he’s an extremely complicated and frankly uncomfortable character, toeing the line between being one of opera’s most complex characters, an even more complicated proto-gender-swapped-Azucena if you will, and being an unfortunate vessel of antisemitic stereotypes. This is made even more complicated because Halévy was an assimilated Jewish composer. On the whole, Rachel is the only wholly sympathetic character in the piece, although all five of the principals are lovingly scored. 

1836, Meyerbeer: Les Huguenots: *holds things in because otherwise I would write an entire essay about this opera and you all know that because I have done that several times* Both a great strength and a great weakness of this piece is its sheer wide-ranging-ness, particularly in terms of mood. Unlike, say, La juive, this opera does not have one overall mood, instead steadily progressing from bright, brilliant comedy to one of the most horrifying endings in opera. Dramatically, this is great for the most part, although the sheer amount of exposition in the first two acts may take getting used to. Just as the drama gets more intense and concentrated as the opera goes on, the music gets more intense- and frankly, more often than not better- as the opera goes on. The window/misunderstood engagement business is something I still struggle to see the exact dramatic purpose of, because I think the question of religious difference would likely be enough to separate Raoul and Valentine at the beginning anyway; to me, it feels like Scribe and Deschamps were struggling to find a way to integrate Nevers into the story, as he is crucial to the opera’s lessons about love and tolerance, so they stuck in a quasi-love-triangle in order to justify his presence earlier on. (Also, for goodness sake, could you at least have given him an onstage death scene?) Anyway, in this way the story can be a bit unwieldy and uneven at first, but stay the course with this one...and even a lot of the first couple of acts are wonderful. The characters are all wonderfully written if rather episodic in many cases, but this opera is ambitious and by the end, it’ll tear your heart to shreds. It’s amazing. Uneven, yes, but amazing nonetheless, and I will defend it to the death.

1840, Donizetti: La favorite: I’m not as familiar with La favorite as with some of the others on this list (I’ve seen two different productions once each and I have a recording of it saved to my Spotify library that I listen to bits and pieces of very occasionally) but I do think it’s an excellent piece overall. LÉONOR DESERVED SO MUCH BETTER. The music is lovely all around; I know Donizetti wrote at least one other grand opéra in full and part of another, both of which I need to check out because in its own way, Donizetti’s style works wonderfully with grand opéra.

1841: Halévy, La reine de Chypre: here is a post I wrote about La reine de Chypre. basically all my thoughts remain the same except I have to add: Halévy as a whole just needs more love. there’s a few other of his operas I have waiting (a recording of Le dilettante d’Avignon that has been sitting in my Spotify for who knows how long and a film of Clari with Bartoli and Osborn I’m also sitting on) but there are so many pieces that sound fascinating but have basically ZILCH in terms of recordings.

1849, Meyerbeer: Le prophète: before I say anything else about this opera, I need to ask a burning question: WHY THE HELL IS THERE ONLY ONE GOOD VIDEO RECORDING OF THIS OPERA?!?! on the one hand, I adore the Osborn/Aldrich/Fomina production; on the other, I would also like other productions, please. anyway, I said one time in the opera Discord that while Les Huguenots will probably always be my favorite Meyerbeer opera for an array of reasons, this one is definitely Meyerbeer, Scribe, and Deschamps’ strongest work. it is both unusually dark and unusually believable for an opera of its time—and the fact that it still holds up so well is disturbing to say the least. this opera thrives on complexity in all forms and yet has probably (and paradoxically) the simplest plot to follow of the four Meyerbeer grand opéras. the score is brilliant start to finish, mixing the best of bel canto, Romanticism, and something altogether darker, stranger, and more original. definitely one of the most underrated operas ever. the aforementioned production is on YouTube with French subtitles; give it a watch here.

1855, Verdi: Les vêpres siciliennes: Vêpres is an opera I love dearly although I have yet to find a production that is completely satisfying. I think it’s because this opera is a lot deeper, a lot more complex, and a lot more troubling, frankly, than people are willing to go. also it should be performed bilingually and I am dead-set on this: the dissonance of an opera about French capture of Italian land being sung entirely in either French or Italian is always a little off at least (and also part of the reason why my brain probably adjusted to hearing this opera in either language better than, say, Don Carlos). but anyway, neither side comes off particularly well here, particularly due to the violence and sexual assault on both sides of the equation: both Montfort and Procida are heavily in the wrong, and while Verdi sympathizes with both for personal reasons (Verdian Dad in the former case, Italian Liberator in the latter), there is a lot of troubling stuff in here. nevertheless, the music bops, the story is intriguing, and I think we can all agree that Henri and Hélène both deserved better, especially considering how close they got to bliss (although I think we can also all agree that the end of Act IV twist to almost-rom-com is pretty abrupt).

1863 (full opera: 1890), Berlioz: Les Troyens: I wrote this review of Troyens after watching it in the Châtelet 2003 production in December 2019 (first time ever watching it) and I still stand by just about every word. Such a fascinating opera, great adaptation of the first few books of the Aeneid, marvelous score (of course, it’s Berlioz!)...but could there be a ballet or two fewer, Berlioz? Or at least shorten them up? And that’s coming from someone who likes ballet. But anyway, in every other respect it’s absolutely marvelous. Some people say it’s the greatest French opera ever, and while I hesitate to say that, it comes pretty damn near close.

1865, Meyerbeer: L’Africaine (Vasco de Gama): Vasco da Gama/L’Africaine is even more troubling—much more troubling—of an opera than Vêpres to me and I wrote a whole thing here as to why. I still stand by most of it, although upon reflection, I feel like the ending that drove me so crazy has virtually the exact same idea behind it as the end of Troyens/Book IV of the Aeneid: empire has consequences and those consequences hurt real people, who, though different and not among those perceived as “heroic”, are worthy of being treated as human, not being collateral damage. (I’ve written at least two essays about this for different classes, both specifically in regards to the Aeneid.) It may be time to revisit this one. The score is lovely, after all, although it didn’t stand out to me as much as others by Meyerbeer.

1867, Verdi: Don Carlos: *holds myself back from writing a 10-page essay* y’all, there is a reason that when someone asks me what my favorite opera is, I always choose this one even though I’m horrible at favorites questions. it’s Verdi, grand opéra, romantic drama (SO MUCH romantic drama and SO MUCH gay), political drama, religious/social struggle, personal struggle, social commentary, spectacle, intimacy, masterful characterization all in one. what more could you want? I first saw/heard this opera in Italian long before I did in French, so my brain is more hardwired to hearing the Italian but both are good. my motto is “Italian or French, I don’t care, but Fontainebleau has to be there.” fuck the four-act version. I mean, I will watch four-act versions but five-act versions are just superior. I’d prefer uncut performances (the first part of the garden, the Lacrimosa, the extended opening and ending), but these aren’t dealbreakers for me. it’s the perfect synthesis of Verdi and grand opéra, much less unwieldy than Vêpres (as much I love that one), both musically and dramatically.

1868, Thomas: Hamlet: Part of me wishes this was more faithful to the actual source play (why??? the??? fuck??? does??? Hamlet??? live??? although there are alternate endings), but part of me also realizes that the play is already four hours long as is and singing it plus ballet would make it WAY too fucking long. This does a pretty respectable job. The music is gorgeous, by turns almost sugary-sweet and thrillingly ominous. The Murder of Gonzago scene is an absolute masterpiece. The Mad Scene is justifiably one of opera’s best (although I’m not sure it was a good idea to have that and a frequently-cut 20-minute ballet with no relation whatsoever to the main plot to make up all of Act IV). There are a lot of bops in this one. The four principals are closely followed and still very well-drawn. Both of the stagings I have seen were excellent. An underrated opera.

1869 (grand opéra version), Gounod: Faust: Another of my absolute favorite operas. Since this existed for a decade before its transformation into the grand opéra we all know and love, I won’t comment much about its actual format and adherence to grand opéra tropes aside from saying the Walpurgisnacht ballet is one of grand opéra’s best and extremely good at giving off Vibes TM. I used to hate how the character of Faust was written and thought he was incredibly boring. Not anymore (although of course, I still hate him as a person. fuck him tbh). This opera has a reputation for being saccharine and old-fashioned and I think that’s a bunch of garbage right there. It’s about the search for eternal youth and the expectations of conforming to social values and people’s struggles with themselves when a) they “fall short” and b) when the world ostracizes them for being “different” and “out of line”. I am also firmly convinced that Marguerite is the real protagonist of Faust (like how I’m convinced that Valentine is the protagonist of Les Huguenots if there even is a singular protagonist in that opera but I digress). The music slaps. People need to stop cutting whole scenes out of this. I’m still undecided on the order of the church and square scenes of Act IV. Marguerite and Siébel just need everything good in this world.

Anyway, those are my two cents! I tried to keep these pretty short, so if y’all want any follow-ups, let me know!

[popculturebuffet]

Ducktales Review: The First Adventure! or Baby Donald Says Eat the Rich

Welcome back. I’d been looking forward to this one for some time in the hopes of getting one thing i’ve been waiting for.. sadly that thing didn’t come, we’ll get to that, but this was still a fun episode so let’s hop right in. Spoilers in a second but my tag is spoiler tagged soooo.  ---------------------------------------------------------------------------------------------------

We open in the 1960′s. Austin Powers just went into Cryo Freeze to prepare for Dr. Evil’s eventual return, The Marvel Universe was in full swing, a teenager in baltimore was battling racisim via a dance show, and Black Heron had just been caught by Agent 22, aka Beakly when she was young and just as gorgeous then as she is now. Heron once again engaged in her usual cartoonish supervillian, and now SHUSH has her.  Meanwhile in a nearbye room a young accountant by the name of Bradford Buzzard is outlining his plan for Director Von Drake: The way he sees it every time a villian costs chaos Shush “Wastes” billions causing MORE chaos to stop it without controlling things. He proposes taking over the world, weeding out the chaos and ruling from the shadows. Naturally, Ludvig isn’t on board with any of this and points out they aren’t super villains. It’s here this episode fully defines something about Bradford’s character. Back in “Let’s Get Dangerous!” when Huey called him a villain, he said he’s not one... at least from his point of view. It’s here, in his youth we get a clear understanding why he dosen’t think so: So far most people we’ve seen in the world of Ducktales take the chaos and insanity of the world in stride: Either just numb to it like most of the citizens, Rolling with it like Daisy and Violet, or diving straight into it like.. pretty much the majority of the cast, either for the love of adventure and treasure like the McDuck/Duck family, or for their own ludcrious ends like Glomgold, Mark Beaks or Magica. To them the world’s fine the way it is and there’s to explore, take or whatever.  To Bradford.. this is madness... he feels all these people are just a bunch of overgrown children, and in some cases actual children, are just making the world worse and worse until one day their going to break it. One day skill, intuition, wit, and knowledge just wont’ be enough. Someday Scrooge, SHUSH or whoever’s standing in the way of evil will fail and the world will fall. This simply can’t go on, and SOMEONE has to control this, someone has to take this world, shake the chaos out of it and MAKE it sane. Make it work the way it’s SUPPOSED to. And to Bradford that’s him. Someone has to, no one else will, so he will. To him SHUSH doing this is just the logical thing: They want peace right? Their fighting for good right? Then what’s better than making the world a utopia? Ending these conflicts and remaking it.  The thing is.. that’s not what Heroes do. As we’ve seen in various stories where the superheroes, the Good Guys take over they do improve things.. but at the cost of free will. At the cost of free thought. At the cost of their morals. They become what they were fighting all those years and have to bloody their hands and keep them bloody just to make THEIR world right. And that’s not Utopia, that’s a dictatorship. The example I always come to, even though there were ones before and after this including Marvel’s incredible Squadron Supreme maxi-series, is Justice League the animated series’ two parter, like most of their episodes really but that’s not the point, a Better World, about an alternate reality where Superman kills Lex Luthor after Luthor kills the flash and hte League take over the world. The thing is.. the world isn’t BETTER. It’s just crime free. You can sweep the chaos and the crime under the rug.. but your not making a better world, your just making YOUR version of it. No one person is a god even if they have a power of one and no one person can or SHOULD be able to decide what’s best for everyone. It’s up to each of us to MAKE the world better, to fight for a better world. That’s what Ludvig knows full well and what Bradford just can’t see. You can’t control the world, you just have to accept the things you can’t change like it being chaotic and change the things you can like injustice. 

Bradford however, who was hired as a favor to his grandmother, can’t though Von Drake lets him off with a warning.. and a laugh about an accountant being able to be a super villian. Bradford however realizes ther’es some truth to that.. he needs someone to teach him out to operate outside the law, and if SHUSH won’t take the world and remake it.. maybe it’s time someone else did.  So in the prison cells of SHUSH, which are conveniently empty outsdide of Heron, Bradford outlines his plan to her. To create a massive orgnization to steal the world and give it the order it needs. To combine their skills: Heron’s for grandeur and crime, and Bradfords for strategy and focus, to take the world. The Orginzation for World Larceny, or OWL, fitting bradford’s hatred for theatrics. Heron objects, adding an F for fiendish, and Bradford relucntantly agrees to get her on board, lets her loose and fakes like he just saw her escape. FOWL is born. And the world would never be the same. Cue credits and cue the rest of the review under the cut. 

After the opening we cut to 1994-5.. sometime around then as it’s hard to get an exact year, and that’s how the crew likes it. Point is it’s the 90′s, and Scrooge is.. busy running his company. We’ll get into the weeds of that in a bit, but this is a different Scrooge, one who while no less capable, has no thirst for adventure or drive. He’s not nearly as miserable as the Scrooge we saw back in Woo-Ooo but he’s still a much less complete man. Anyways alongside him for his planning is Duckworth, whose very much alive at this time, and who tells his boss his sister Hortense left something in his office for him.  To no one suprise, that thing is the twins, at the tender age of i’m guessing 10. Since your probably curious, Della is still voiced by Paget Brewster, just using a slightly different voice like the Triplets and Webby’s voice actors do. It’s just a bit more jarring here since unlike those characters, we’ve seen adult della and thus are used to this voice coming out of a grown woman. It’s not bad and I got used to it eventually but it was jarring at first especially since once again Donald has a completely diffrent voice ACTRESS doing his voice.  This time around it’s cristina valenzuela, of Miraculous Ladybug fame, who I know more for her song work and twitter than her actual work ,but am delighted to see her here and she does a terrific job. I genuneily did not realize it was her, and while not exactly like the late great russi taylor, it is just similar enough to work. 

So we get to see what the Twins were like when they were the Triplets age: Della is about the same, but with more of Dewey’s impulsiveness, and Donald, much like he’d be a few years and some dead parents later, is a bitter, grungey musician whose constantly on his guitar and railing against the man.. which is Scrooge in this case which is fair. Hortense left a note.. which bothered me as I genuinely expected her to show up and was majorly disappointed she did not. We are in year 4 of this series, season 3 and STILL no appearance of Hortense or mention how she died, as she and Quackmore are still alive by the end of this. Given she’s easily my faviorite part of Life and Times, this bothered me, and the only reason i’m not more upset.. is the clever way they wrote around actually using her. The letter she leaves for Scrooge explaining things is the same one Della herself used in the comic strip, and using a bit of the postcard she left in the cartoons, when leaving Huey, Dewey and Louie with Donald, down to the Twins having left a firecracker in their fathers seat, thus leaving him in the hosptial. As disappointed as I am my favorite Ginger is completely absent once again, this is a brilliant reference, and I have to give them credit for it, so it’s a fair enough trade off.  As for his “Angel Nephew and Niece”, Della wants to dive into adventure while Donald struggles to write a song, singing throughout the episode. It varies in tolerablity, though mostly due to the writing, Cristina is doing fine. Della however is disappointed to find her legendary uncle views his past exploits as merley a means to an end to get his fortune and now he has it he can just focus on building it in the boardroom. This is an intresting take.. and one I could easily have seen happening to the Don Rosa version seen in Life and Times. The Scrooge there himself saw building his wealth as the most important thing until his encounter with Teddy Rosevelt, who taught him experince was what mattered and the having isn’t as fun as the getting. It works for me: This is a scrooge who never got that lesson so once he got to be richest duck in the world, having achieved his life’s goal nothing was left. He’s not miserable like the Scrooge we saw at the start of the series, having lost his love for adventure after loosing his niece/daughter, and having lost his fight. This one has retired.. but because he likely just sees no point in going on. He’s the richest duck in the world, has a vast empire.. no amount of treasure is really going to add to that like it used to, and as he points out in a second Shush has tons of agents at this point to clean up what’s left of FOWL. He’s the man who has everything, so why keep going. It’s weird to see a scrooge without the hunger to keep going, but it makes sense when his belly is full. Without someone to get him to see there’s always another rainbow, he just stopped chasing them. Also a fun nod to the comics I almost forgot to mention is when hearing about the “Gift”, i.e. the twins, Scrooge dreads it’s another surprise party, a nod to life and times where Hortense threw Scrooge one that went.. badly and lead to their entire relationship collapsing. Though Donald did get back at Scrooge for screaming at his parents and Auntie Matilda

However his busy day is disrupted with a call from Beakly. They’ve found the last known cordinates of Captain Yellowbeak, but FOWL is on them and Scrooge is the only one Beakly trusts for this since they have a leak. Beakly is also director of SHUSH at this point, with Von Drake having retired or died or both at this point. Scrooge reluctantly accepts, while Della is excited at the prospect of a real adventure and Donald ends up sharing her enthusasim as it’d make a good song. Scrooge, naturally, has no intention of bringing them with him to their disapointment and leads Donald to sing another “Suck it the man song” which totally isn’t about Scrooge.... spoilers: It entirely is, he’s just a little dumbass grunge baby and I love him.  We then get a cute sequence of Della popping up in Scrooge’s Luggage and Trunk to try and convince him to let them tag along, before we cut to the Limo, driven by Duckworth at this point, which solves that mystery. Scrooge is firm in having his butler take them back and have them work with him and Duckworth’s fine with that.. but wants overtime, which is fair. Scrooge, being Scrooge, grumbles about not being made of money, proven wrong by gold spilling out of him. Though I do like the update of Scrooge’s classic cheapness when it comes to pay: INstead of barely paying his employees like a monster, he’s simply reluctant to pay extra if he dosen’t have to, and would rather drag two 10 year olds with him on a dangerous adventure than pay overtime, which tracks. It’s also clear if he had to he WOULD actually pay it, either due to legal reasons or his moral standards, he just isn’t happy about it. So he agrees, though he wants Donald to leave the guitar behind which.. given the most Donald’s been able to come up with is “Suck it THE MAN” and “This guy’s a greedy asshole”.. he’s extremely correct and when Donald tries to pull a “YOU CAN’T CENSOR ME MANNNN”, Scrooge just chucks it out of the car.  At the airfield while Della is excited like an rabid chipmunk, and genuinely thinks she can fly a plane because she’s played Outrunner 2.. which I have only vaguely heard of before now. And is apparently just a pc game where you run a lot so I genuinely do not get where Della gets piloting from that.. but she IS Dewey’s mother. So with that in mind the family take off and Scrooge explains what their after: The Papyrus of Binding. It’s a dangerously powerful magical artifact from Ancient Egypt that will make whatever’s written on it happen. The dangerous part is that it’s incredibly literal: As Bradford puts later in the episode, ask for unlimited power, it might zap you dead with a million volts, ask for infinite wealth, prepare to be crushed underneath it. It’s a nice twist on a Monkey’s Paw or Jackass Genie situation. Instead of either the source of the wish granting magic just being inherently evil, or some dickhead screwing with the hero.. it’s just an object that has no ability to interpret nuance, just like your phone with the goddamn autocorrect. It can’t judge intent or tone or meaning, it just gives exactly what it’s asked. It’s a thoroughly interesting concept. 

Something I really like about this episode is the fact it answers some little questions. While none were Hortense related, and I am still grumpy about that even with this coming out a good 17 hours after I watched it due to getting caught up with other stuff, it does have little touches that explain small parts of the lore: Who drove Scrooge? As just mentioned, Duckworth. Who flew scrooge? Paid pilots. Did he have a plane before the sunchaser? Yup. It fills in some small gaps in the world. Stuff we weren’t dying to know but’s stil lintresting. Said pilots in this case however are Heron and Bradford. This episode also fills in Heron’s character, as while we’ve already seen bits and pieces this season she LOVES being a classic, take over the world james bond type villian, like she stepped out of a duck version of kim possible.. and i’m just now realizing there probably IS a duck kim possible somewhere in this world as while far after disney afternoon, it fits too neatly to not be wedged in there with your tailspins and goof troops. I wouldn’t be suprised if there were brid versions of every human based disney afternoon and one saturday morning show. My.. my head’s swimming from this. I could be, and probably am wrong but the sheer idea of this... it’s amazing.  Back to Heron, she just LOVES being evil and destructive, letting the world know she exists and operating on a grand scale. Now we’ve seen more of her while she’s Beakly’s nemisis.. she’s really an evil scrooge.. yes another one. Like Scrooge, at least how he normally is,  she simply gets how the world of Ducktales operates and can take advantage of that to the best of her ablility. Just like adventuering, cartoonish supervilliany is about risk and reward.. sometimes you faceplamnt hard, that’s the risk, but the rewards and rush is worth it. She’s as addicted to grandoise villiany as Scrooge is to adventure by this point. And like Scrooge, and unlike her partner Bradford, she sees the world as it is: Chaotic and one big sandbox to play in. She contrasts Scrooge by the fact that while Scrooge is willing to bust down doors, he still has morals, as well as the wisdom to not go overboard Heron often lacks. It also makes her a good contrast ot the equally skilled Beakly: While Beakly is taciturn, controlled in all things especially her emotions, Heron is bombastic, gloating and borderline insane, and while deadly in a fight, dosen’t exercise any control in her plans, preferring it big and loud despite her partner usually being right about reiging it in.  So Heron evacuates dramatically, taking a grumpy Bradford with them, and sending the plane into a tailspin. 

I can’t wait for Next Year’s Tailspin episode. I swear to god. I’m hoping for Shere Kahn but this episode has taught me to be okay with disapointment, if a grumpus. Della however shows her natural talent and despite having no real experince with planes, lands it gracefully. While that’s going on, Bradford berates Heron for her plan, pointing out that they COULD have simply landed the plane, then captured the McDuck family and executed them quitely, versus leaving a chance they’ll survive which they do. They AREN’T supervillains.. or at least he thinks he isn’t. Heron does show off her competence though, pointing out that this way they can simply stay low, and FOLLOW the Ducks to the treasure. Bradford is impressed for a second.. till Heron’s evil shows as she plans to use the Papyrus. Bradford loudly objects to this, listing the possible risks shown before. If not used CAREFULLY, it could kill them, and she balks and wants him to just embrace being the Villian already. It’s what I love about their dynamic set up here: While they are equals, Bradford is a better strategist, able to think and plan way in advance, and prefers subterfuge, and if present day is any indicatoin probably used Heron’s flash to distract from the real mission or goal often or to do something on the down low while she kept SHUSH busy. His last two plans, while again requiring some pizzaz, relied on misdrection: having the ducks take care of an immidate threat like their used to.. while he gets exactly what he wants while their busy and whatever they get out of it is either nothing (Impossibin) or something he couldn’t use just yet and thus if he didn’t get it, no loss, but if he did it just moves up the timetable. Not only that but he’s outlasted all three other big bads, lying in the shadows till it was too risky to leave scrooge and play and even THEN, only coming out into the open when forced out. IT’s why he’s Scrooge’s most dangerous opponent: He knows how Scrooge’s other enmities operates as well as Scrooge himself. And since he knows everything he can maneuver Scrooge exactly where he needs him to do exactly what he wants. It’s unknown how the family will beat him, but he’s easily the biggest challenge they’ve had. 

But back to the show and the past, Scrooge bonds with his niece and nephew, retelling stories of his past as they get closer, with Donald ending up high at one point and thus seeing the ship stranded on a mountain. As he recounts a fight with El Capitan, the villian from the ducktales 87 pilot, he counts the story as as a loss: He didn’t get anything from it, no treasure no new contracts. But Della shows him the point he’s been missing; He got a story. Sure he lost.. but he got experince, a tale to tell and a legend grown.Just because you don’t get everything dosen’t mean it wasn’t worth the experince and you can’t hold it in your heart. And this episode shows why this scrooge needed his family: Without Teddy to mentor him, he simply never got that adventure wasn’t about gains or what you get.. it’s about the thrill of it, the enjoyment of discovery and the memories you make.. it’s about the Journey not the destination. 

As Scrooge starts to warm up to that, he finds a gap, with Della volunteering Donald to jump but Scrooge just having the kids hop on his back and pogo caneing across. The family find the Papyrus, and find out why the ship is all the way up here: Captain Yellowbeak, who’s a character from one of barks stories and the one who had the scroll last, wished to escape.. but that just stranded them. He asked for water.. and it drowned his crew.. and finally with the document hteir reading he asked for release... and thus is now a skelington. The kid are happy to have reached the goal.. while Scrooge is back on his Zack Morris phone trying to reschedule things and schedule a SHUSH evac, to the kids annoyance. However Scrooge raining on their parade gets interupted by Heron and Bradford, as Heron can’t resist popping out dramatically and Bradford is UTTERLY furious since she blew his cover, and Scrooge recognizes him from his christmas party, a nice callback. Scroog being scrooge figures out he’s the mole and Bradford runs , furious at Heron. Their conflict is an intresting one: Both have a point but both will not back down. Bradford is right this showboating nonsense has only hindered Heron’s plans.. and Heron is right that Bradford needs to accept he’s the bad guy. Even if he has well meaning motives, he’s the villian, he works with them, he leads them.. he is one.  He just can’t accept he’s wrong or dosen’t have the answers... huh.. I wonder who that reminds you of. And that’s 100% intentional as Frank has outright compared Huey and Bradford and like last season it’s neat to have the main vilian contrast our chosen Duck for the season. 

Heron outfoxes the kids and gets the papyrus and being just an enitrely black hearted bitch, plans to kill them just to spite scrooge.. writing that “his sidekicks will perish on this mission.”.... but Scrooge’s character development, and her choice of words, means nothing happens. As Scrooge outlines, “Their not my sidekicks their my FAMILY, and this isn’t a mission, it’s an ADVENTURE”. Scrooge has finally accepted his life for what it really is.. and the thrill of the chase over what lies at the end. There’s always anothe rainbow.. and he’s finally become the man who will chase every last one. 

OF course this is interupted, and Heron escapes with the papyrus, when a skeletal pirate attacks.. why is Yellow Beak alive, why’d the scroll do this?

But we get a neat fight as Scrooge fights the skeleton while he sends the kids after Heron. Scrooge gets a cool looking swordfight, while Bradford gets the papyrus, and Yellowbeak even terrifies me what with his bestial roll and fucking centepede crawling out of him.. jesus those things freak me out.  Meanwhile the kids battle Heron, who throws della overboard... and thus for the first time, Donald taps into his beserker rage, snikty snoink, and easily incapaciates the more experinced and fully grown adul, though Della since we’eve been following her kids for the past three seasons, is fine, if suprised by her brother being the goddamn wolverine. 

While heron is out for a second, Scrooge heads after Bradford, and vows to tell Beakly and chase him all across the world. However Bradford gets an utterly awesome moment.. he admits scrooge may be right and probably would.. but since he has the papayrus and is careful in everything he writes his request carefully and perfectly “As far as the ducks are concerned, I was never here.” Grante dit COULD have left scrooge out.. but since he didn’t sday duck family or specificy, and likely knew it’d do that, it instead just means the three bilogical ducks. Bradford dissappears, turning invisble and leaving the papyrus for scrooge, who foils heron by simply writing that this scroll will be lost until one day found by his heirs.

So Heron takes a fall and looses an arm, again.. or for the first time.. the family is triumphant and despite loosing his goal, Scrooge is convinced he and the kids will find it again. See above. Scrooge then pulls out his phone and tells Duckworth to rework his schedule.. but it’s so he can find someone to run his comapny so he can spend more time with the kids. As for why Hortense would allow this before her still mysterious passing.. i’m guessing A) she notices her brother is happier and more alive than he’s been for a while and B) they just blew up their dad’s ass with a firecracker, and she won’t be able to use it for a while, so she’s double mad, so if it means she gets a moment’s peace and is with someone she trusts.. why not?

So we end on Scrooge packing up, preparing for further adventures.. i’d love a spinoff of this one day. I mean Disney plus needs it, and since Frank is probably going over to Darkwing.. maybe matt could take a crack at this. Just saying. You have the cast ready, a giant world to explore, and 15 years worth adventures. Run that baby damn you! But yeah the inevitble happens and Bradford further proves his magificent bastardry.. by appling for the position of running the company as head of Scrooge’s board, and setting up said board. So now FOWL has unlimited resources, he has a direct eye on what he now realizes is his greatest threat, and the complete trust and faith of both Scrooge and Beakly. It also puts Beakly’s breakdown in context: We now see WHY she went as far as she did: While the revelation was bad for Scrooge, finding out one of his most trusted allies was a traitor the whole time and knew everything about him, for Beakly.. it had to be worse. Finding out one of your best employees, one of the FEW people you ever trusted, and someone you DIRECTLY RECOMMENDED TO SCROOGE, was not only the man who set up your greatest enemies, but had compromised your organization for most of your career. IT’s no wonder she broke down so hard.. while I already gave several reason adding “This level of betrayal and self doubt to the list” only makes it that much harder on her. But for now a partnership is started.. one that very well may end scrooge. 

Final Thoughts: A pretty good episode overall. It’s well paced, to the point I probably forgot a LOT, has some good jokes, and fills in a lot of the gaps in the lore, while giving us a nice insight into bradford and heron. Even without hortense this was a pretty good episode. 

Upcoming Reviews: LIfe and Times; Master of the Mississippi Ride of the Three Cabbleros: The Three Cablleros (House of Mouse) Tomtrospective: Lava Lake Beach

[mediaevalmusereads]

Pekolah Stories. By Amanda Bales. Cowboy Jamboree Press, 2021.

Rating: 4.5/5 stars

Genre: short stories, literary fiction, contemporary

Part of a Series? No

Summary: “Amanda Bales’s Pekolah Stories reveal the desperation of rural communities eviscerated by economic collapse, steeped in an unforgiving, poisonous religion, and accustomed to everyday meanness and ravaged families. Children growing up in cultural swamps, in these stories and in real life, never recover. Many die of suicide or violence or drugs. Some go to prison, few go to college, and even the ones who appear to survive carry hidden wounds that threaten to drag them back down. Bales’s stories fearlessly trace the grasping tentacles of generational trauma, leaving readers to reckon with truths that land like a punch to the solar plexus.” —Jeanetta Calhoun Mish 

***Full review under the cut.***

Content Warnings: violence, blood, homophobia, references to abuse and drug/alcohol use, self-harm and suicide

Overview: In the interest of full transparency, Bales is a friend and (former?) colleague of mine, so while I will try to be as honest as I can in this review, know that my opinions are not unbiased.

I’m not usually one to read short stories, much less short stories set in contemporary America, but because my friend wrote this, I bought a copy and read it cover to cover. I was pleasantly surprised by how much it resonated with me - I think Bales has a real talent for eliciting complex emotions, and I think her stories challenge us as readers to view small-town, rural America as multifaceted - the opposite of the flattened picture pop culture tends to give us. I give this book 4.5 stars primarily because of personal preference; while I enjoyed Bales’s writing and the way she portrayed her characters, I would have liked to see each individual story feel a little more self-contained. Some stories contained scenes that I felt were set-up for the next story (more on structure below), and I personally like my short fiction to stand on its own a little more. Otherwise, if you’re a fan of literary fiction and want to read a more compassionate, multivalenced take on small-town America, I would highly recommend this collection.

Writing: Bales writes in a very accessible manner. Her sentences flow very well, and they aren’t bogged down by too much figurative language (as is characteristic of some lit fic). Instead, it’s easy to grasp what is happening in any given story and Bales balances showing and telling so the prose doesn’t feel mechanical. It’s the kind of style that I think most readers - regardless of background - will find enjoyable and engaging.

Perhaps my favorite thing about Bales’s writing is the way she evokes small town “feelings” (for lack of a better word). Most of the things that punched me in the gut were not outright declarations of “this town is poor” or “this kid is messed up,” but the little details that evoke atmosphere or mood without much ado. For example, there are sentences here and there about kids needing to be bussed to a different school, about people who commute long distances for jobs, about “bibles weighing [people] down like stones.” A lot is communicated in such little space, and Bales don’t hit you over the head with its significance - she lets it sink into your bones, so to speak, and it’s a technique I find very effective.

If I had any criticism, it would probably be that some stories were in first person, and I didn’t quite understand the creative value of using it. I’m admittedly a little biased on this one, though - first person almost always feels unnatural to me, and I’m always looking for what value it adds to the storytelling.

Plot: This book doesn’t have an overarching plot like a novel, and I’m not keen on reviewing every story individually (not to mention that would spoil so much of the book), so I’ll instead talk more broadly about the construction of Bales’s collection as a whole.

Bales does something very interesting in that her stories are united by setting. Each tale takes place in the small town of Pekolah (Oklahoma, I think), and most characters make multiple appearances. In this, her book reads like a composite novel (as Carrie Gessner notes in her Goodreads review), and I think the effect is a good one. It makes the small town “everyone knows everyone” (and their business) cliché feel real, but more than that, it shows off Bales’s ability to make form match function. If everyone knows each other, and the town really is that small, it makes sense that multiple characters would pop up multiple times or that the same events would be referenced across stories. I also really enjoyed that each story felt like an individual thread and that Bales was weaving those threads together to create a tapestry - a picture of a whole town, if you will. I don’t think I’ve seen that structure used in many other short story collections (though admittedly, my experience is limited), and I enjoyed it very much.

If I had any criticism, it would be that I wish some of these threads were a little more self-contained. Some stories felt like they were setting up others, and some had unclear “messages,” so to speak, that I wish were a little more overt. To Bales’s credit, she does comment on things like conversion therapy, religion, poverty, and the like, and I think these themes do come through in the work. I’m just coming from a background of literature that hits you over the head with its themes and morals, and I tend to like texts that are a little more heavy-handed. But if you like things to be a little more ambiguous or don’t like it when authors hold the reader’s hand, you might like this collection.

Characters: Bales’s characters are complex and nuanced in ways that I didn’t quite expect (though I should have known better than to doubt her). The opening story features an out lesbian, while subsequent stories showcase gay men, Indigenous characters, Trump-loving queer people, etc. I liked the way Bales portrayed these characters as flawed; not all of them are “nice” people, but all of them have something that readers can connect to, whether it’s Jack’s frustration and despair or Teddy’s resentment of (certain) White people. While Bales’s stories are not always uplifting and optimistic, the characters are always interesting, and I think they all work together to create a nuanced view of what small town life is like - not homogenous, but still familiar.

TL;DR: Pekolah Stories is a brilliant collection of short stories that treats small town, rural life with compassion while also implicitly criticizing religious zealotry, violence, and the like, exploring the nuances of family relationships, economic despair, community, and more. 

[bearpillowmonster]

FF6 Review (Overall)

I'm going to rate similar to the way I did FF7 Remake, but in only 2 parts, so there will be an overall review then a separate deep dive into the characters.

I played this game using an emulator and I'm not ashamed of it because I used the FF6 Relocalization project which I'll link

Basically nerd talk and explanation of what that means: It's basically a retranslation of the original SNES script using the GBA port as a base and mixing and matching some of the best parts so there you go. They have a way to mod the PC version to have the OG sprite work because sheesh is that thing ugly and they also have a way to resprite and resound the GBA version but this is the easiest and logical solution to get the best of all worlds. There's also "Anthology" which is the PS1 port that adds some CG custscenes which I just watched off of YouTube because it's only a few of the major scenes.

Anyways, yeah, I'm glad I emulated it especially because of the fast forward function. That first chunk would've been rough without it because you're left just waiting for one of your party's commands to be ready but it eases up as the game goes on because you get pretty busy with the combat.

I'm not a fan of turn-based RPGs which was the main reason I haven't touched a 2D FF game until now so this is my first and oh boy, what a first!

Could you just watch a playthrough or read the story then? I wouldn't recommend it. There are certain things that I feel are better experienced.

Gameplay actually wasn't all that gruesome, as I mentioned, it got better thoughout but I know for a fact that I didn't do everything it had to offer because I see other people doing it online and I just had no idea how. That's not to say it's not newcomer friendly though, I mean I beat the game, didn't I? I think it would've just gotten complicated and made me confused if I learned how to do everything in the game anyway.

I found myself liking some of the mechanics and recognizing some of the systems from games as late as today (I'm not sure if this is where they started but I wouldn't be surprised). The random encounters weren't all bad because of the emulator's speed up function but there were definitely times where it felt a little out of hand with the amount I was getting. (I'm looking at you Cave to the Sealed Gate!) So it's all pretty familiar, though there are "Relics" which are kind of like Materia but each member has 2 each where it gives you an ability, f.e. Reflect, every attack hits, extra power, auto cast protect, heal with every step, etc.

One of the drawbacks of using BSNES though was that there was no toggle for a L or R shoulder button, just turbo and while that's not a big problem, that is the button to Flee a battle, so I just never fled. There is an item that lets you escape any dungeon or battle but I didn't really use it, same with the permanent item that Mog has in the cave (pretty late in the game). I'd rather there be a repel than the warp stone, but I figured that if I just fought whenever the opp arrived then I wouldn't have to grind, which is another thing I hate about RPGs! Luckily, I didn't really feel the need to grind other than for the ending.

Difficulty wasn't really a grind but make sure once you get to the floating island, that you know what you're doing because that level was annoying and I felt a very stong spike in difficulty as soon as I landed on it. Another thing is that sometimes it'd glitch and an enemy would have infinite health so I'd just sit there on fast forward, watching and watching then finally use Libra and no damage was made, might be an emulator thing, might be a game thing and although rare, it still happened.

There are these sections called scenarios where the game branches off into multiple different paths and you can choose which order to follow the specific sets of characters. I really like that aspect and makes it seem less linear and interactive because it's letting you choose how to tell the story. I have a thing for games that let me interact with it (That opera scene is pretty interactive too).

For a 2D sprite game, it has quite a personality with its cutscenes. They can be very cinematic and defintely makes the characters just that more engaging with some of their mannerisms.

Ok, I get it now. The music is bomb. If anything, that would be worth doing a remake for, to get orchestral and updated versions of some of the themes. (I'd probably cry at that opera scene) But Celes' theme is probably my favorite. The PC port has pretty good remixes for the most part though.

Could this use a remake? It's a trivial matter because I think a good majority of fans want it to be remade and I understand why but at the same time I understand the other side of the argument as well. This was the last 2D FF game and that's special, in a way, the story kind of reflects that. And I think with all the personality comes a bit of caution because you might see something in these characters or scenes that may be misinterpreted or done differently in a remake, similar to how you read a book and just imagine how it's playing out. I think it lays enough ground so that you don't "have to interpret" like with most NES games (how the Super Mario Movie was born) from an outsider's point of view, it may first seem that way though. (myself included (yes, I know this was SNES era. Shut up!))

What would I want out of a remake? I would want the airship to return and be able to move around freely but keep the towns pretty faithful (which makes for more linear opportunities). I could see Edgar's tools being used similar to Barrett's but we have "First Soldier" now which is a 3PS Battle Royale, why not have his tools play similar to that? Then actually give him story opportunities to pick up his tools rather than "just because you bought them" It would be a nice natural progression. I would suggest the same with Sabin and Cyan, have them learn their Blitz and Bushido moves by being taught by Duncan, you do learn one move from Duncan in the vanilla game but I'd see it as more opportunity to build your characters and make it feel rewarded. So, in those aspects, I would like to see FF6 remade or improved but as for everything else, they should keep it a lot similar to the original than FF7R did. I think that's where a lot of the criticism with FF7R came from (as well as what I mentioned in the previous paragraph) While I'd prefer a gameplay overhaul similar to what they did with R, I'd rather keep the essence. There aren't sequels or spinoffs or anything of this game so this is all it has (unless you count the ports but that's minimal).

In the CHARACTERS section, I compliment the side-quest system but I would like there to be a better indication as to "what" you're doing, rather than just looking up the next steps or be left to travel around until the goal is clear. They have the quest completion menu as well as waypoints in FF7R, I could see that being put to good use in a game like this. It would also be cool to actually "visibly" wear the gear that you equip to your character but I understand why that isn't utilized in most of the games (probably makes for better character models) especially considering most of these characters' costumes could use an update. You didn't get to use the Magitek suits nearly as much as I thought you would from the marketing and even the dang cover and logo, so a remake could improve on that as well. Another small complaint is that it doesn't tell you what the items do WHILE you're in battle, only when you're in the menu, sorting them and while some are staples like Phoenix Down, I still don't remember what the heck a 'Gold Needle' does.

Overall I'd probably rate the FF games that I've played (but maybe not finished all of) as such: FF7 > FF13 > FF6 > CRISIS CORE > FF15 > FF12 but I think 6 and 13 are kind of interchangeable because if you said one over the other, I wouldn't really argue.

[phantomato]

Uber

Nottmort (Tom Riddle/Nott Sr.), Modern Muggle AU, ~2k words

Thanks to @yletylyf for kicking around this idea! Tom drives an Uber in the Bay Area. Thoros & co need a ride.

—

Abraxas and Orion are bickering over luggage in the background when your Uber pulls up. Black, of course, so it’s a Mercedes that will smell a little too much like leather cleaner when you get in, but none of you have ever ridden in an UberX or, god forbid, an Uber Pool, and you’re not about to start.

Your colleagues—never forget, you are not friends, no matter how much time you spend with them—slide into the back seat before you can even begin to help load bags into the trunk. You’re left alone with the driver, and though he offers to help, you haven’t let yourself sink that low as to make this man pile all of your shit in his car while you sit around and watch. And anyway, it feels like the polite thing to do. More than Abraxas or Orion, you’ve been raised to be polite.

So you fold yourself into the front passenger seat, too kind to push the seat all the way back and give yourself the leg room you need even if Orion, behind you, is just 5’8 to your 6’3, and smile at the driver as he confirms your destination.

He’s pretty. You’ve been in a lot of Ubers and you’ve never seen a driver this pretty. Is that classist?, you wonder to yourself, remembering something you read in Vox the other day. Probably. Nevertheless, you’re taken by the curve of his mouth, the sweep of his dark hair, and you throw a smirk over your shoulder at Abraxas who you know must have also noticed.

“Traffic to SFO will be busy,” he says regretfully, and you roll your eyes. Orion refuses to take the early morning flights, unwilling to wake at 3 AM, and you’re always stuck with these long, miserable Uber rides down from the city to the airport. “And Terminal 2—right in the middle of it. There’s construction around those doors, if you haven’t been there—”

“We know,” Orion butts in rudely, shutting up your driver for the few minutes it takes to get out of your neighborhood.

You use those few minutes to swipe through your phone. Email—nothing important. Messages—you clear the notifications. Your Instagram is alight with people reposting the same infographic about voting rights and you make a mental note to kick some money to that non-profit that’s been all over Twitter lately. You close out apps and end up back at Uber, watching your car’s laggy progress through the San Francisco streets. Your driver’s name is Tom, the app informs you. It’s a nice name.

You clear the side streets and Tom offers amenities. “If you want any water, there are bottles in the cooler between the seats,” he calls back to Abraxas and Orion, “and mints in the cup holder. You can adjust the air conditioning if you like, and there’s a charging cable attached to the back of my seat if you need it. Would you like to choose any music?”

“No,” Abraxas says, and whether he means the music or the entire spiel doesn’t really matter, given his withering tone. You look back at him, trying to convey ‘Be nice’ with just your eyebrows, but Abraxas is fussing with his hair and ignoring you.

Tom’s one of the chipper ones, it turns out, because he takes the rejection in stride and shifts to the dreaded personal conversation. “What do you all do for a living?”

“Ah, we invest in companies, mostly start-ups,” you say, trying to avoid—

“Venture capitalists!” Tom guesses, and he’s right but you hate the term and its connotations. So what if you are all white men whose family money has bankrolled tech speculation? It’s what anyone with half a brain would do. You donate, you read the liberal news—at least, you think that’s true for all of you, though Orion was friends with that Republican mayoral candidate and Abraxas’ father sponsors that conservative think-tank and…

Ah, fuck. “Yeah, pretty much,” you agree, hating yourself.

Behind you, Orion digs his AirPods out of his pocket. You hear the snap of the magnetic lid as he closes himself off to the world. Abraxas is slouching, the hem of his third-favorite cashmere cardigan catching on the seat behind him, and you realize that you’re alone in this conversation.

Well, fuck it. If those two pricks are going to make you call the Uber, deal with the reimbursement paperwork, and sit in the front seat, you’re going to talk to the driver and make this car conversation as painful as possible for them.

As if reading your thoughts, Tom does the one thing that guarantees a terrible ride: he pitches his app idea.

“You know, I’m also a software developer,” he says, which is at least more promising than when someone isn’t, “and if I had the kind of funding that companies like yours provide, I would absolutely make this app.” He proceeds to describe something completely inane, the type of exclusive, niche social networking app that hasn’t had legs since before the Trump presidency and you would be content to let him drone on, to let Abraxas keep melting into his own seat and to let Orion channel his anger through a knee driven into the back of yours, but—

But for all that Tom’s idea is stupid, he has the energy of the best pitches you see. His energy is infectious. His eyes light up, he gestures with one hand, and when he stops to take a drink (one of those water bottles with a built-in straw, which you associate with joggers and your lamest employees but which does very different things to you when it’s Tom’s mouth wrapped around the top) you’re transfixed by the wet sheen over his chapped lips.

And so, yes, maybe it’s mostly lust, and maybe this is a sign that you need to download Grindr again, even if only to jerk off to the dick pics you’ll get, but you start to actually talk to him.

“There’s no future in niche social networks,” you say, halting Tom in his tracks. “There will always be new ones, don’t misunderstand me, but the broader landscape is saturated by the top names, and they’ll buy out their competitors if they need to. Perhaps you can topple Tumblr, but that’s not a path to profit. If you want to impact the social market, you need to pinpoint the novel interaction model that you want to offer and make yourself buyable.”

“Buyable,” Tom repeats, like he’s never been interrupted before. He probably hasn’t. The first rule of Ubering around the Bay Area or the Valley is to never engage the app pitches, and Orion has started kicking your seat for your transgression.

“Yes,” you enunciate. “You want to be bought out and brought in at a high level. The giant that eats you may or may not use your idea, but you’ll make a comfortable sum as a consolation prize.” You’ve helped companies through this before. You’re flying out to New York this week in part because one of your investments is considering purchase offers and you want to strategize in-person. The founder is dallying, sending emails about independence and integrity, and Orion will bully him into selling while you and Abraxas negotiate the best terms for the contract.

You can feel Tom’s eyes on you. Abraxas might be calling “Thoros…” from the back seat, and Orion might be attempting to annihilate you with his gaze alone, but you’re smiling at that handsome face behind the wheel and hoping for an accident on the 101.

Unfortunately, you make it through San Bruno without running into more than the usual level of traffic, and Tom’s pulling up to your terminal much sooner than you would like. Abraxas and Orion jump out of the car with uncharacteristic speed when it stops, Orion even moving to stand by the trunk in readiness to take his bags. You delay.

“Do you have a business card?” you ask, when it’s clear Tom’s waiting on you.

He fumbles to pull a wallet from his jeans. You can’t quite get a view of his ass as he does, but that doesn’t stop you from looking.

His card is bent at the corner, printed cheaply, and probably from his last job. You’re pretty sure that company doesn’t exist anymore. Tom taps the phone number. “I can be reached here,” he says smoothly, but his professionalism cracks when he adds, “by call or by… text.”

You know what sort of texts you’d like to receive from him.

Pulling out your own card case, you hand him your card. “Text me,” you say, your voice just this side of appropriate, “any time.”

Tom visibly swallows and jumps out of the car. You take your time getting up, and if your cashmere sweater—Margaret Howell, not that Elder Statesman piece of shit Abraxas is wearing—ends up in the footwell of Tom’s passenger seat, well, you’ll be back in SF next week, won’t you?

“Thanks for the ride, Tom,” you tell him as you take the handle of your luggage, letting your fingers brush his. “I enjoyed our conversation.”

“Yeah,” he nods, and you don’t care that Abraxas is snorting behind you, he’s been judging you this whole trip and he lost out on a hot guy’s number as a result. “It was…”

“Thoros,” you interrupt him before he can ramble and psych himself out. “My name is Thoros, and I really would like to hear from you.”

Tom looks at you then, and you see him pull together the same sureness that drew you into his initial pitch. “I’ll text you about the app.”

“I’m looking forward to it,” you say, meaning it.

—

Bonus:

“You know,” Abraxas drawls as you sit in the United club lounge, gesturing lazily with his overpriced airport Fiji water, “if you tip him too much it’s like you’re paying him for sex.”

Orion looks up from his phone then, removing one earbud for the first time since he put them in. “I’ve paid more for sex with less attractive men.”

“Welcome back,” you say, “I didn’t realize you had paid any attention.”

“Someone would need to not have eyes in order to miss how hot that Uber driver was,” he bites back, returning to his phone.

“Well, I’m tipping him extra anyway,” you announce, confirming Tom’s five-star rating. Should you write a review? Is that too much?

Abraxas, with a grumble, declares, “I’m telling Alecto not to approve this expense.”

—

Bonus bonus:

Your phone buzzes at the end of dinner, the celebratory affair to close the sale which someone had insisted must be at Lilia, even though Abraxas doesn’t eat carbs and you would have preferred to grab a slice at Scarr’s rather than haul out to Williamsburg, anyway.

It’s Tom. Of course it’s Tom—you’ve been texting all week, and between a few late-night flirtations and one very bald statement of interest, you’ve got a date set for when you’re back home. You’re going to Mensho Tokyo, since he lives in the Tenderloin and you live… vaguely around the Tenderloin, at least, you tell people you live there when you want to seem cooler, and Tom is the type of guy that makes you excited to stand in line for hours to get seats. You’re already thinking about whether you might put your arm around him while you’re waiting, and you unlock your phone to see what he’s saying now.

It’s a picture message.

A picture of Tom, wearing your Howell sweater and no pants and oh god oh fuck—

“Was that Uber driver’s dick?” Abraxas whispers, next to you, and you curse your luck. “Remind me to call the next Uber, Jesus Christ.”

[buzzdixonwriter]

TROTS AND BONNIE Review

Trigger Warning: This will review a work that often addresses human sexuality, emotional / physical / sexual abuse, and adolescents’ views on same.  Be advised.

. . . 

When I was growing up in the 1950s and early 1960s, two old comic strips that remained popular were J. R. Williams’ Out Our Way and Gene Ahern’s Our Boarding House, both started in the 1920s and, from their daily panels and Sunday pages, never moving out of that decade.  My favorite cartoons on local kid shows were Fleischer Brothers Betty Boop and Popeye cartoons, many of which took place in urban / suburban settings heavily reflective of 1920s and 1930s America.

So when I first encountered Shary Flenniken’s Trots And Bonnie I instantly recognized the flavor and style of the strips.

The content, on the other hand, came straight out of her underground comix pedigree, with the refreshing point of view of the female gaze instead of the admittedly too often misogynistic male cartoonists of the milieu.

Flenniken is one of the best artists and writers to come from the underground era, displaying a confident early mastery of the form (don’t listen to her protestations she really wasn’t good at the start of her career; she clearly ranked among the finest of the underground comix artists).

But the sweet and innocent look of Trots And Bonnie belies the frank and frequently shocking honesty of Flenniken’s work.  

As cartoonist Emily Flake notes in her introduction, “that’s the terrible power of children, the monstrous innocence that makes them capable of anything, a state of being we fatuously describe as ‘pure.’”

Innocence is not synonymous with purity in the world of Trots And Bonnie because the cast lack the moral and cultural filters we acquire as adults.  They are reporting on reality as they see it, and as with all children (and the elderly, and drunks) there’s nothing to stop them from commenting on the foibles of hypocrisy of humanity, nor is there a single iota of shame to hold back their expression.

And when you add the impact of puberty to that mix, holy &#@%, you have no room left for pretense or propriety.

Hold on to your hats, folks, ‘cuz it’s gonna be one helluva ride.

One helluva ride…and a hilarious one, too.

If modern audiences can get past the admittedly often shocking visuals and situations, they’ll find some of the most brilliant coming-of-age comedy ever penned.

The truth is always an absolute defense, and Trots And Bonnie dishes it out lavishly.  Brava to Shary Flenniken for having the courage (or honesty, of lack of filter; take your pick) to pen it, to the original underground comix and National Lampoon to publish it, and to new York Review Comics to bring almost all of it back (Flenniken herself opted to withhold a few strips that she feels might be construed now as hurtful or insulting).

Flenniken is the daughter of a military family, growing up in a variety of climes and places before her father retired in the Seattle area.

She reached adolescence and young adulthood during the hippie era, and the earliest strips cast a fond eye back on that time.

An original member of the infamous Air Pirates crew, she and fellow underground comix artists gained immediate recognition skewering Disney icons.  Air Pirates Funnies and Paul Kassner’s The Realist generated no small amount of tsuris for the House of Mouse in the late 1960s / early 1970s but The Realist, true to its name, possessed to good sense to adhere to the unofficial so-called “one-time fair use parody” rule while the Air Pirates pressed their luck with Air Pirates Funnies #2, resulting in the Disney legal department descending on them like an anvil dropped from orbit.

Crawling away from the wreckage, Flenniken kept contributing to a number of underground venues, creating the first Trots and Bonnie strip for the 1971 underground comix Merton Of The Movement. 

Trots and Bonnie (soon joined by Pepsi, a beguilingly sweet looking elfin-like child with the heart of Germaine Greer, the reproductive organs of Karen Finley, and the mouth of an interstate trucker) popped up in several single page strips and short stories until NatLamp recruited Flenniken in 1972 to be a regular contributor and (briefly) an editor.

NatLamp proved to be the perfect venue for Flenniken and her characters because the magazine possessed the economic mojo and suicidal “Who gives a &#@%?” attitude to publish Trots And Bonnie while at the same time providing a perfect audience of proto-incels who desperately needed some consciousness raising, especially if said consciousness raising arrived in the form of a kick in the groin.

Trots And Bonnie’s tenure at NatLamp lasted slightly more than two decades, but a big hunk of that era saw the Reagan culture wars raging, not to mention much of the country becoming obsessed with a literal modern day witch hunt in the infamous Satanic panic (an apt subject for Flenniken’s characters, but one she wisely avoided, thus following the old military adage, “Never draw fire on your own position.”).

The already edgy material in both NatLamp in general and Trots And Bonnie in particular threatened to be perceived as too edgy by law enforcement, legislators, and judicial authorities who seemed either unwilling or incapable of distinguishing between photographs and video of actual sexual assaults and rapes committed against real children as opposed to crudely drawn Xerox copied mini-comics made by outsider artists with audiences that might possibly number in the dozens.

Flenniken’s willingness to honestly recall the turbulent emotions of early adolescence resulted in stories and strips where prepubescent kids engage in activities and discussions that would be acutely problematic if done today.  Again, the utter lack of self-consciousness in Flenniken’s characters swerves her work away from the low grade smut ground out by many of her male contemporaries and flung open a window on how adolescent females perceived the world around them.

The stories are wildly transgressive, and like all transgressive art can only be understood in the context of their time and mores.  Flenniken’s art carries a sweetness that leavens out the most horrendous situations (she gets astonishing comedic mileage off a story about a woman raped by a police officer, never once blaming or exploiting the victim but lambasting the culture and mindset that makes such a crime possible).

The fact these stories are told from a vibrant feminist / sex positive point of view makes them relevant to this day, and Flenniken’s ability to draw both truth and humor from dysfunctional families, emotional abuse, and drug use keeps them from being one-note exercises.

Most importantly, Flenniken comes across as strongly pro-child, even while honestly depicting her own characters’ failings and misconceptions.

She always brings a genuine emotional connection with her characters as adolescents, neither glorifying nor patronizing them.

One of the most notorious Trots And Bonnie strips finds Bonnie looking at herself in a mirror, fantasizing she’s famous actresses of the past.*  

At the hands and brush of Norman Rockwell, this theme tries for poignant but lands in schmaltz, looking down on an anxious child studying her reflection in a mirror; in far too many bad novels by sub-par male writers, it’s borderline (and often not-so-borderline) pornography.

At the touch of Flenniken’s deft pen, it’s honest and sweet and shockingly frank but it never depicts Bonnie as a figment of the male imagination but as a character and personality all her own.

Flenniken has not done any new Trots And Bonnie strips since the last ones published in NatLamp in 1993.

To be honest, I think that’s a good thing.

The characters are of their particular time and cultural gestalt, it may not be possible to recapture that lightning in a new bottle, and rather than diminish the old, perhaps it best remains a perfect artefact of its era.

Mark Twain tried repeatedly but could never transport Tom Sawyer and Huck Finn out of antebellum Hannibal, and to use an example more contemporary to Flenniken’s work, the Fabulous Furry Freak Brothers resolutely thwart all efforts to move them out of San Francisco during the Summer of Love.

You can’t go home again, as Thomas Wolfe famously observed, but that only applies if you’ve successfully left home.  At a certain point, if you haven’t moved beyond your old confines, you never will.

Flenniken’s honest frankness could have turned into a big crosshair on her back during the cultural wars, but to paraphrase John Lennon, life happened while she was making comix.

She married twice, divorced once, widowed the second time.  While she never completely withdrew from professional illustration, she no longer sought out the high profile gigs.

Trots And Bonnie from New York Review Comics is the first extensive English language compilation of her strips and stories, a very handsomely produced volume designed by Norman Hathaway.

The strips are meticulously presented, making it possible to enjoy Flenniken’s fine line work and exquisite character depictions in greater detail than every before.  It’s a genuine delight, sure to thrill old time fans of the original strip and quite likely to win a new generation of admirers.

But brace yourselves, noobs, this ain’t your grandma’s Betty Boop…

© Buzz Dixon

 *  It should be noted that for all its apparent revolutionary newness, the counterculture of the 1960s and 1970s, the crucible that forged Flenniken’s point of view, also enthusiastically embraced the past.  W. C. Fields and the Marx Brothers became cultural icons to a new generation, Betty Boop regained her old popularity, old movies were rediscovered and reimagined, African-American spirituals and blues sprang from new voices, obscure books and novels from earlier decades and centuries became the new cultural touchstones.

I’ve posted elsewhere on how the boomer generation enjoyed a unique conflation of new technology and old media to produce a brand new synthesis; there has been nothing like it since even with astonishing advances in technology.  When old media is rediscovered and reinterpreted in this era, it too often tends to be in the form of irony, which mocks that which it cannot understand.

Give those old hippies their due -- they got the &#@%ing point!

[tiesandtea]

SUEDE – now with humour

Suede featured in the Danish free music magazine GAFFA shortly after A New Morning came out, October 2002 (no. 10). An interview with Brett and Mat, short comments on the album tracks, and a review. 

Photos by Casper Helmer and Morten Larsen. The magazine can be downloaded as .pdf here (look for pages 22-24 and 50).

Translation of the interview by Peter Albrechtsen under the cut. Own work.

OUT OF THE DARK

Brett Anderson and the rest of Suede have acknowledged that the substance that dreams are made of can neither be ingested nor inhaled. It has to come from the heart. And it does on their new album A New Morning, which was one of the topics of conversation when GAFFA met a transformed band in Copenhagen

FIRST HE TURNS LEFT, TAKES A FEW STEPS FORWARD and looks towards the mirror in front of him. Then he turns right, but keeps looking at himself. Everything is taking place in sliding movements, and there is evidently some satisfaction with what the mirror shows: The black leather jacket with a retro cut and a white back label sits tight around the slender, yet top-trimmed body.

If you didn't know better, you would think that Brett Anderson was practicing for a catwalk. The 35-year-old Suede frontman is hardly going to throw himself into that kind of thing for the time being, though he would be guaranteed to do well with his obvious expertise in hip twists, affectations and flirting from the edge of the stage. Right now, though, Brett is in a Copenhagen luxury hotel, where he's trying on a jacket just purchased by the band's British make-up artist, Nicci Welsh, who eagerly watches Brett's shameless poses. Brett is satisfied, but he has a twinkle in the eye at the same time, which reveals that something is hiding behind the charismatic singer's wide smile and chalk-white teeth.

–What do you say, Mat? Isn't it cool? Brett asks and looks over to his childhood friend, bassist Mat Osman, who understands well the look Brett's sending: Now, Mat must nod affirmatively. So he does. Brett looks over at Nicci with "thank you – yes, he would like to take the leather jacket home with him to London". But Nicci has also noticed Brett's hidden agenda and politely but firmly points out that "if you just thought to give it to a friend when you get back to London, then you can easily forget that."

Oops. Brett is exposed and quickly hands the jacket back to Nicci, but his now even cheekier grin shows that he certainly does not feel guilty, but simply perceives the whole scene as a bit of a show-off. As he himself puts it, a few minutes later: –Had it been three years ago, I would have kept the jacket for fun and given it to a friend 14 days later – simply to take advantage of my position as a pop star.

In other words, Brett Anderson has undergone certain changes over the three years since Suede's previous album, Head Music, and their brand new, fifth opus A New Morning. And the changes apply not just to his relationship to leather jackets, but simply to his whole lifestyle. In fact, the whole band's lifestyle.

Breakdown

Ever since the ten-year-old debut single, The Drowners, Suede have been heavy consumers of drugs all over the world, and they have never hidden that. Right from deliberately ambiguous song titles as Heroine and The Chemistry Between Us for opinions on the benefits of narcotics in provocative interviews, which the sensationally horny British press has lapped up themselves. "Coke is good for sex", "it's great to hear music on ecstasy" and "it's better to take drugs than to drink, because then you have a better next day" – all immortal quotes from Anderson.

But now it's over: Suede is clean – or something like that – and Brett clearly states that "I have become a happier person. My life on hyperspeed is a chapter over. I've even gotten into a good shape!"

–You start taking drugs because you want to feel good. It's that simple. And at some point, you do not feel good any more. It's that simple, too. That's what happened to us, Brett states in a dry and declaratory way.

Since Head Music, Suede had to say goodbye to keyboardist Neil Codling, who collapsed due to overexertion on Suede's tour in Australia in the autumn of 2000 (actually 1999). Half a year later, he quit completely because he suddenly had a relapse after having been recovering otherwise, and was about to break down completely. Neither Brett nor Mat clearly want to talk about it, but then admit that "it made them reflect on some things around both the band and themselves“. Brett, however, insists that “It was many different elements that led to what has happened with our lifestyle in recent years. Both the band and I myself have entered a new stage."

The changes around both Brett and Suede have also taken place over a longer period. First, Anderson started with giving the critics right who had complained loudly that he repeated himself on Head Music. Then he moved from the hectic London into his newly acquired country house in the peaceful natural area of Croydon (somewhat similar to when he moved into a monastery to write the texts of Suede's eight-year-old masterpiece Dog Man Star). He totally isolated himself, lived without a telephone and television, "buried" himself in literature and wrote the first lyrics for A New Morning.

–Oh, now it's starting to sound like I've gone and became boring, Brett chuckles, but hurries to add: -This is certainly not the case. In the old days, I deliberately avoided literature because I was terrified that literature would spoil my pure language. I would not be a sexless secretary who clapped on a typewriter. But now, I have found out that it doesn't necessarily have to end that way, and I read like an obsessed now. I read like a motherfucker. In one of the new songs, Obsessions, I refer to Bret Easton Ellis, but my favorite author is Albert Camus.

Actually, my paranoia about literature just says all about how far out I once have been. I was so afraid that my mindset would be infected by everything possible, but honestly, I must have had a hysterical tendency to pump everything up to pretentious heights. After all, both love and music are in fact very basic emotions, Brett says, who, however, admits he let out a roar when he went as far as to get his hair bleached last year ("it looked like crap, for God's sake," he sighs with one head-shaking laugh). However, it was an obvious sign that Brett felt the changes coming. And enjoyed it to the fullest drag.

Producer problems

In fact, Brett enjoyed being away from the big city so much that he persuaded the others to go to Iceland for a while and work further on the material that gradually became structured. In Iceland, the band briefly collaborated with Sigur Rós producer Ken Thomas, who, however, should turn out to be the first in a series of failed attempts to find the perfect producer.

–The magic was missing, Mat explains, but the creativity did not fail, and the band engaged in vastly different concepts around the upcoming album – "we considered making both a pure acoustic pop and an electronic folk record."

A New Morning became none of those. After leaving former Beck producer Tony Hoffer, Suede ended up slipping into the studio with Stephen Street, who is best known for his collaboration with The Smiths and Blur, and with Street behind the mixer, a renewed focus was there. The opening number Positivity took only three hours to write, and Brett describes it as "one of those magical moments in a band where everything melts together in the most beautiful way."

Those kinds of moments are, of course, the result of the fact both I and the rest of the band are dedicated to the music in a different way than before. Every single moment in music is important to me now. Every single moment in my life is important now. I have rediscovered both myself and the music, proclaims Brett, who hasn't changed in one aspect: He is still extremely talkative, well-worded and energetic – even when he explains it new album title:

–It's not so strange if A New Morning sounds as a religious quote – the last few years have truly felt as a bit of a revelation. We have chosen to see life from a new perspective. We have pretty much spent the 90s on an insanely exalted search for success, fame, money and all that sort of thing. Of course, music was the starting point, but it was all about consuming, savouring and worshipping life excessively. For me, this record is about having a completely different approach to life: Life is something small, fragile and completely unique. Something to watch out for. The new record is simply more intimate, human and much more honest.

This shouldn't be perceived as if Brett is now taking distance to his characteristic textual universe populated by the sad fates of the big city. On the contrary.

–I still have a great sympathy for people who are left in the lurch by the system and politicians, and I will continue to have that, he emphasizes, adding that "it's very much my self-understanding that has changed recently – not my worldview". Osman nods approvingly at Brett's side and adds with no hidden allusion to the title Dog Man Star, that "if you were born in a pigsty, you have so much to achieve, so much to flee from" – both Brett and Osman originally come from the unglamorous London suburb of Haywards Heath.

–Our songs have always been about ordinary people who achieve extraordinary things, and that's how we have been as a band as well, I think. You can easily be something special, even if you come from the pure nothing, and we have stuck to it, even though we have personally driven it too far into the extremes. We are still very much real people who have lived very real lives, and our songs are still about very real feelings, Brett points out.

–We will always fight for all the people who are trying to cope against all odds, and who try to maintain pride in adversity and frustration. Now we just have more surplus, passion and energy ourselves to fight the battle. Now we can really do it with an open heart.

Photo descriptions: "I HAVE RE-DISCOVERED BOTH MYSELF AND MUSIC" Brett Anderson "I HAVE BECOME A HAPPIER PERSON. I'VE EVEN GOTTEN INTO A GOOD SHAPE!" Brett Anderson

A New Morning

– according to Suede themselves

Positivity

Brett: –In many ways our programme statement: It really strikes a new, more cheerful tone. As I said, it was written in no time, and that's pretty incredible for us, because we're really perfectionists when it comes to songwriting.

Lost In TV

Brett: –Probably my favorite track on the album. The melody is based on backing vocals, and in that part, the song is more related to the Beach Boys and the Beatles than to old Suede. Why is there no one doing that kind of thing anymore?

Obsessions

Brett: –This is the last piece we wrote for the record. That's my favorite text. The fun of it is that the lyrics are in a way very personal, but at the same time guaranteed incredibly universal. I will undoubtedly receive many fan letters about that song.

Lonely Girls

Brett: –One of the first songs we wrote. A lovely lullaby-like groove. We even use bongo drums on it. A really nice number, which probably comes from the fact that I originally wrote the melody while I was in the countryside.

Beautiful Loser

Brett: –One of those songs where I really sing in a different way than usual: Harder, raw, dirty. In many ways, it's the album's ultimate live number: The energy is fearless, and the chorus is silly.

Streetlife

Mat: –It started as krautrock: The same groove that ran and ran and ran for eight minutes – it was totally Germany in 1971 – but it changed radically when the chorus appeared purely out of nowhere.

Ashtray Girl

Mat: –Ashtray Girl and Beautiful Loser are perceived the most as “old-school Suede”, but actually, they were both written by Alex Lee, who is our brand-new keyboardist. Funny, right? Another funny thing is that the lyrics are totally meaningless.

Untitled

Mat: –My favourite along with Streetlife – right complex and yet a simple song. Originally a very folk-like song, but our producer Stephen Street made it more electric. Suddenly we began to sound like a whole band.

...Morning

Mat: –It's about getting up in the morning, and we discussed a lot how we could underpin that with sound. Several weeks later, we ended up sticking a microphone out of Brett's kitchen window. So simple. So difficult.

One Hit To The Body

Brett: –It's our attempt to make an I Will Survive. It's about me having to pull through, no matter how smashed I am. Actually an old song we rediscovered in the studio. Reminds of Bruce Springsteen, oh.

When The Rain Falls

Brett: –Believe it or not: it was originally a spoken-word number in the style of Serge Gainsbourg. I sat down and breathed heavily into the microphone. Now it has become something else after all, for I had to admit that I sounded neither French nor sexy.

Suede: A New Morning

Reviewed by Jan Opstrup Poulsen

After the very electric Head Music, Suede landed soft and comfortable in the poetic corner of A New Morning. Brett Anderson still sings about beautiful losers and self-created troubles of youth, but melodically, A New Morning is a luminous and optimistic album. As on the masterpiece Coming Up, it’s the individual songs that are in the centre, like little stars in the night sky. But Suede doesn’t have the usual tempo of melodies at all. A New Morning is distinctly an album of ballads, and in Brett Anderson's most captivating moments, the album hits sublime moments. There are more typical Suede songs on the album, like the excellent Beautiful Loser, that we have heard from them before. A ballad like When The Rain Falls doesn’t change the state of affairs either, although one has to indulge in a grumpy admiration how Suede fabulously handle these ballads. On the other hand, great things happen in the opening song Positivity, which is a proudly towering pop song. This magnificent approach to pop songs fits Suede's finely tuned melodies like a glove and is well followed up on several songs on the album like Lost In TV and Astrogirl. Brett Anderson hasn’t become less affected, and guitarist Richard Oakes balances, as always, on the edge of disruptive, to end up in a harmonious melody line. But on the more ordinary songs, Brett Anderson sings with the desperation of an angry rock singer and to that extent, he reaches beyond the edge of the stage as a performer. A New Morning therefore has all the ingredients for a good Suede album that will divide the record people between rapture and contempt for these assumed excesses, respectively. But it's just too sour to be negative when the world can be so bright and inviting.

[christabelq]

Just finished reading this novel and thought I’d post review. It was going to be short, but has ended up being pretty long as you’ll see... 

As the title suggests, it’s a book about witchcraft, but there is loads of other stuff packed into it as well. Against a fantasy backdrop that could very easily be Earth of the past, complex ideas about otherness, religion, race, gender and oppression are explored. The story takes place in Bethel, an isolated town, which is governed by an oppressive religious regime and surrounded by a mysterious forest called the Darkwood where four ancient witches are rumored to live. The lead character is a teenage girl called Immanuelle, who was born of an affair between a wife of the Prophet (the town’s religious leader) and a man from a minority race. The affair ended with her father being burnt alive and her mother trying to kill the prophet and becoming a witch, and as such, Immanuelle is treated with suspicion. She is also an outsider, because of her ethnicity. Her father’s people have adopted the ways of the church and fought alongside it in an ancient war, but are still heavily discriminated against and forced to live in the outskirts of the town. In the author’s own words – “Shared or spilled, it seemed that blood did not matter as much as appearance did.” Add to this the fact women are treated like property and you have someone who is very much on the bottom rung of life. Immanuelle’s mother died giving birth to her, and she has been raised by her maternal grandparents to be a virtuous child of the faith, but she feels strangely drawn to the Darkwood and when she ventures into it to try and find a runaway ram, she meets two of the ancient witches, Jael and Mercy, who are lovers. The witches give her a journal belonging to her mother, which she reads when she returns home. On a second trip into the Darkwood, Lilith, the leader of the four witches, use the blood from Immanuelle’s first period to unleash four plagues on the town – blood, blight, darkness, slaughter. Immanuelle does not realize she is responsible for the plagues at first, and when she finds out, takes it upon her herself to try to stop them, finding an unlikely ally in the form of the Prophet’s eldest son and heir, Ezra. As time goes on, Immanuelle becomes increasingly aware of the flaws and hypocrisy of the church and starts to empathize with her mother and the witches, until eventually she is no longer sure which side she should be on. Eventually, she is forced to choose between the two, which is all I’m going to tell you about the plot. Read the book if you want to find out more. The Year of the Witching is a very enjoyable read. There is enough detail to make the world come to life, yet it moves along at a good pace with plenty of cliffhanger moments that make you want to keep turning the pages. There is a large cast of characters, but the author does a good job of bringing them to life and imbuing them with distinct personalities. My favorites were Immanuelle herself, who felt well rounded, and the witches who were great fun. When you first start reading the book it appears to be a traditional tale of good versus evil, but it quickly becomes apparent that things are not so clear cut. The ruling regime, which is supposed to be the force of good, is revealed to be extremely oppressive, especially towards women. The most obvious example of this is the way women are made to have a sigil cut into their forehead when they are married. The Prophet is also seen to highly fallible, regularly engaging in acts of domestic violence, prioritizing his own lust over everything else and generally abusing his position. We never feel that the town of Bethel deserves to be slaughtered as the witches have in mind, but we can certainly understand where they are coming from. In a way, what we are seeing is masculine versus feminine, and although it is very much a feminist story, the conclusion we are led to is that both have positives and negatives, and if you want to build a truly harmonious society, you have to find a balance between the two. In conclusion, The Year of the Witching has a lot going for it. The author does a great job of building tension, creating haunting images and making you care for the characters. The issue of racial discrimination is well-handled and it was nice to see lesbian relationships represented (Immanuelle’s paternal grandmother, Vera, lives with another woman, and as I mentioned earlier, two of the witches are lovers). I suppose the plot is a little simplistic, but that's a minor complaint against all its good points. If you are into strong female characters and inclusive fiction with a feminist slant, then you should really like this book. I certainly did.