#Vincenzo Virago

[whiteredrose13]

How it started:

How it's going:

[eddycurrents]

For the week of 18 February 2019

Quick Bits:

Aquaman #45 gives us a new creation story with Father Sea and Mother Salt. It’s interesting world-building for what’s going on on this island. Robson Rocha, Daniel Henriques, and Sunny Gho seem to level up on their art again. This book is gorgeous.

| Published by DC Comics

Avengers #15 continues the vampire civil war, with the Shadow Colonel basically kidnapping Ghost Rider. Jason Aaron is definitely taking this series in weird places, but it remains highly entertaining. Especially with collaborators like David Marquez and Erick Arciniega who deliver some incredible artwork.

| Published by Marvel

Avengers: No Road Home #2 reveals how Nyx and her family took Olympus. There’s also a neat parallel narration for Hawkeye explaining how the guy with just a bow and arrows can take on gods and monsters. The art from Paco Medina, Juan Vlasco, and Jesus Aburtov is gorgeous, they really seem to pushing themselves with their storytelling. It’s just a shame that none of the artists are credited on the cover.

| Published by Marvel

Barbarella/Dejah Thoris #2 is ridiculously impressive. Leah Williams, Germán García, Addison Duke, and Crank! are delivering an intelligent, humorous, and compelling adventure tale here that reminds me a lot of some of what Alan Moore and Chris Sprouse did in Tom Strong. It’s incredibly inventive and the artwork is amazing. Highly recommended.

| Published by Dynamite

Batman #65 gives us the penultimate chapter of “The Price”, featuring an all out battle between Flash, Gotham Girl, and Gotham. The artwork from Guillem March and Tomeu Morey is stunning, with some incredible layouts as the action continues.

| Published by DC Comics

Black Widow #2 is fairly bloody and violent as Natasha racks up a body count tracking down the people running “No Restraints Play”, a site that specializes in depravity. Flaviano’s line art seems scratchier than the first issue, but it works for the violent tone of story.

| Published by Marvel

Bloodborne #9 begins the third arc, “A Song of Crows”, as Aleš Kot, Piotr Kowalski, Brad Simpson, Aditya Bidikar, and Jim Campbell spotlight Eileen the Crow. This is a bit of return to the kind of abstract storytelling and embrace of oblique existentialism of the first arc as Eileen investigates the ritual murder of a hunter, but is confounded by time and holes in the narrative.

| Published by Titan

Catwoman #8 is ostensibly the “conclusion” to “Something Smells Fishy”, but it doesn’t actually end the story in any way and leaves the reader at a cliffhanger of continuing elements. That being said, it’s still an entertaining issue from Joëlle Jones, Elena Casagrande, Fernando Blanco, John Kalisz, and Josh Reed. Wonderful action sequences, and more questions as to the nature of a reliquary that seems to contain resurrective powers.

| Published by DC Comics

Delver #1 begins a new Comixology Original series from MK Reed, C. Spike Trotman, Clive Hawken, Maarta Laiho, and Ed Dukeshire. It’s a very intriguing and unique take on the fantasy gaming theme of a dungeon full of treasure and monsters with delvers working to plumb the depths. But it’s from the perspective of the townsfolk whose land the door to the dungeon appears in and how it changes and impacts their lives. 

| Published by Iron Circus Comics

Doctor Strange #11 concludes the battle with Dormammu and the Faltine, for now at least, from Mark Waid, Jesús Saiz, Javier Pina, Rachelle Rosenberg, and Cory Petit. Some very nice art as usual from Saiz, Pina, and Rosenberg.

| Published by Marvel

Friendly Neighborhood Spider-Man #3 continues “Mother of Exiles” from Tom Taylor, Juann Cabal, Nolan Woodard, and Travis Lanham as Peter finds out a bit about the rumours regarding his neighbour and Under York, another duplicate New York City under New York City, that oddly isn’t the Monster Metropolis. Great humour from Taylor in the dialogue.

| Published by Marvel

Guardians of the Galaxy #2 takes a somewhat different approach as Peter Quill drunk dials Kitty as he tries to make sense of what’s going on with Thanos, Gamora, everyone who’s dead, and the current state of the Guardians. Donny Cates, Geoff Shaw, Marte Gracia, and Cory Petit are really taking this series into interesting offbeat territory, while still delivering some excellent humour and an ominous feel to Starfox’s new band of “guardians”.

| Published by Marvel

Incursion #1 begins a new mini picking up on where the Eternal Warrior and Geomancer are since Harbinger Wars 2 and Ninja-K, and pit them against Imperatrix Virago, a cosmic villain that is devouring worlds (kind of like if Galactus were pestilence), from Andy Diggle, Alex Paknadel, Doug Braithwaite, José Villarrubia, Diego Rodriguez, and Marshall Dillon. The art is incredible, the stakes seem pretty high, and the outlook after this first issue look pretty grim for Earth.

| Published by Valiant

James Bond 007 #4 sees Stephen Mooney join Greg Pak, Tríona Farrell, and Ariana Maher for the art chores for three issues, continuing the tale of Bond and “Oddjob”’s team-up. Like Marc Laming, Mooney seems to be born to draw Bond and espionage themed stories.

| Published by Dynamite

Judge Dredd: Toxic #4 concludes what has been an excellent series dealing with xenophobia and hateful rhetoric from Paul Jenkins, Marco Castiello, Vincenzo Acunzo, Jason Millet, Shawn Lee, and Robbie Robbins. I’ve always found non 2000 AD Judge Dredd stories to be a bit of crapshoot, but IDW have been delivering well with the past two mini-series, this and Under Siege.

| Published by IDW

Justice League #18 is the latest excursion into the Legion of Doom territory from James Tynion IV, Pasqual Ferry, Hi-Fi, and Tom Napolitano. It works with some of the revelations from last issue regarding Martian Manhunter and builds a new narrative for Lionel Luthor’s past and his work with Vandal Savage. It’s interesting to see Tynion working with variations on discarded continuities in this way, building a new past that synthesizes pre-Flashpoint ideas with the current batch of backstories.

| Published by DC Comics

Middlewest #4 only seems to be getting better and better as more of this world and how it seems to work get fleshed out by Skottie Young, Jorge Corona, Jean-Francois Beaulieu, and Nate Piekos. There’s something incredibly magical and special about this series that taps into the feeling of some of the best coming-of-age fantasies as it blends Ray Bradbury, JM Barrie, and Carlo Collodi into this magical realist adventure.

| Published by Image

Miles Morales: Spider-Man #3 concludes the opening arc from Saladin Ahmed, Javier Garrón, David Curiel, and Cory Petit by adding Captain America to Miles & Rhino’s team-up. This has been a very entertaining start to the series, with a nice mix of Miles’ personal life and superheroics.

| Published by Marvel

Naomi #2 reasserts that Jamal Campbell is a powerhouse of an artist and one of the best kept secrets of the past few years who really should have a higher profile. His art is amazing. It also helps that the story he, Brian Michael Bendis, David F. Walker, and Carlos M. Mangual are telling is as compelling as this, as Naomi confronts Dee as she tries to learn about the day of her adoption. It’s very widescreen and epic as it hints at the broader DC Universe, but at the same time this is very deeply personal.

| Published by DC Comics

Old Man Quill #2 gives the Guardians a taste of the depravity and despair that Earth has fallen to in this post-superhero world. Ethan Sacks shows there’s still a bit of humour left, though, in that Piledriver’s descendent thinks that Piledriver was one of the all-time greats. Also the art from Robert Gill and Andres Mossa gives a wonderful amount of detail to the wastelands.

| Published by Marvel

Relay #4 returns after a delay with new artist Dalibor Talajić (I believe Andy Clarke had to bow out due to illness, but I’m not 100% sure on that). Talajić’s art style is not as bright and clean as Clarke’s, giving a darker, shadowy approach that results in the bleak, horror elements of the story coming further into focus.

| Published by AfterShock

Seven to Eternity #13 returns from its own lengthy delay to conclude the arc in Skod, with the revelation of part of Adam’s choice to save the Mud King. It reiterates the theme since the beginning that there seem to be no good choices in this world, that everything tainted, despite Adam’s father believing the world black and white. While we are going into another trade break, Rick Remender, Jerome Opeña, Matt Hollingsworth, and Rus Wooton consistently make this worth the wait.

| Published by Image / Giant Generator

Sharkey: The Bounty Hunter #1 is the latest of Mark Millar’s Netflix feeder series, after The Magic Order and Prodigy, with Simone Bianchi and Peter Doherty rounding out the team. This one feels a bit like if Warren Ellis were writing Strontium Dog, and it works. The artwork from Bianchi is worth it on its own. Gorgeous character designs.

| Published by Image

Venom #11 is another holy crap issue from Donny Cates, Ryan Stegman, Joshua Cassara, JP Mayer, Frank Martin, and Clayton Cowles. There are some really big revelations about Eddie and his family that really need to be read firsthand. Amazing work.

| Published by Marvel

X-O Manowar #24 reminds us again just how good of an artist and storyteller Tomás Giorello is. The action sequences and battle between Aric and Hesnid is incredible, with fairly inventive layouts that just elevate the overall impact of the pages. Giorello and Diego Rodriguez really make this something joyous to behold.

| Published by Valiant

Other Highlights: American Carnage #4, Bitter Root #4, Black Badge #7, The Black Order #4, Breakneck #3, Coda #9, Death Orb #5, DuckTales #18, East of West #41, Evolution #14, Exorsisters #5, Go Bots #4, Grumble #4, High Level #1, Hot Lunch Special #5, Jessica Jones: Purple Daughter #2, Jim Henson’s Beneath the Dark Crystal #5, Jim Henson’s Labyrinth: Discovery Adventure, Jughead: The Hunger #12, Lightstep #4, The Lone Ranger #5, Lucifer #5, Lumberjanes #59, Mars Attacks #5, Monstress #20, Outpost Zero #7, Rainbow Brite #4, Shuri #5, Solo: A Star Wars Story #5, Star Wars Adventures #18, Starcraft: Soldiers #2, Stronghold #1, Sukeban Turbo #4, Superb #17, TMNT: Urban Legends #10, Teen Titans #27, Turok #2, The Unstoppable Wasp #5, The Witcher: Of Flesh and Flame #3

Recommended Collections: Amazing Spider-Man - Volume 2: Friends & Foes, Bedtime Games, The Beauty - Volume 5, Black Lightning: Brick City Blues, Captain America - Volume 1: Winter in America, Days of Hate - Volume 2, High Crimes, Infinity 8 - Volume 3: The Gospel According to Emma, Old Man Hawkeye - Volume 2: The Whole World Blind, The Punisher - Volume 1: World War Frank, West Coast Avengers - Volume 1: Best Coast

d. emerson eddy would do anything for a Klondike bar, but he won’t do that.

[architectuul]

FOMA 7: When Bricks Are Put Together, Carefully

Our seventh edition of Forgotten Masterpieces is taking a field trip through Italy with architectural historian Luka Skansi. Get ready!

Colonia Enel, Rimini (1961-63) by Giancarlo De Carlo | Photo Marko Pogačnik

There is much wonderful postwar architecture in Italy. This is something you can perceive only by visiting the many buildings scattered across its territory, and discovering on the spot its qualities, its spaces, and its ‘muscles’. 

Mercato dei Fiori, Pescia (1948-55) by Leonardo Savioli, Leonardo Ricci, Giuseppe Gori, Enzo Gori | Photo Federico Padovani

For me, to study that period means to understand a surprisingly rich context of built architectural works, of amazing experimentation with the relationship between structure and space, of remarkable constructive solutions, of astonishing freedom of expression within very limited technological and financial availability. A context in which architects developed an ability to build great architecture without resorting to useless symbologies, without searching for primary meanings in the field of architectural language, in individual poetics.

Tribune dell’Ippodromo di Tor di Valle, Rome (1958-59) by Julio Lafuente, Aicardo Virago, Gaetano Rebecchini | Photo Federico Padovani

Villaggio Eni, Borca di Cadore (1954-63) by��Edoardo Gellner, Silvano Zorzi | Photo Luka Skansi

It was, in short, a period of extraordinary architecture, one whose architects didn’t need to build complex intellectual castles to justify their projects and ideas. A period that could teach us – and of course anyone willing to see it – that architecture is built, not theorized. Italian architecture of the 1950s and 1960s confirms those simple, but illuminating words of good old Mies: “Architecture starts when you carefully put two bricks together. There it begins”.

Palazzo del Lavoro, Torino (1959-61) by Pier Luigi Nervi, Antonio Nervi, Gino Covre | Photo Marko Pogačnik

Manifattura Tabacchi, Bologna (1948-60) by Pier Luigi Nervi, Nervi & Bartoli | Photo Vera Leanza

Stabilimento Siag Marcianise Factory, Caserta (1962) by Angelo Mangiarotti, Aldo Favini | Photo Luka Skansi

Stabilimento Siag Marcianise Housing, Caserta (1962) by Angelo Mangiarotti, Aldo Favini | Photo Luka Skansi

Over time I gained this (banal) conviction, of how much architecture (good architecture, obviously) can speak for itself, after you experience it: a visit, an experience of space, the understanding of a constructive rule, the relationships between its subsystems, all that which explains the work of architecture more than infinite and generic words, historical interpretations, theoretical conjectures. And in a country (Italy) dominated by architectural theory, one in which I myself was reared, I discovered in myself a great passion for the architecture of the 1950s and 1960s, built by architects who were rarely the object of theoretical and historical survey: that of the Milanese professionals, the refined architects of Roman speculators, of the great Italian engineers, the renowned and unknown builders of modern Italy, those who produced heroic architectural accomplishments in Ivrea, Terni, Bologna, Rimini, Pozzuoli, and Borca di Cadore. An extraordinary architectural heritage that Italy owns and which ��� I think I do not exaggerate when I write – few Italians even know is theirs.

Palazzina in via Archimede, Rome (1950) by Amedeo Luccichenti, Vincenzo Monaco, Riccardo Morandi | Photo Luka Skansi

Stabilimento Raffo, Pietrasanta (1956) by Leo Calini, Eugenio Montuori, Sergio Musmeci | Photo Marko Pogačnik

Istituto Marchiondi Spagliardi Baggio, Milan (1953-57) by Vittoriano Viganò, Silvano Zorzi | Photo Federico Padovani

Talking a bit more about the fifties and sixties would do us all very well: ‘us’ here comprising architecture schools, architects, academics, and students. In particular Italian schools, to help them surpass their rootedness in the anachronisms of themes with regard to the 1970s and 1980s, the conviction of the primacy of theory over professional practice, of urban design over architecture, with the continuous repropositions of tired concepts and methodologies, derived from the same endlessly perused books, aspects that no longer have anything to do with the problems of today’s architecture and cities. 

Ponte sul Basento, Potenza (1967-76) by Sergio Musmeci | Photo Luka Skansi

But the benefit would also extend to us – architects, historians, and theorists, so as to re-establish a direct, fresh, and genuine relationship to built work, to the work of architecture. To avoid useless interpretative speculation, superficial historical reconstructions, chitchat about architecture’s involvement with external factors. But rather to rediscover and – as Gio Ponti used to say – “Love Architecture” (Amate l’architettura), both the raw material (matter) and its counterpart (space).

Villaggio Matteotti, Terni (1970-75) by Giancarlo De Carlo | Photo Luka Skansi

Ponte Indiano, Firenze (1972-78) by Fabrizio De Miranda | Photo Luka Skansi

Monumento alla Resistenza, Udine (1959-69) by Gino Valle, Federico Marconi | Photo Luka Skansi

Furthermore, something we should also avoid is the vulgarization of this same architecture: its confinement to the tabloid format of a curious postcard, as an attractive but decontextualized phenomena, a mere beautiful and abandoned ruin. The vulgarization that implies not understanding the environment that produced it, the amount of experimentation invested in it, the enormous technical and visual culture of its authors, and ultimately, the enormous latent potential for today’s architect, to learn from these marvelous works, from these structural figures and spaces. All that stays behind the great structural forms of Nervi, Morandi, Musmeci, De Miranda, Zorzi, the refined junctions of those prefabricated elements of Zanuso and Mangiarotti, the wonderful spaces of the colonies of De Carlo and Gellner, the conceptual dialogues of Valle with history, the lightness of assembly of elements by Morassutti.

_____

#FOMA 7: by Luka Skansi 

Luka Skansi is an architectural historian, assistant professor at University in Rijeka, Croatia. He holds a Master of Science in Architecture from IUAV (Venice), and a doctoral degree from the School for Advanced Studies in Venice, obtained in 2006 with a research on pre-revolutionary Russia. His research interests include Italian Architecture and Engineering of the 20th century, Russian and Soviet Architecture, the Architecture in ex - Yugoslavia. He wrote books and essays on Carlo Scarpa, Aldo Rossi, Gino Valle, Pier Luigi Nervi, Myron Goldsmith, Jože Plečnik, Nikolaj Ladovskij, Moisei Ginzburg, Peter Behrens, Manfredo Tafuri, Vladimir Braco Mušič. Recently he curated the exhibition Streets and Neghbourhoods, on Slovenian architect and Harvard Scholar Vladimir Braco Mušič (MAO Ljubljana, 2016) and participated to the 2014 Venice Biennale (section “MondoItalia”) with the installation The Remnants of a Miracle.

[whiteredrose13]

"So,"Qamar began, throwing his legs over the arm of the chair and leaning languidly on the other. "How was your 'walk'?"

Vincenzo shrugged behind the bar. He uncorked the wine with ease, tipping it over three thin-stemmed glasses.

"They're all dead, if that's what you mean."

An affronted look leapt onto Qamar's fine dark features, offended by the very notion he might even imply Vincenzo had failed.

"Well, of course they are,"Qamar said, as if it were obvious, because it was. "We sent you. You've never disappointed us."

Vincenzo neglected to mention the several points of their past life where he had disappointed them. Instead, he preened under Qamar's gaze. With a smile most pleased, he made his way to the hearth, handing Qamar his glass. Faint red smudges stained the stem as he passed it over. Qamar grinned at him over the rim, all fang and golden eyes.

"Thank you, dearest. Now, tell me: Did they scream?"

-----

Oh my gods, y'all-- It's been so long since I've done a full piece. The background on this thing kicked my ass. There were so many times I went back and Ibis took more than a few seconds to load and I was SO sure it would crash ;-;

But! I didn't! And I got to bestow The Man upon you! And here we see Vincenzo enjoying a nice post-murder cigar. (He is reformed here! They were going to murder his partners, and as head of the royal guard/royal spymaster, he did his duty to the crown and dispatched them.) He deserves a little treat~

I will be writing out the full story soon, so make sure to keep an eye out for it on my writing blog: @thistleanddown!

[whiteredrose13]

Don't have the time to draw it yet but I need you all to know that Candi could probably hold Vince bridal style and he would be such a prissy cat about it. He would hiss and growl but he'd cuddle her anyway, and once she put him down it would only be a few minutes before he'd be grumbling for her to pick him up again. But he'd pout the entire time.

And don't even get him STARTED on Qamar picking him up. That man will coo and tease and kiss Vincenzo's neck until he's snarling to be let go. And by "let go" he means "put me down so I can angrily cuddle you"--and very gently bite his shoulder. (He doesn't bite Candi as often because she doesn't heal like they do.)

He's so touch-starved and such a bitch about it, it's great.

[whiteredrose13]

Ren faire AU where Qamar, Vince and Candi are all cast members. Their roles are pretty much what they are in canon (Candi and Qamar are royals, Vince is a deceitful duke, his father is still puppeteering him, etc.) The plot of the show every year is Candi and Qamar defeating him after he tries to usurp their throne. But they're all just cast members at the faire and everyone is fine.

Vincenzo is still childhood friends with Candi and Qamar and still in love, only he actually does keep trying to confess, only it gets derailed every time by shenanigans from other cast members and faire-goers. The plot is him, the actor who plays his dad, and other cast members trying to help him get a free moment to admit his feelings while also tending to the faire and make sure it's running well. Candi and Qamar are also trying to confess at the same time, with the help of the rest of the cast, including the actor who plays Qamar's mom. As such, the conflicting attempts keep accidentally derailing each other. (Two vendors get into a fight and Candi and Vince have to break it up, Qamar starts confessing and then one of the cast accidentally gets scenes switched up and starts a revolution early, Candi tries confessing during the joust but two of the jousters get injured and Qamar and Vincenzo have to tag in, etc.)

Finally they all get fed up and, in the middle of a scripted scene where they confront Vincenzo for his crimes against the kingdom, they just stop and spill everything. It's them and their characters and both and neither. They get so wrapped up in the joy and relief of it that they all share a kiss on stage.

The audience goes insane.

Viewers and actors alike are screaming and cheering like a war just ended. Meanwhile the three of them are blushing and smiling and panicking because "oh my god, oh my god, we just did that, people saw that, but it was real, they love me. Dear god, they love me!"

Word spreads life wildfire and so many people buy up the extra tickets for next year their site crashes. Meanwhile, Candi, Qamar and Vincenzo are all cuddling on Candi's couch, kissing lazily and writing a new story for next year.

[whiteredrose13]

AAAAAA, OKAY-- @persephone-s-moon I could not find their updated refs for the life of me, so, woe, busted old concept art be upon ye. (Excuse the wonky proportions, these were done on my phone.)

Shortest rundown I can manage:

Did someone order a tragic throuple with time-travel/reincarnation shenanigans and a side of hurt/comfort/fluff?

Candavata Bhatia: Elven queen, from the kingdom of Sona, and the baddest bitch to ever live. In order to prove herself worthy of holding the crown over her sisters, she needed to channel one of the gods. So, not only did she channel one, she called upon Bijalee, the embodiment of lightning and storms--and the most difficult one to channel due to her wild and hazardous nature. She has been the only person to do so, aside from the First Queen. This earned her the titles of Storm Bringer and Lightning Tamer. She and Qamar are married and have been best friends since childhood. Can you tell I love her?

(Side note: Editing this on my laptop and holy ashy tone, Batman. Hoping it's just my screen because my girl does NOT look like this, I promise--)

Qamar Abn awaa: Werejackal prince, devout cleric of Layl, goddess of the night and medicine, and the definition of the "I'm a healer, but--" meme. He managed to show both great power and promise from an early age when, during a political visit to the Sona royal court, he used his knowledge of anatomy to turn one of Candavata's would-be assassins inside out. This is where he and Candi's marriage was arranged. He is of a generally very sunny disposition, which often makes people underestimate him, as they assume he's useless in serious situations--but, when shit hits the fan, he's the one you want to be next to. (I started designing him when I did not understand how to map out locs or braids. Qamar, my prince, I am so sorry, I swear I will do right by you and fix whatever monstrosity I gave you.)

Vincenzo Virago: Vampire duke. The intersection of an emotionally constipated killing machine and massive nerd failure. He's head over heels for both Candi and Qamar, but he doesn't feel like he can tell them, due to the fact that he views himself as unlovable, both wanting and growing jealous of them. (He is completely oblivious to the fact that they are also in love with him.) He's terrified of turning into his father, but it seems like everything he does only turns him further down that path. He's a warlord. He's a wet cat. He needs therapy.

It's a stable, constant dynamic. You never see one without the other. Where Qamar goes, Candi is right beside him, and Vince is right behind them. Whenever something goes wrong, usually they're at the center of it, all having different roles in the trouble. Candi, the planner, Qamar, the keen lookout, and Vince, the instigator. He keeps the two of them grounded, on their toes, and they do what they can to keep him away from his father. Even after they graduate and take their places in their respective castes, they stay in touch.

The story itself begins at the worst part of their relationship.

At this point, Candavata and Qamar have been married and are tending to their responsibilities as king and queen of their joined empire. Though they try to stay in touch with Vincenzo, it's difficult--and Vince doesn't make it easy, either. Over the years, he becomes withdrawn. He stops answering their letters, he refuses to see them when they come in person, every time. After a while, they stop trying. Not because they don't love him, they do, but there's only so much you can do when a person doesn't want (or doesn't think they deserve) help.

Vincenzo, after years of sitting with the jealousy and battling his father's horrendous treatment, broke. He didn't just spiral, he nose-dived, doubling down on every bit of gossip and rumor, until he's changed and warped into something even he can't recognize. He shuts out Candi and Qamar. Maybe he doesn't want to taint them, maybe he thinks this is how it was meant to go, maybe he can't stand their gentle hands or the pitying look in their eyes. Maybe he just wants the excuse. Whatever it is, Vincenzo becomes a monster, with blood on his hands.

In the end, Candi and Qamar had to be the ones to put him down.

Which is where we get into the time/reincarnation fuckery.

Because, when the pain fades and Vincenzo opens his eyes, expecting to see whatever eternal damnation looks like, he sees his university bedroom. Littered with textbooks and letters from Candi and Qamar, and his graduation robes hanging on the back of the door.

He's got a second chance to go back and unfuck everything, but only time will tell if he'll succeed or end up exactly where he was before.

Something, something, breaking cycles and being open with your loved ones, allowing yourself to be loved by others and yourself, and sometimes men are at their best covered in blood and a little bit pathetic.

(Oh, and, you want a really fun fact? Vince isn't the only one who remembers the original timeline.)