#actually for the sake of not getting lectured i feel like this is relevant plot stuff to this replace plus

[knbposting]

why is he like this

[pandemonshq]

Welcome, Nicky, please grab your stake on your way to your tumblr to play Draco Malfoy here at Pandemons. I think it’s no surprise to you that we adore your Draco: the marriage of convenience that still highlights the importance of family that every “good” Malfoy has, the Vampire Hunting, the fact that he’s still himself after all these years. ..

And, of course, your request for Alexander Skarsgård --present Fc and Austin Butler--past FC have been accepted.

Nicky’s application is being posted early due to her work on the game to get it up and running, and the relevance of Draco to the larger game plot. While Nicky is not a mod, her assistance made this game possible.

Out of Character Information

Name: Nicky Preferred Pronouns: she/her Age: over thirty O_o Timezone: EST Activity Level: Medium. I co-admin and participate in another roleplay, so depending on what is going on there in conjunction with the regular inconveniences of real life I may not have time to post responses every day, but I have absolutely no concerns that I will struggle to meet and indeed should regularly exceed the minimum requirement. I usually find Draco quite easy to write!

In Character Information

Character's Name: Draco Lucius Malfoy Bloodstatus: pure-blood Birthday: June 5, 1980

Gender and Sexuality: Transgender male, panromantic sex-positive asexual

Gender: 

Draco was six when he informed his parents that he was going to grow-up to be a wizard like daddy, not a witch like mummy. It took them a little time to be certain that their child really understood and meant what he was saying, but once they were convinced, his parents sprang into action to support their son: Lucius didn’t just contact the Daily Prophet to have an adjustment to Draco’s birth announcement printed, he took out a full-page ad. Narcissa sat her little boy down and poured-over lists of constellations with him to find what his new name would be (not that it took Draco long to select his -- “I can be a dragon? I want that one!”). They threw-away and purchased an entire new wardrobe for him (although it had never been the ribbons to which Draco had objected) and anyone who wasn’t quick enough to adjust to Draco’s new name got a painful hex for their lethargy (including Abraxas, once). It wasn’t so much acceptance that Draco got from his parents as adoration -- in all aspects. He was perfect; he could do no wrong. 

It wasn’t until he arrived at Hogwarts that Draco discovered that not everyone saw him through such idealized spectacles -- nor thought gender was as simple and straightforward a thing as the contents of a cauldron. For Draco, gender might as well have been synonymous with genitals, and swallowing a weekly dose of potion was all it took for him to go from girl to boy. The matter was closed...only it wasn’t. There were some people who thought the subject had far more nuance than that (one of the few subject on which he didn’t need losing a war to improve, at least) and then there were those who thought it had far less; who thought that there was no such thing as change. For the most part, they seemed to have come by those ideas from Muggle sources, which made both them and their words easy to dismiss -- mostly. Even a boy with as much blistering self-confidence (arrogance) as Draco is apt to find adolescence an uncertain, confusing time, and he was no exception; some barbs hurt even when you’re certain you don’t care. Having his dueling prowess questioned, his fashion-choices derided, his Quidditch skills discounted…all the things that, to Draco, meant masculinity. Not that witches couldn’t be great duelists or Quidditch players or fashion-plates, too; but Draco’s ideas of how to be a man were all modeled on his father. So to excel at “being a wizard” meant, for him, excelling at all the things at which Lucius excelled. (He was also always rather touchy about his name. He’d picked it himself, after all. It was the best name. His mother had said so!)

These days, Draco is far too used to simply being taken for a wizard to fret; it’s not as though he regularly goes around socializing with backwards-Muggle-thinkers, is it? (Not that all Mudb--Muggle-borns are backwards-thinkers! Some of them have done quite well at getting over their upbringing, and are quite indistinguishable from other wix now! He’s not bigoted anymore, you know!) He no longer focuses on mimicking his father in order to be a “proper” wizard -- in part because he’s grown more comfortable with himself as he grew-up, in part because exposure to the world beyond the immediate circle of his parents taught him that there’s more than one way to be a wizard, in part because an ex-Death Eater has more difficult things with which to grapple...and in part because the pedestal on which Lucius once stood in his son’s eyes has sagged a bit. Now instead of trying to trace anyone else’s footsteps, Draco is simply himself -- and learning to live with that was hard because of his choices and his mistakes, not his gender. Having anyone question his masculinity now on the basis that he takes a periodic dose of the Attisgalli Corrective Draught to maintain a physical form that suits his inner self would be less outrageous than baffling.

*NOTE: Draco is likely to express things about gender in outdated terminology because of his unfamiliarity with the Muggle world. However if this would make anyone uncomfortable please let me know (on-anon is fine!) because I will happily compromise a fiddly little bit of world building for the sake of my fellow players’ comfort!

Sexuality: 

Perhaps the one area in which Draco actually disappointed his father: he’s just not interested in sex. He doesn’t have anything against it; it’s just not something that motivates him, not something he thinks about unless someone else brings it up first. (Sort of like beets. He has no objection to eating them, and sometimes they can be genuinely delicious, but he’s never gone out of his way for a serving of beets.) That disinterest is what killed his relationship with Pansy (well, that and the fact that Draco had no idea they were dating in Pansy’s mind!) because all her offers and innuendos passed right over his head; he tends to take physical affection on face value and flirtation registers to him as simple banter. Lucius “blames” himself, lamenting that it was his distraction and absence at a crucial stage of his son’s development that left Draco’s “interests stunted.” Draco doesn’t understand the fuss; he’s perfectly happy the way he is and, frankly, given the vast drop in social popularity that the Malfoys faced after the war, it’s probably just as well that his interests are “stunted” because his prospects certainly were.

Former Hogwarts House: Slytherin -- sorted nearly the second the hat touched his head because of course he was, he was Draco Lucius Malfoy, last heir to both the Malfoy and Black families, and the scion of two of the purest lines in all of magical Britain and absolutely guaranteed to do great things!

Infection:

( No. Although I think it would be a fun potential plot to have him be infected either temporarily or permanently later! Actually I feel like “temporary infections” should be a regular effect of his vampire slaying efforts, since he’s likely to be exposed through that! )

Faceclaim: Alexander Skarsgård--present. Austin Butler--past.

Short HeadCanon Topics (please provide at least one paragraph per topic)

Occupation (title and one paragraph explanation): 

None...technically. Malfoys don’t need jobs, after all, so it should surprise no one that Draco hasn’t got one -- and it’s not as though he’s in a position where he can dabble in politics the way his father (and his father, and his father) did, is he? No, Draco has no job, only hobbies...

Or some might say, obsessions. One, actually: vampires. Draco Malfoy is a vampire hunter, possibly the first proper vampire hunter in over a hundred years. There hadn’t been a need for any in ages; vampires and wix had learned to co-exist long ago. Vampires had never really been accepted as ordinary people -- but they’d been fashionably exotic creatures, not scorned like half-giants or distrusted like goblins. The Malfoys in particular had been happy to socialize with (and take the money of) vampires, particularly back in the day; after Voldemort’s firstrise it became less acceptable for pure-blood wix to associate with any groups of non-wix unless they were serving the Dark Lord as well -- and vampires never did. Even as werewolves let themselves be courted and giants agreed to be bought, vampires kept their distance. So the Malfoys drifted away from them...

Until now. Until Astoria’s infection.

At first, Draco’s sole focus was in curing her -- and he hasn’t abandoned that hope. But as time passed and all his best efforts came to naught, those hopes have dwindled to a sort of cold, shriveled desperation. He still brews-up the occasional draught; still pieces-together scraps of old spells in hopes that something, some day, will save her...but that’s not his sole focus any longer. For a long time after the war, none of the Malfoys looked beyond the gates of the manor to the world outside -- but Scorpius is out there, now. He’s attending Hogwarts, moving through the world. Someday he’s going to grow-up and want to find a place for himself beyond the manor’s walls -- and like Lucius before him, Draco is determined to make that world as safe as possible for his child. Unlike Lucius, it’s not the tenuous (and perhaps somewhat exaggerated) threat of Muggles that Draco hopes to stem: it’s vampires, and the ever-increasing rate of infection among the magical world.

For a long time, he’s been fighting this quiet war alone in the dark. Who was he going to turn to for help, after all? Certainly not the Ministry of Magic! If Draco Malfoy walked in their doors talking about the dangers of a group of non-wix, he’d be lucky to just be ushered-away with a lecture on prejudice! No, he’s had to do this by himself -- but maybe not for much longer? Maybe things have finally gotten bad enough for someone else to notice...but will they want Draco’s help, expert though he has become on the subject? Maybe it’s still better for him to go this alone.

Marital Status/Ships: 

(tl;dr - Draco loves Astoria but they aren’t together like that and fidelity isn’t a requirement of their marriage anyway; someone else would have to make the first several dozen moves before he would notice being flirted at, though! READ MORE)

Married to Astoria Greengrass. One might think it would be difficult for a lesbian witch to be married to a panro-ace wizard, but their marriage was never about romance. Yes, Draco very much considers Astoria someone he loves -- but what kind of love? Even he wouldn’t be able to answer that question, especially not these days. Astoria’s current state of vampiric infection makes her...strange. The guilt of not being able to cure her eats away at him too, and affects his every interaction with her. He’s an expert potioneer; why can’t he fix this? She’s his wife, why can’t he save her? His parents managed to keep each other (more or less) safe throughout two wars and a volatile Dark Lord; how could he be so inferior as to be unable to save his spouse from some stupid infection? An infection over which his mother initially wanted Astoria banished from the home, incidentally -- marking one of the few times when Draco has actually vehemently disagreed with Narcissa Malfoy. (One of the others was when he took the Dark Mark; he hopes that this doesn’t turn out like that but sometimes on the worst days, he wonders if his mother was right and keeping Astoria at home is dangerous -- possibly for their son!?) But infected or not, unclean or not, Draco knows he will always love Astoria.

That doesn’t mean he’s sleeping with her, though -- or that he wouldn’t sleep with someone else. Fidelity was never considered an integral part of a successful marriage in his social circles; indeed, a couple that spends so much time in one another’s beds as his parents do is the oddity rather than the norm. (Not that the two of them, especially Lucius, haven’t visited a number of other beds in their time, sometimes apart and sometimes together -- but Draco never found it nearly as entertaining as some of his friends back at Hogwarts did to talk about that.) A dalliance or even a love affair -- or a dozen -- on either his part or Astoria’s wouldn’t impact how Draco thinks about his wife or their marriage at all. Why would it? If he wasn’t something of a social pariah, he probably would have had a dozen little affairs by now -- but it’s not like he cares enough to miss the lack either (only even thinks about it when his father starts lamenting Draco’s lack of interesting experiences). It’s just the sort of thing one expects, that’s all. Of course, these days Draco’s a bit preoccupied, and hunting down vampires doesn’t leave a lot of time for dalliances...but if that leaves his bed a bit cold, it’s not something he’s ever noticed. 

MultiParagraph or Multi Point Topics

Family: 

Nothing matters more to Draco. Growing up, he idolized his parents and thought them perfect; his father was Draco’s model for idealized wizarding masculinity and Draco was determined to follow in his footsteps in every way. Even now, having been brought (quite painfully) face-to-face with their flaws and failings, he still adores and admires them. Not only did they always dote on him (maybe more than they should have) but during the war they proved over and over that they were each of them willing to die for his sake without hesitation -- something that was more than enough to erase any potential resentment he might have felt at having been forced into such misery by their choices. Yes, these days he knows that there are things they were wrong about -- but he still trusts their judgement in most areas, still values their opinion. Still loves them. They made it through a war together on the strength of that love; in these dark days, he still draws comfort from it.

The most important person in Draco’s life today isn’t his parents, though, or even his wife; it’s Scorpius, his precious son and only child. Growing-up in a house with four doting adults and little in the way of child companions meant that Scorpius’s childhood was never lonely but also did little to prepare him for peer socialization. He was always precociously clever; these days he qualifies as an unabashed swot and a distinct introvert. While he has the customary Malfoy sharp silver tongue, he substitutes defensive insecurity for swagger and brittle pride for arrogance. His recent appointment to Chaser on his house team has helped him build a few tentative bridges to his housemates, but his closest friends remain fellow Slytherin Albus Potter and Albus’s cousin, Rose Granger-Weasley. They aren’t the friends that Draco would have chosen for his son, but he has come to appreciate them deeply for the support and affection they offer Scorpius. (Even if Draco still tries to have as little to do with their families as possible.) 

Draco’s affection for his son was always torn in two directions: wanting to give him anything and everything that would make him happy, and wanting to raise Scorpius to be a better person than he ever was himself. The latter did result in more than a few lectures (much more than a few) but that didn’t mean Draco wasn’t still an indulgent parent and Scorpius did indeed receive just about anything he ever asked for, materially. Draco would give his son everything he wanted, if he could -- but even his best efforts can’t cure Scorpius’s mother.

Scorpius was only four when Astoria was infected; when Astoria changed. Sometimes she still seems like herself (less and less each year, though -- or is that just in Draco’s head?) and they can all pretend that everything is fine; others...well. Draco has explained to Scorpius many times that the things his mother thinks she sees aren’t real. (Probably.) That he shouldn’t listen to them, worry about them. And Scorpius says he understands...but Scorpius was four and she’s his mum. While he doesn’t tell his father, he secretly believes every word that comes from his mother’s mouth. He thinks of her less as a Seer and more of a prophet, different from everyone else’s mother yes -- but special-different, not worse. He doesn’t talk about those thoughts to anyone, even Albus and Rose (maybe it would be better if he did; maybe someone could explain things to him better now that he’s older) but instead he nods seriously at all his father’s admonishments and his grandparents’ words of caution...and then goes and listens to his mother anyway.

It probably won’t lead to disaster. His mother would never hurt him, after all -- never tell him anything she’s seen that might lead him to do something dangerous. Not on purpose, anyway.

Childhood/Hogwarts: 

(I’m going to go short on this part because A: I’ve rambled far more than I should have elsewhere and B: we know a lot of this from the books already, so if there’s any part of this I can get away with truncating to compensate for the rest, it’s this!)

Draco was a bully and a bigot and a brat; there’s no denying this. He was spoiled absolutely rotten, and it showed. He also genuinely loved his parents, and they loved him back, although perhaps not always in the most healthy of ways (see: aforementioned spoiling). He had a very good childhood, although school wasn’t as great as he’d expected -- for one thing, stupid Harry Potter didn’t want to be his friend even though he was clearly the coolest person in the whole castle, and for another this horrible Mudblood kept outscoring him in everything. (Potter even managed to out-cheat him at Quidditch every time!) But otherwise, everything was more or less okay -- until the Dark Lord came back, and it all fell apart. Draco went from being a pampered little prince to sobbing in the loo with only a dead girl for company; his two best friends stopped believing in him; Harry Potter nearly killed him; he nearly killed a lot of other people; and then when his favorite teacher finally got appointed headmaster it still didn’t make things better. In the end, despite all of Draco’s efforts he really accomplished nothing. He didn’t decide the outcome of the war; all he did was lose a friend and somehow make it out alive with his parents by the skin of their collective teeth, forgotten and ignored by everyone around them. In the end, he came to nothing and had to count himself lucky for it.

Post Hogwarts: (TW: brief mention of self harm, addiction! Also mentions of other characters that may-or-may-not be considered “game canon” based on discussion with whomever eventually comes to play said characters!) 

Draco knows he’s luckier than he deserves, him and his parents. By rights, all three of them should probably be in Azkaban...but they aren’t. The trials they faced at the end of the war were long, grueling, and humiliating (crying in front of the entire Wizengamot is not an experience that Draco recommends to anyone) and the worst part was that Draco spent the entire process certain that he was going to Azkaban; he only made the effort of testifying with as much honesty and detail as he did because he hoped that his mother, the only one of them not to take the Dark Mark, might be spared incarceration if both he and his father told all they knew. His parents were doing the same thing, largely in hopes of sparing their son from Azkaban -- but fortunately for the Malfoys, what they knew far outweighed what they’d actually done...mostly because they hadn’t actually accomplished much. (If Lucius’s crimes from the first war had been included, things might have gone differently…) Draco failed at just about everything he tried, Lucius had spent most of the war either locked-away or wandless at the Dark Lord’s side, and Narcissa had been “protected” from having to take much action by the combination of her husband’s shame and her sister’s enthusiasm. And then, of course, there was Harry Potter -- surprising witness for the defense. There was no love lost between Draco and his very first enemy, but Harry nonetheless spoke-up for the Malfoys: Narcissa had lied to the Dark Lord, Draco had kept quiet when he recognized them, and Harry had seen through Voldemort’s own eyes that they had not been willing servants -- not by the end, anyway. Somehow, all of that had been enough to spare them…

At least from prison. Public opinion was another matter, so the Malfoys murmured their gratitude, paid their fines, and slunk away behind the walls of their mournful manor, all three of them -- and the house -- much reduced in pride and splendor. Draco spent the next few years wallowing in guilt and nightmares, repeatedly failing to carve the Dark Mark out of his arm, and worrying his parents. Highlights include: a short but bitter confrontation with Gregory Goyle at Vincent Crabbe’s tombstone (not that there was a body to bury, but tradition had to be maintained), a bewildering letter from Pansy regretfully breaking-up with him for the sake of her own future chances (had they been dating?), and a lengthy addiction to Dreamless Sleep Potion (he hadn’t even known you could get addicted to Dreamless Sleep, let alone that repeated doses made it toxic! At least he learned something interesting about potions in the process…). The last thing anyone expected was a wedding to brighten things up, but then again people -- Draco included --  had always underestimated Astoria Greengrass.

Draco, in fact, barely knew who she was -- just the little sister of one of Pansy’s friends whom he knew dimly from school. She certainly made an impression, though, going from introduction to proposal in less than five minutes. It wasn’t romance she was pitching, of course, but a more traditional sort of marriage -- an arrangement of convenience. Draco needed an heir to the family line, she wanted the comforts of wealth and the resources to pursue her interests somewhere no one would bother her (and with access to the right kind of supplies and resources, so she could avoid repeating her Aunt Pandora’s unfortunate fate). The Malfoys needed a dose of respectability, and the Greengrasses were solid middle class pure-bloods who had never been accused of more than peripheral brushes with the Dark Arts. They both stood to gain -- and outliers like Draco’s parents notwithstanding, wasn’t that what all successful marriages were really based on? Certainly in the world in which Draco had been socialized, they were; his parents had always been viewed with bemused confusion for how deeply besotted they were with one another. Marrying Astoria wasn’t an act of passion or romance -- but it made sense. What didn’t make sense to Draco was how easy it was to fall into friendship with the stubborn witch -- but he wasn’t going to complain.

He was happy, which wasn’t something he’d ever expected to feel again after the age of sixteen. And they had a son. Scorpius was the best thing that ever happened to Draco, far better than he deserved -- but he wasn’t going to complain about that, either. One of the many painful lessons he’d learned over the course of his lifetime of mistakes was how to be happy with what he had, and he couldn’t imagine anything better than Scorpius anyway. It wasn’t the sort of “perfect life” he’d anticipated when he was young and foolish -- but it was good.

Until it wasn’t. When Astoria’s magical tinkering left her infected with vampirism ten years ago, the happy illusion of a happily-ever-after fell apart. Draco dove into research, trying to brew a cure -- but nothing worked. He dug deeper, delving into all the family’s information on their pre-Voldemort vampiric connections and then branching-out, calling in the few family favors people were still willing to (or too scared not to) repay and exploring every shabby shop that dealt with the Dark Arts that he could find. He didn’t discover a cure; he did discover that Astoria wasn’t the only recent case of vampiric infection.

Current: 

Draco Malfoy never set out to save anyone but his own family. Unfortunately for Draco’s selfish nature, one of the things he’s learned over the last ten years is that the only way to save Astoria may involve sticking his neck out for other people, too. (Or maybe that’s just the excuse he gives himself. Maybe his pursuit of the vampires who are infecting his world, his home, is more about vengeance than salvation at this point.) That dosen’t mean it’s something that comes naturally to him, or something he likes.

Case in point: he hasn’t bothered to try and convince the wider Wizarding World that they ought to be worried, proactive -- because frankly if he did, who would listen? No, better to keep it to himself because that way at least no one is trying to stop him. Not that such a quest can be a solitary pursuit: one needs resources, information, occasionally even “allies” of a sort (mostly the sort that can be bought with money and favors, not loyalty). Fortunately Draco still has money and the one thing the Malfoy name can still buy aside from gold is favors and connections with those who walk the edges of the Dark Arts (and lower). Not that most of those favors or connections are as open-armed as they once were (turning your back on a Dark Lord and helping to testify against all your old friends so they go to prison while you go free doesn’t do much to endear oneself to anyone) but Draco doesn’t really care if people are grudging or reluctant or downright insulting so long as they do or give him what he needs. This mission isn’t about saving his reputation or restoring the family name; those wistful daydreams evaporated ten years ago. Now he doesn’t even waste time on the hope that Scorpius may be able to redeem their name enough to make a future for himself that isn’t overshadowed by the family’s past; these days, just keeping things from falling apart further is all he can ask.

Of course, he’s doing more than just sitting at home trying to hold his family together. Yes, he spends as much as he can with them -- his son, especially, although that happens less these days now that Scorpius is off at school for months at a time -- but he’s got his mission, too, which can keep him out of the house for days at a time (especially now that Scorpius is at Hogwarts, although with his parents living in the other wing of the manor even when Scorpius was young and Astoria was having a particularly bad day he didn’t have to worry about leaving them alone). There’s nowhere Draco won’t go in his pursuit both of the horrible creatures that are spreading this infection and the knowledge he seeks to cure it -- although it’s certainly easier to get around Knockturn Alley than the halls of the Ministry of Magic, for a Malfoy! He hesitates to involve his son, but on rare occasion he may even ask Scorpius to check something for him in the Hogwarts library, but doing so leaves him sickened at the thought that someone might see and wonder why so he ignores that resource perhaps more often than he should. There’s nothing else he won’t do in his quest, however...even knowing that he ought to be more prudent. It would be awful if the Department of Magical Law Enforcement were to turn suspicious eyes on him, after all -- but he can’t just do nothing, can he?

And maybe, deep down, there’s part of him who still thinks he can get away with it. After all, no matter how repentant he is -- how much he’s changed, how much the way the world views him has changed -- he is still, at heart, Draco Malfoy.

Plots:

#1. The Potters and the Weasleys -- and everyone else whom Draco called “enemy” (or “blood-traitor” or “filthy mudblood” etc) for his entire childhood. Where do they stand now? What happens when they have to work together? When they have to take his word for the things he knows, the expertise he’s accumulated? When he’s the one who knows how to save somebody, not them? When he’s the one fighting the “forces of darkness” while they sat back in ignorant safety as the world quietly shattered around them? Will they be practical about it, will they trust him? Will they be gracious or stubborn, convinced that there are some Marks that can’t be washed away? Will he be an ass? (Almost definitely -- but to what level?)  There’s likely been very little interaction between Draco and most of these people over the last twenty years -- but does that mean the mental scars have softened? How much infected blood does it take to clear away all the blood under the bridge that’s flowed between all of them? I’m looking forward to Draco having to face all the people he’s been avoiding -- and for them to have to (or refuse to) face the fact that this time, he might be on the right side...or is he? In a world where vampirism is becoming more and more common, at what point does a vampire hunter stop being a protector and start becoming the monster? Is Draco once again going to find himself -- this time with the best of intentions -- labeled the bad guy?

#2. Luna Lovegood. She’s more than just “another member of the D.A.” to Draco; she’s the girl who was locked-up in the cellar of his home for months, the girl he was forced more than once to torture. He never thought much about Loony Lovegood before then (she was easy to make fun of, sure, and he’d do so if the opportunity walked in front of him, but she wasn’t someone he was interested enough in to go out of his way to bully her -- he had better targets for that!) but she’s featured regularly in his guilty nightmares ever since. The fact that he later married her cousin just made things more convoluted -- although thankfully the Greengrasses and the Lovegoods had never really had anything to do with one another… Basically: I would love to explore some kind of dynamic with Draco and Luna! Has he been successfully avoiding her since 1998? Did Astoria invite her estranged family to the wedding? Do they run into each other in the shops sometimes -- Draco trying to turn invisible, Luna waving politely? Maybe he tried to apologize once and Luna made him squirm by shrugging it off -- oh well it’s not like you wanted to do it, is it? I could tell that quite well, you’re not a very good liar are you? Anyway, why would I blame you for what Voldemort made you do to me? That doesn’t seem sensible at all...why are you making that face? Have you swallowed a wrackspurt? -- and now every time he sees her, he tries to run the other way out of fears that she’ll be nice. Or maybe she’s not nice. Luna doesn’t seem the grudge-holding sort...but if anything were going to teach her how, surely the Cruciatus Curse would do it! Maybe she doesn’t wave; maybe she scowls until he slithers away, cringing in impotent repentance. Maybe he even tried investing in The Quibbler -- paying to restore the damage the Death Eaters and Hermione had done to the printing press and her father’s home -- as recompense, and Luna threw the money back in his face...or maybe he now, quite unintentionally, owns a “share” of The Quibbler. Something that Pansy and Blaise would probably never stop laughing about if they knew… I don’t know, there are so many options for what direction to take things with the two of them! I’d love to explore ANY.

#3: Infection. This one’s more just for “me” but I love the idea of still-rather-bigoted Draco Malfoy having to cope not just with the fact that his wife has been infected with vampirism (something he mostly did with a lot of denial and cognitive dissonance tbh) but himself, too. In his “career” as a vampire hunter, he must have encountered a few instances of contamination -- nothing permanent, nothing where the blood went both ways -- but temporary infections? Oh, certainly! I expect the first time absolutely tore him to shreds, emotionally. He’s Draco Malfoy. He’s the purest of the pure. How could he be infected? Inconceivable, insupportable! He’d never recover, never be the same -- only he did recover. And then what choice did he have but to keep going? Each time, I think he’s more sickened by the facts than he is by the symptoms themselves; by the fact that he’s been tainted by something impure. And each time he picks himself back up after and keeps going -- but eventually the toll is going to tell. (Either that, or he’ll have to come to terms with the fact that all blood-purity is nonsense, not just the idea that Muggle-borns have “lesser” magic.) Whether this breaks him down or builds him up better, I’m interested to explore this painful process of involuntary self-discovery!

Other:

Attisgalli Corrective Draught -- a gender reassignment potion designed for use by the entire Potterverse fandom. Offered here both as extra detail on what potion Draco takes, and for anyone else who might want to make use of it either as-is or as inspiration for their own creations!

+Fashion Headcanon: The featureless black school robes and ubiquitous pointed hats were a blessing to Draco, although he didn’t realize it at first; he’d grown-up used to his father’s flamboyant style of dress, and the dullness of the Hogwarts student body was wearying...until he started to realize that there were some wix who didn’t think it suitable for a wizard to dress like that. His father didn’t, wouldn’t have, cared; Draco found it a more troubling perspective. (Of course broad-shouldered, boisterous, assigned-male-at-birth Lucius’s masculinity had never been doubted by anyone; even those who despised him or dismissed him as a vain and foppish fool never thought he wasn’t a wizard.) The plain black robes were easier...safer. They didn’t require any thought; didn’t have room for any self-expression that might make a statement. On the one hand, Draco wanted to swagger into a room like his father would have, peacock feathers trailing from his shoulders and glittering gemstones in his hair, grinning in arrogant superiority...but on the other, he didn’t want to be teased for being too girly. (Not after discovering that that was a thing some people said about things.) His fourth year at school was the hardest: starting your very first day of classes by being turned into a ferret and humiliated in front of half the student body would have shaken anyone’s confidence. The fact that things were unsettled at home didn’t help; his father was more distracted than Draco had ever seen him before, and mother was little better, both of them fretting over the impending return of the Dark Lord and trying (and succeeding, then) to keep their son from thinking that would be anything but a good thing. Maybe if Draco had been more open with his parents about his emotional struggles...but he was at a stage of trying to seem grown-up. To prove they didn’t need to baby him anymore. (To prove that he was ready to help the Dark Lord, too.) So he kept quiet...and had them send him a different, plainer set of dress robes for the Yule Ball instead of the flamboyant, Lucius-approved concoction of dripping blue silk and pearl beading that he’d meant to wear initially. Draco felt safer in the plain (but impeccable!) black -- a feeling that never went away. Even today he prefers understated elegance, dark colors that don’t draw the eye; prefers clothing that is protective in its coverage -- high collars and tall boots (the sole concession he makes to modern fashions is to allow the skirts of his robes to sometimes lift enough to show calves and even knees, albeit always suitably clad in hose or tights or trousers; he’s not a barbarian) and of course: long sleeves. No one outside the family has seen past Draco’s wrists in over twenty years and, if Draco has his way, no one ever will.

[midnight-in-town]

Rin has been my favorite AnE character since the beginning. Such a sweet guy, and an interesting take on the traditional Idiot Hero. I like Kato's take on several of the Shonen manga archetypes for that matter. What are some of your favorite reconstructions of familiar character types in AnE?

Hey Anon! To be honest, I can’t say I’m that aware of the usual shonen archetypes considering that I read seinen more. :) And I’m not a literary reference, so it’s kinda hard to use the right words too. 

That being said, Rin’s a fave too, with Mephisto, Shiro, Shura, Shiemi… and the rest of the cast. xDD So I’ll try to answer you. 

For Rin, I like how he doesn’t simply get stronger with each arc, but he grows up on many aspects at once. Sure, first he learnt to control his flames, then he learnt to focus his attacks, and then his sword was broken in ch98 destroying the seals over his power, but otherwise each arc gave Rin other things to focus on.

In fact, I like that it’s not just his nature as a demon that he has to deal with, but also the consequences of that with the people around him. Like, as the story begins, we see Rin as kind of a loner, because he tries to fit in but can’t. 

So having friends (and falling for Shiemi) was a really new experience for him, one he’s enjoying but that he still has to learn about sometimes:

And as he’s getting better with that, that’s when the one constant in his life so far…

shatters. Mostly though, I love Rin because he’s… so sweet, as you said. 

Initially, he was presented as your usual Shonen hero indeed, especially with his goal to defeat Satan after Shiro’s death, but slowly the whole story moves on from that. That goal of his is less and less mentioned (which is not typical of usual shonen heroes who tend to cling to their goals in my opinion) as Rin is simply going through life and now…

And in my opinion we went from “beating Satan’s ass” to…

…a slight difference I really enjoy, even I’m no fan of Satan (and I want to see him lose). 

Similarly for Yukio, who’s as much a main character as Rin is, his angst defies usual levels you have for characters of a similar type and what I love is that it’s really building up throughout the whole story: Shura showed signs of having noticed it before Toudou was introduced, we found out that he was already preoccupied back when Shiro was still alive (ch93), up till his own despair and pure self-loathing got the better of him.

And I really feel for him and his illustration of the “fallen angel” trope. I mean, I’m the first to say it’s easy to roll your eyes and hope that he’ll stop seeing everything in the darkest black, but it’s the slow unravelling to this state through so many arcs that makes it so impressive and seemingly impossible to solve at the moment. 

A lot will probably have to happen before he’ll manage to come back.

The thing is, we all knew Yukio was going to break down at some point. He got some sort of a recess with the Aomori arc, but before we eventually reached the anti hero/fallen angel level, we passed by attempted suicide and that gave a whole new tone to the manga (especially since it’s shonen) in my opinion.

I said before that there is a lot of cliché tropes about twins in manga that I don’t really like: the good twin/bad twin trope is one, but by showing us the extent of Yukio’s issues before he completely fell into the abyss, I find that Sensei is avoiding cliché once again. 

And both for Yukio and Rin, I like that romance took a more unexpected turn that one could have expected at first, at least in my opinion. :)

Moving onto Mephisto, I love the fact that he’s both literally The Chessmaster…

and incredibly powerful as Samael, but his behavior most of the time doesn’t reflect that. 

…Which is usually the case with the clown type (looking at UT in Kuroshitsuji, or Checkerface in KHR, same for the Clowns in TG even if it’s Seinen), so this part isn’t exactly surprising, but it’s more how his true nature was never exactly hidden and yet he can still completely surprise us on many things. 

That’s why I really enjoy the theory that he might be the big bad, as far as the twins are concerned, because knowing he’s on Assiah’s side, you tend to think that even if he’s an ass at least he’s on “our” side, when it might be more complicated than that. :) 

Plenty of others reasons to appreciate Mephy’s character though, as I shared here. :)

For Shura, it’s mostly a matter of contrast. She’s The Mentor, but she’s not particularly acting responsible otherwise (due to the thing with Hachiro), because her motivations are initially related to her own pet peeve (Shiro).

She’s also without a doubt the hottest girl of the whole series (not a big fan of Iblis and her three eyes personally) and yet her behavior once again doesn’t fit what you’d expect of this kind of characters in other shonen series, again just in my opinion. 

She’s not a dignified or proper lady, who bats an eyelash and everyone is wooed, or who behaves coldly/unaffected to others: she used to be a heavy drinker, she’s hardly ever serious, she loves getting on people’s nerves on purpose, etc.

Again, this is related to her issues with Hachiro (and Shiro), but I like that the fact she’s Hot™ (trademarked by Mephisto) doesn’t mean she can’t be powerful, or Rin’s mentor, or getting on people’s nerves, or insulting her superiors, etc. 

Just like I enjoy the fact that she can dress scantily (probably because she likes it) and that doesn’t mean she’s a hoe or only about fan service, as we could see Shiro lecture her on the subject, in ch78. 

Maybe I’m not explaining super well, but it’s really about Sensei not being too over the top with any character and that shows up in Shura as well: 

she’s Rin’s mentor but sometimes she’s at a loss with what to do; 

she’ll do anything to protect the twins but she still gets scared by Mephisto’s shenanigans; 

she’s older than the boys but she still needed their help with an issue even Shiro couldn’t help her with

after the Aomori arc, she started to act more mature in general because the twins are going to need her, etc.

Again, it’s really a thing for most of the cast, but I like it even more in Shura’s case, because, even with just the way she dresses as an example, she really could have been a shallow character but Sensei managed to weigh in everything properly.  

Now, as far as Shiro goes, I love how Sensei deconstructed his character through several flashbacks, slowly shedding his coat of “the perfect dad” he seemed to be after sacrificing himself to save Rin in ch1. 

Oh sure, he was a good parent, but not perfect as we can see with Yukio or even Shura and that is something that we needed to make clear, both for the plot but also for the twins’ sake. 

Speaking of the plot, I like that Shiro’s a walking mystery very plot-relevant and not just The Hero’s Father Figure Who Died Helplessly. It would have been very easy to make Shiro a symbol Rin was becoming stronger to get revenge for, but it’s about so much more than that.  

Because if Shiro is a symbol of anything, it’s about how the Order is full of bullshit and enslaving the pawns that are necessary to them…

…as Mephisto made sure we got right:

Even now that he’s dead, I have doubts about Shiro being free from whatever he’s supposed to owe the Order/Mephisto. So yeah, he’s so much more than the Dead Symbolic Hero or whatever trope he’s supposed to illustrate, in a very tragic way actually, and I love that!

And finally about Shiemi (because I really gotta stop somewhere), what can I say besides the fact that she’s a very surprising one. :D 

We’ve been getting many character arcs ever since the beginning and yet it was so unexpected to me when it turned out she was going to have her own and that it’d be so very main plot-relevant. It shouldn’t have been a surprise, since everyone in the main cast gets one, but I still definitely wasn’t envisioning anything at all like the theories about Shemihaza before we hit the current arc!

Other examples of why she’s kept on surprising me throughout the story: the first time we meet her, she’s this helpless and mourning girl who’s been possessed by a demon, then she gets used by Izumo upon trying to make friends. I’m sure you remember that girl. 

And yet she saved Paku and then everyone else in Neuhaus’ arc immediately after. Same in the Kyoto arc: she was as pissed and scared as everyone (not counting Izumo) about Rin’s origins, but she was the first who managed to admit how misguided she was when she realized how much he suffered about being different.

What I’m trying to say is that Shiemi constantly surprised me and also other characters in the story (for example), despite the fact that Sensei wrote plainly what her character was about very early on in the story:

So yeah actually she helped Paku, she helped Rin, she helped Izumo, she tried to help Yukio, she saved everyone from being burnt by Rin going Satan 2.0… And now she’s in trouble with the Vatican. 

In a way she’s more the typical Shonen Hero than Rin is, when she’s supposed to be the Main Girl, lmao. For example, everyone found out about who Rin was pretty quickly in the story, meanwhile…

…her own identity is more of a secret than Rin being Satan’s son or Mephisto being a high-level demon and something both characters and readers are getting angsty about. 

And, as I tried to explain above, Rin’s currently more involved with acknowledging where he comes from and bringing his brother back over having to save the world or denouncing that the Order is probably really no better than the Illuminati. 

Even his goal of defeating Satan, which is very Shonen-like, hasn’t been mentioned in a long time now. Meanwhile Shiemi���s character arc directly delves into how shady the Order is as an organization…

and this might indirectly lead us to her having to play a very important role with protecting everyone from Satan/the Illuminati (whether it’s by her will or not).

Of course, Rin’s own journey in the past is showing us many of the Order’s dirty secrets but the point is for Rin to learn about the past so that he can bring Yukio back (what he wants) and possibly defeat Lucifer (what Mephisto wants). When it comes to the state of the world with the opening of the artificial Gehenna gate, for now it’s not exactly Rin’s problem, but it might be more related to Shiemi’s arc if she’s truly related to Shemihaza (because of the Grigoris). 

It’s probably badly summarized, but that’s how I see it. xD As I said in the beginning, I’m really not good about precisely describing shonen archetypes, so this may not be making any point. I just like AnE because I find that Sensei does manage to avoid making her characters a bunch of stereotypes easy to read through, in a very realistic way. See below, with Lightning’s example:

Even Arthur, who’s presented as the most stereotypical dude in the whole cast in my opinion, might be hiding his game better than most of us can probably imagine.

That’s what I like the most when it comes to what you were asking about. :) Kato-sensei is an excellent writer because of this amongst other things. 

Sorry it took me a little while to answer you Anon, but I had a lot I wanted to write and it was actually very hard to explain. I hope this answered your question at least a little though. Have a nice weekend! ^3^

[x0401x]

If you didn't read the last chapter of Tsurune don't read the ask: OMG! I almost get killed in this "Masa-san lightly pinched Minato’s cheeks and pulled them" and in the car scene.I laughed so hard on minato he's really didn't think about hiding his feeling lol. what do you think about the chapter?

Took me almost two full days to reply to this, and if that doesn’t speak volumes about how wild this chapter was, then I don’t know what would.

I’d read spoilers of volume 2 right after it came out so I already knew what was gonna go down, and being very honest, the cheek pinching was something I’d actually expected to see at some point after reading the summaries of volume 1. And rather than wishing for it, I was waiting for it because it seemed so obvious to me that this was gonna happen one way or another. I mean, it’s just so much like Masaki to do something of that sort, lmao. But I admit I expected it to happen in a daily-situation scene and not… like this. As always, Ayano surpassed my expectations on the unapologetically huge amounts of gay.

I’ve mentioned this topic in my post about the differences between the novel and the anime. Minato may keep a lot of secrets from everyone, yet Masaki has been the sole exception to this ever since they met. I mean, look at volume 1. It’s basically Minato hiding nearly every important thing from literally everybody except his conveniently-there-by-narrative-default master. Volume 2′s chapter 3 is basically a massive meme based off this plot device, like:Shuu: *touches Masaki*Minato: Sir, that’s my emotional support coach.Anyway, my point is that Minato doesn’t hide anything from Masaki, ever. Not even the most embarrassing shit.

The chapter was very interesting. It was rather entretaining to see how inept Eisuke actually is regarding himself. The novel often references Amanojaku, so I was wondering if we’d ever get an Amanojaku-ish character, and sure enough, here he is.

Other than that, good God. Minato is such a fucking embarrassment. I adore this walking fivehead so much. Had to put the extent of my love for him and this chapter under a cut because it’s probably the lenghtiest ask response I’ve ever written.

I think I can’t even pinpoint what the best thing about this chapter was. Like, the details are very subtly placed in all the right spots as always, and this is probably what leaves the bigger impressions on me. And by “details” I mean the subtext and symbolisms.

For starters, Ayano knows very well how to fuck with plant language nerds. She’s used a lot of it with Masaki and Minato, and it feels like the bar just keeps going up. First it was oaks (strength and knowledge), then bamboo (inspiration), then azaleas (developing passion), and now it’s freaking bellflowers. What’s more: the ones that Minato stopped by were spotted bellflowers. They’re known for their heart-shaped foliage. In flower language, bellflowers stand for gratitude and unwavering love. And sure enough, Minato doesn’t waver at all before going into that bakery and buying a batch of cinnamon buns (did it really have to be that of all things, omg) for Masaki, specifically.

I can’t stress how wholly, completely, utterly unnecessary that was. There’s no heterosexual explanation to it. I mean, there’s no heterosexual explanation to a lot of things about these two, but the romantic connotation was really heavy on this one. You have to use a fucking magnifier to find the platonic in this bullshit, and it’s still hella hard to ignore the implications. It’s even harder when Minato is berating himself for buying the buns on impulse when he heard that they go well with coffee and thinking about how irritated he feels when Shuu is around Masaki. He doesn’t even try to pretend that he’s not jealous. Be more like any other oblivious sports anime protagonist and let me die in peace, for fuck’s sake.

I’m just trying to pretend that I don’t know cinnamon is associated with romantic love and often used to inflame passion, because that’s too fucking much.

On other news, I’m highly pleased that we get SeiKai hints even when Seiya and Kaito don’t show up together. Kaito mentioning Seiya’s name every two or three sentences and approaching Minato simply because he saw Kuma and thought that maybe Seiya was there was gold, tbh. It was a good break before the mattress fire that happens right after.

The way Minato found out that Masaki meant well and didn’t want him to become like he was in the past was just so priceless. Take this shit straight to the face, son. Get fucking wrecked by how much he cares about you.

It’s also really freaking hilarious to me how everything that concerns Minato’s relationship with Masaki involves shoujo manga tropes. Envious of your rightful rival being too long around your master? Check. Learning the hard way that it was all for your sake? Check. Getting frustrated and shouting like a bitch at the irony of it? Check.

Minato is Minato, though, so of course he acknowledges that he wants Masaki by his side in spite of this. Did he have to do that while lying in bed, though? I think the fuck not.

And cue Masaki texting him immediately while he’s doing that, because Masaki always shows up when he wants to see him, and because this has turned into a romantic comedy, apparently? Love me that age-old cliché where the main character goes to the window after getting a message and finds the person who’d been occupying their thoughts standing there by sheer unadulterated coincidence, and they fucking heard you, you little shit.

This comes in a set with the “first visit and you’re already inviting him to his room” trope because why not follow all the way down with the romcom narration structure since we’re already at it? Double entendrees every three phrases or so because go big or go home.

“Dad isn’t home yet, so should we go upstairs?”

Yeah, lmao, that’s what about every shoujo heroine says before getting lectured on how they “shouldn’t make that sort of invitation to a guy”.

“It feels great. Thank you, Masa-san.”

It doesn’t feel so great not being able to overlook this, Ayano.

“Well, I may not look it, but I am your master after all.”

SHUT THE FUCK UP, JESUS CHRIST.

Seriously, this shit only loses to Fifty Shades of Takehaya and his more than unasked-for lines about “punishing” and “thoroughly training” Kaito. Sure, none of this is on the level of dirty jokes, but the subtleties are still too many.

The fluff is what gets you good, though. Because that was fluff right there. No, it doesn’t classify as hurt/comfort. These bastards fluffy. I just wanna know who managed to stay upright after reading about Minato feeling his heart ache because it had been too long since the last time he’d seen Masaki smile at him, ‘cause I sure as fuck didn’t.

No time is wasted before they off their asses to the place where they first met, which is basically a world of their own at nighttime (it’s named Yata Shrine for a reason; fuck that reason). And of course there had to be your usual load of elusive language in the middle, where the destination is pitch-dark but the road there is all wildlife and stars and this sparkly wave of light at the end of the tunnel. Welcome to the land of bitch, this isn’t a shoujo, stop acting like one.

Or don’t. We’re indulging. Screaming internally the entire time, but still indulging.

The dialogue is so obviously crafted to seem like something else that it’s useless to pretend it wasn’t inentional. I already knew what was coming but reading about the whole thing was an experience.

“I’m happy that you became my coach at Kazemai but I’m also not, because I don’t get to keep you for myself.”

Did he have to say it like that? Abso-fucking-lutely not. But he did anyway, because since when does Narumiya Minato give a flying fuck about ambiguity versus precision?

Six kinds of gay here. And all of them confirm that Minato’s “mixed feelings” when seeing Kaito being so familiar with Masaki from the get-go were, in fact, pure jealousy. It’s not even envy, because that’s wanting something someone has and you don’t. Minato was even closer to Masaki than Kaito was at that point, so it was all just his Masaki-exclusive greed speaking, plain and simple.

This is what gets me about this scene, tbh. It’s so much like Minato to say that, but it’s so alien to read it in a shounen novel. I don’t recall seeing anything so direct and raw in any sports franchise aside from Yuri on Ice. The most we get is “I wanna do [insert sport here] with you”. But this case is a blatant “we’d be doing the thing we like together one way or another and I’d have preferred if no one else were involved”.

And this comes right before we get a reminder that Minato doesn’t like it when Masaki treats him as a child, again. That’s… something. I hate this something a lot.

Also, it feels like the two of them are having completely different conversations with each other. Masaki is talking about his struggle coaching Minato and pointing out the crap he has to deal with in having a student whose last words are probably gonna be something stupid like “oops” or “oh, shit”, and Minato is countering with apparently completely unrelated arguments.

“But didn’t you let Shuu touch your belly, Masa-san?”

The fuck does that have to do with anything? How is that of any relevance to the conversation? What is this gay nonsense?

“If anyone else heard only that, I’d sound like a pervert, wouldn’t I? Did you want to touch it too, Minato?”

JUST DISMISS IT, YOU MOTHERFUCKER. DON’T ENCOURAGE HIS FOLLY. LET IT DIE.

“I’m no pervert, so I’m good.”

And now the moment of crushing honesty is over. Time for lies and derision because we all saw earlier in this chapter that (I can’t believe I’m actually writing this) Minato did, in fact, want to touch Masaki. Boy just called himself a pervert, indirectly. Gotta congratulate him for playing himself for, like, the hundredth time, I guess.

Of course Masaki would get emo in this scene sooner or later, because the fact that he’s dealing with the most reckless character out of the cast is apparently not a pertinent reason for things to have ended up the way they did. And of course Minato was gonna do something about it. It’s almost obligatory by now that they lift each other up.

WHY LIKE THIS, THOUGH?

Like, there’s just too much here that doesn’t translate into a master-student thing. Okay, I can totally see that in the dialogue but the actions are screaming something else entirely. Obviously, as I always say, I’m not gonna label it as romantic. What I’m talking about is: this isn’t the behavior of someone interacting with a teacher, but of a person with another. I mean, no matter how you look at it, there would have been a lot to consider here regarding the minimum of restraint that one should have around their mentor or at least around their elders, but Minato is basically saying “fuck you” to all of this.

Yeah, sure, go reach out to grab his hand and gently brush his bangs off his eyes simply because you can’t help the urge to look into them. No big deal. It’s just the affection of a disciple. Anyone else would have done the exact same.

I JUST WANNA TALK, AYANO. I JUST WANNA TALK.

Not trying to stereotype or devalue the worth of teacher-student relationships. Just back to my previous point: you don’t do this shit to a teacher, realistically speaking. And even if anyone hypothetically had any gall to do that, neither the teacher nor any onlooker would disconsider it an advance. Anybody would find it a little bit out of place at the very, very least.

Also, that declaration? Literally Minato swearing he would have Masaki be the one teaching him for the rest of his life? This after having said similar bullshit like claiming that he would never let Masaki go or that he’d follow Masaki to the grave. The bar just keeps going up. So, in short, “you don’t have to be my master but I’ll be damned if you’re not my master forever”.

Ayano, you’re murdering us. You’re murdering your readers.

“I feel more relaxed when I talk to you, Masa-san.”

No news here but thank you for saying it anyway. There had to be icing on this cake. And the cherry on top was Masaki’s explanation about the word “talking”. Are you telling us that these idiots hand their hearts over to each other every time they open up like this, Ayano? IS THAT WHAT YOU’RE FUCKING SAYING, AYANO?

Love me all of Minato’s non-existent heterosexuality being killed with fire.

I imagine that Minato must have made the cutest face when seeing Fuu again. Fuu, the owl with a heart-shaped face, showing up at the most convenient time. Because heart-shaped leaves weren’t enough, apparently.

The end of this chapter made me feel a tiny bit bad for Shuu, though, because it was one more instance of something that he and Minato and no one else had in common that got overwritten and outshone. It’s definitely a parallel to when they were little kids learning under Saionji and hiding it from everyone until a certain point, yelling at the top of their lungs and being competitive while taking things seriously to an extent. Here, we have Minato and Masaki in perfect sync, reproducing the exact same thing that Shuu and Minato had learned so many years ago but with experient successfulness and also complete harmony. And this time, it’s 100% their secret only, taking place at night without the knowledge of anybody, with no audience, no parents and no teacher.

It’s… too much, lmao. In every sense. Shuu literally stands no fucking chance next to Masaki and I love it. *broadcast lady voice* Fujiwara Shuu. Repeating; Fujiwara Shuu. Your wife Senichi is waiting for you at Kirisaki High.

And of course, the chapter had to be closed with a finishing blow. God fucking dammit. Minato packing coffee to share with Masaki would have been enough, but nay, Masaki also had to bring the fucking oyaki. From the fact that they’ve had oyaki together before at the shrine and that these oyaki are from the bakery where Minato had bought the cinnamon rolls without a second thought, it’s sort of really obvious that Masaki bought them to eat together with him.

I didn’t ask for any of this and now I need to lie the fuck down.

[ghostmartyr]

SnK 90 Thoughts

Have you ever had this perfect story idea in mind, then realized that in order to get to it, you have to write basically an entirely separate book to set it up?

Have you ever decided that you really don’t feel like doing that?

Usually, that is when the words stop and the project goes into a desk drawer. Mostly a figurative one these days.

But--bear with me here--what if...

You just skipped all the boring parts.

There’s something delightful about watching Attack on Titan develop. Art and pacing have come so far since the first chapter, but you still get these glorious flashes where the reveal of our main character’s arch-nemeses is done with such a complete lack of fanfare that you’d be forgiven for thinking you were reading a fake scanlation even if you had the volume open in your hand.

Isayama knows how to craft a story. His telling, on the other hand, regularly spends its time stumbling up to the podium in its pajamas and happily shooting its laser pointer every whichway all over the pretty projections on the screen until you’ve started wondering more about the laser pointer’s battery life than whatever the lecturer was supposed to be saying.

The main reason you don’t want to wrap up a plot point that has been present since day one of your seven years of writing in two pages is because--

Well, presumably that stuff mattered? To the story?

Isayama’s decision to kill off most of the Paradis titans in two pages involves looking at those confused statements, and declaring, “No, not really.”

Authors do not typically do this.

Heck, most stories don’t even get to the point where they can look back at their starting premise (that has survived seven years) and inform the audience that the physical realities of that particular conflict aren’t relevant enough to be worth covering the conclusion extensively.

The story goes that humanity hides away in a cage from the inhuman monsters lurking outside--until they decide to rise and fight.

Those monsters turn out to be human.

We’re technically sticking to the same story we always have been.

We’re just now doing it without titans.

It’s like Isayama looked at his Eldian plot, and thought to himself, gee, this makes that titan problem kind of redundant, doesn’t it?

And the grand solution was to just write the common titans out of the story.

Because that is what you do with plot inconveniences. Naturally.

This is not how satisfying storytelling works.

It is hilarious, and the time frame on dealing with the worldly issues portion of this has adopted a scale that can probably handle it better, and there are a number of things that a time skip can make interesting--but holy fuck how long is that laser pointer’s battery life.

I’m going to harp on about this a little longer than I need to (shocking, I know), because as someone who tries really, really hard to get pacing right, this whole process is incredibly fascinating.

Having introduced the rest of the world to this tiny stage, this one plot detail, it of titanic proportions, it that has guided so much of the story, is so irrelevant to where the story is going that it can be excised in two pages.

That is extraordinary to me.

I don’t think I have ever seen such a prime example of an author recognizing that a prominent plot line has outlived its usefulness. It’s like he went full-on original flavor Vader.

Obviously, ideally, the Eldians vs. The World plot would tie into the common titan problem of Paradis, and the story would be allowed to proceed on both fronts. Doing it smoothly would be a challenge, but that’s writing for you.

Just as obviously, that’s not happening.

In a perverse way, the first 80-some chapters of this series behave like one of those windup toys. We didn’t know why Eren could transform into a Titan. We didn’t know why the titans attacked. We didn’t know anything about society outside the walls. We didn’t know what was in the basement. We didn’t know how the walls came to be. We didn’t know who the real enemy was. Our heroes were isolated in their struggles to rectify all of that.

We have now had our full orientation. We do not need the play-monsters anymore. We have the answers. All that’s left is to put the toy down and see how far it can go.

This is not what I would call good storytelling, but it’s so neat. I don’t think we would get to see this story with someone who was better at timing. Most people whose work is being published wouldn’t look at the series’ most well-known plot feature and put it up as collateral for the story they’re more interested in.

That kind of abandon is not something you usually get to see with a story of quality. You don’t just... gloss over parts of the story that matter. That’s common sense.

Offering the counterargument that those silly details were never meant to matter, when those silly details were formerly thought to be the plot?

That’s daring to suggest that there are parts of the story that are more worth spending time on. If the roaming titans of Paradis are deemed inconsequential, then what’ve you got for us?

It should be something good.

It should not, for instance, be forty minutes of the main character stuck in his own head until he breaks out and a bunch of people clap for him.

While I will continue laughing at the execution, one of the main reasons I’m okay with the time skip is because I’m still down for this story. This is still about humans fighting monsters for their right to breathe free air.

The difference now is that the training wheels are off.

And very promptly thrown into the sea.

It isn’t about mindless monsters eating people. It’s about human beings whose hatred and cowardice lead to them demonizing and abusing an entire race. This isn’t faceless cruelty anymore.

The fight is the same it always has been, but it’s now an informed fight.

So all that’s really great.

...Except then I get to thinking that people in the walls could actually maybe live outside the walls because the titans mostly vanished in two pages and my head starts spinning because who does that.

Never let it be said that this is a graceful story. Just a good one.

Speaking of gracelessness, this chapter was, in fact, longer than two pages.

And Floch exists.

Jean 2.0, featuring none of the insecurity that can pretend to be tact.

Floch’s role in this chapter is painful on multiple levels. He’s the sole survivor of a suicidal charge, and he did everything right. He saves his commanding officer. Humanity’s Commander. He takes them to the people who can save his life. He performs admirably even though he calls himself a coward and cannon fodder.

He’s another broken person, but the first one we’ve seen broken in part through our protagonists’ actions.

He tells the truth as he sees it, but he has no care for the damage he inflicts with it. He might find it important that Hitch get an unvarnished view of what Marlowe’s last charge is like, but he doesn’t offer emotional support. He might hate the decision Levi, Eren, and Mikasa contribute to, and think it deserves to be known, but Armin is the one he hurts, and Armin’s the only blameless party involved.

He lectures the rest of the 104th for what goes down, but Connie, Sasha, and Jean aren’t there for most of the exchange. They show up and have no clue what’s going on. Hell, Sasha’s unconscious during the rooftop discussion, and Connie’s carrying her. Jean’s the only one free, and by the time we know he’s there, Hange’s breaking up the fight.

Floch sits back and watches Mikasa pin Levi to the rooftop with a sword to his throat before he says a word.

He can be mad at Levi and Mikasa and Levi all he wants, but lashing out at Armin and the rest of the gang isn’t a matter of principle. He’s just hurt.

We don’t know enough about Floch to know how much of what he’s saying starts from a good place, but by the end of his sequence, it’s pretty obvious that his honesty, however powerful it is to hear, has its own bite of childishness.

It’s still sad, though. When Armin says Floch is right, Floch doesn’t look happy or victorious. Being right doesn’t change the mess they’re in or make the pain any less.

But geez. He manages to make half the people he talks to look like they’re questioning their will to live. Kid could use a kick to the shin and a hug.

The story has his back on making sure the words land, though. This chapter is a nostalgia trip and a half.

“In other words, you couldn’t throw away what was important to you, right?” --to Armin

“But even a piece of fodder... should at least have the right to assess the situation!” --and to Jean.

Yeah.

“Don’t get mad when you hear this... but Jean... you’re not a strong person... so you can really understand how weak people feel. [...] I mean... most humans are weak, including me.. but if I got an order from someone who saw things like I do... no matter how tough it was, I’d do my damnedest to carry it out.” --Marco, 18

Marco never comes up in happy conversations.

My personal favorite goes to Mikasa, though. For maximum pain.

“You gave up in the end.”

Hello, I am excite.

I’m not capping the whole thing because I adore these two panels on their own, but for the sake of full context, that hand of hers was holding Eren’s shoulder the moment before Floch’s words.

Hange convinces her to stop fighting for Armin on the roof.

Logic and history say she’s going to lose him and Eren.

Mikasa has spent such a long time refusing to give up. The first time the need to truly resonates, she stands and fights anyway.

She always fights. If you don’t fight, you don’t win. That’s what her first moments with Eren teach her.

Then there’s Floch, telling her that she’s more of an adult for giving up. Giving up on her family, accepting the loss.

She’s going to lose them. There’s nothing to fight here, and one of them is only alive now in spite of her, not because she was any help. There’s a hopelessness to Eren and Armin’s situation that won’t be denied, so what, is that the answer again?

Giving up on them?

Watching both of them die?

Mikasa could really use some proper pages dealing with all of the above, but for now I’m really psyched that the little moments are happening. She literally lets go of Eren in paralyzed horror.

Can has more? Please?

Besides making pitiful puppy eyes into the abyss, though, this chapter actually does have me really jazzed for whatever’s awaiting Mikasa.

The conflict that Floch keeps hammering away at is one that’s been lurking in the background for ages. Since the very first volume, to be precise. We’ve since seen in explored at length through Levi, Erwin, and the serum bowl, but like with many things in this manga, we start with Mikasa.

“Humanity is on the brink of extinction and you’re trying to dictate your own rules?!” --Eren, 4

Mikasa’s devotion to her family has been a primary character feature since her introduction. Her development has rarely been highlighted, but constantly in the background and her moments of foreground, she wrestles with the conflict of being a loyal companion and an exquisite soldier. She’s conscious of her decisions and mistakes without letting them tear her to shreds, which is a claim very few characters can make.

When she leads the charge in Trost and neglects to be there for her comrades, she knows it. When she ignores Levi’s commands against the Female Titan, she sees the damage and carries the responsibility forward. She remembers failing to kill Reiner and Bertolt and guilts over it.

Responsibility is seldom actively neglected in this series. Otherwise I wouldn’t have such easy things to quote as an example of a character making a bad choice; if someone does something questionable, you can expect a dialogue bomb to reference it at some point.

But Mikasa learns. Her mistakes aren’t creating an ever-deeper fault of trauma for every new horrible thing to trigger. She’s taken some extraordinarily hard hits, and it’s left her fragile in places, but when she experiences a mistake, she tries her best to correct it for the future.

The easiest comparison to that is Erwin.

Quotes are fastest, so I’ll go ahead and do that with something I wrote a week ago: My view on his increase in personal goals is that his guilt for being less than what he should be turns into him overplaying his baser qualities. Instead of being a good man and leader who has a weakness to overcome, he tries to frame himself as a bad leader, freeing him up to indulge in the absolute worst of his selfishness.

I believe the phrase is go big or go home. Erwin sees his mistake of putting himself over humanity, and he overcompensates in the wrong direction.

When Mikasa’s mistakes happen, she continually progresses in a direction that offers solutions to her errors.

That might be why she ends up stuck on the sidelines more often than not. Someone who quietly observes and grows at a steady click, without having their world knocked down every other week, can be hard to portray dynamically outside of key moments.

Here’s what makes all of that the fun of the hour: Mikasa’s personal, at times obsessive, loyalty, rooted in trauma, is now clearly facing its losses against her own sense of honor and duty. As much as she loves Eren and Armin, protecting them at all costs has slowly turned to only most costs. There’s enough distance between her and her trauma that there’s room for her independent respect for the world is calling her out when she does something she shouldn’t.

Eren doesn’t have that.

Eren, the first loud voice we heard screaming about the worth of humanity, has found the persons he would give everything for, and he can’t step back. He can be ashamed of his conduct on the roof, but if the same situation were to happen again, the same desperation for his friend would still be there.

Eren’s been beaten down so many times that I think his ability to let go (already one of his weaker points, since he always fights to win) has up and left him.

He can’t lose his family.

He can’t regret that Armin’s the one alive, and he refuses to put Historia in danger.

Back when Jean first joins the Survey Corps, he voices his criticisms plainly, and makes sure everyone around him knows the stakes.

“Look, Mikasa... not everybody is like you... We’re not all volunteering to die for Eren. All of us, Eren included, should know... what our lives are going to be used for.” --Jean, 22

It isn’t about just one person. It’s about the bigger picture. It’s about fighting for the sake of humanity. It’s about humanity.

It’s supposed to be.

But Ymir will give up her life and freedom to save the girl she loves, and then two random schmucks she can’t make herself leave. The pinnacle of Historia’s arc has her placing one life she cares about over plenty of others. Erwin will forget humanity for his dreams until his closest companion corrects him--only to fall into a similar trap because he can’t face sacrificing Erwin.

Grisha gives everything to his cause, but because he doesn’t love his son, he fails.

Reiner, Bertolt, and Annie are never in sync, and they die alone.

So what’s going to end up winning?

No one life is worth more than the rest of humanity, but if you don’t fight, you can’t win. If you sacrifice your interpersonal bonds for a grander purpose, you’ll never make it, because you’ll be fighting on your own.

Right now, the healthiest balance goes to Mikasa and Hange. They love fiercely, and will protect what they value with all of their strength, but their responsibility to the rest of humanity means too much to risk being selfish. Some sacrifices have to be made. Sometimes you have to let go.

But not until the very last second.

Hange understands all of that, and is grown up enough that it all flows.

Mikasa is still wrestling with how deeply that goes against how she’s fought for her family for years.

Eren, meanwhile...

I think it’s fair to say Eren is a fucking mess?

Eren, as he starts out, is idealistic, passionate, and naive enough to believe that you can change the world by running down that road at full speed.

As Eren is right now, I think he holds the memory of that being the way things should be, but he’s so bogged down in everything that’s happened, he’s lost the original spark that keeps that flash of optimism functioning.

When he talks about the ocean, he can bring Armin back, but he can’t bring himself back. His aunt’s mangled corpse is more real to him than the dreams he had as a child.

Mikasa and Armin make it to the beach, and despite all of the pain they’ve gone through getting there, they can smile. They can squeal over the tide over their feet. They’re happy.

But for Eren, the ocean that has always been one of the solid carrots of his struggle has turned into a reminder that they’re still not free. They’re still stuck. They’re still surrounded by monsters. It never ends. Making happy dreams come true is a temporary flight of fancy that can’t save them.

Death, though. That can fix it, right? Just... kill them all.

I don’t think the bleakness of RAB’s perspective has ever been presented so quietly.

Eren has fallen to a place that dreams can’t reach, and his only answer to that sense of desolation is to turn it on their enemies.

When the choice between Armin and Erwin is presented, Eren’s strongest argument for Armin is that he can still dream. He isn’t consumed by revenge. He sees something outside of death and chaos when Eren can’t.

After another year of life, that difference has only expanded, and now Eren really can’t find anything to hope for.

And that’s essentially why there are those few paragraphs of theme up there. Becoming a slave to a cause and abandoning softer things is dangerous. There needs to be that balance that people like Hange have, otherwise you’re just going to fall apart.

Learning to let something go is valuable, but if it’s done because it hurts too much to hold it close, it isn’t growth. It’s destruction. That’s why Mikasa’s struggles, while agonizing, don’t separate her from joy the way Eren’s have.

Mikasa’s learning that there are some things you can’t fight. Eren’s found despair in thinking victory can’t exist.

And look, I’m an optimist with this series. I know that, and I know it’s probably annoying or laughable on occasion.

But that setup is so perfectly arranged to oppose the themes presented in their first meeting that I can’t help but hope they’re going to go through all of this, losing faith in beliefs that have sustained them for years, and then find them again.

They aren’t young children anymore. Idealism is hard, and their lives have only made it harder, but that’s what makes it matter so much. Their values don’t deserve to lose, and if they don’t champion them, no one will. And I’d kill to see them find their way to believing in that again after being through hell.

With that thoroughly rambled about, we turn to things I don’t have complete thoughts on, but will bring up regardless.

Starting with the fact that Marlowe’s name variances would drive me to drink if I drank.

Eren pretty fragrantly calls back to what Levi tells him in the forest when they’re first facing the Female Titan.

“I don’t know the answer. I never have. Whether you trust in your own strength... or trust in the choices made by reliable comrades. No one knows what the outcome will be. So, as much as you can... choose whatever you’ll regret the least.” --Levi, 25

“I don’t know... what the right choice is. How can anyone know the future?”

When Levi says it, it’s a call to action. Who knows what the right choice is, but you’ve got to make one. When Eren says it, it’s an attempt at comfort. A choice has been made, so let’s work with it and not fuss too much over how, yeah?

Besides, Armin is so unbelievably amazing that regrets are even more of a waste than usual. For sure.

And the last thing I can work myself up to care about is that Historia rocks, and I’m gladdened that she instructs her people to not be such lying jackasses without hesitation. Hail to the Queen and etc.

But when Eren has his more complete flashback to the incident between his family and the Reiss family (harking a return to feeling slightly bad for Grisha--whatever his mistakes, Eren, Carla, and Mikasa are his world, and that’s a worthy perspective), what I really want to know is if Historia sees it too. They’ve experienced mutual memory magic before, but that was in the cave of mysteries.

Mikasa and Armin seem to notice that something has happened, but Historia’s the one to get the large panel of her eye (I need a tag for her eyes still), and I’m dying to know if that’s because she’s the one looking at Eren’s expression head-on, or because she sees what he sees.

Because if she’s receiving flashes of his flashbacks when they’re connected, Eren’s attempts to protect her by keeping one of her potential uses a secret is possibly already long dead when they hit the beach.

Also it would make my favorite character maybe relevant for another arc.

I deserve nice things, this should happen.

[totesmccoats]

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Batman #27

One man finds himself caught between the forces of the War of the Jokes and Riddles like a kite in a hurricane, being pushed and pulled between Joker, Riddler, and Batman; and his family’s safety hanging in the balance.

There’s been one character that’s popped up randomly but reliably since King started his run on Batman, and he finally gets an issue (at least one issue) all to himself. Ironically, King is using his focus on this character to give us a ground level perspective on the war, what it’s like to be a small time criminal with some notable skills in the middle of one of the most tumultuous times in Gotham’s history. It’s not only the opportunity to give pathos to someone who’s been a joke up until now, but in that pathos, we better understand the toll this war pays on even the D-listers of the city. And, of course, King handles it with the same poetry he’s handled the rest of the series, showing us the seeds of a flower that’s already bloomed.

  Superman #27

It’s time for a Kent family vacation, and for the Independence Day (this comic is a wee bit late), they’re going on a tour of American memorials, with Clark and Lois teaching Jon about the history that makes them worth the trip.

I’m a fan of hokey and schmaltzy, but patriotic schmaltz is where I draw the line. After all, there’s history and there’s hierography, and it’s hard for me to tolerate any account of, for example, the founders, without bringing up their hypocrisies of slave ownership and genocide. Plus, there’s the general glorification of war that happens whenever you do this type of thing that sours even sweet scenes like the Kents treating a hopeless vet to dinner and standing up for his right to dine somewhere even if he may “disturb other customers.”

Superman is meant, in part, to represent the best of American ideals, and unfortunately, this comic doesn’t really touch those.

  Green Arrow #27

Here, however, is a comic that discusses America in a way I can get behind.

Green Arrow’s search for the Ninth Circle takes him to Washington DC, where he runs into Wonder Woman, and the two foil a plot to increase America’s support of war, and thus military spending.

Green Arrow doesn’t even try for subtlety here, at times reading like a polemic against America’s hawkishness – which is incredible. Oliver waxes on about how the Ninth Circle uses fear to motivate people to their side by convincing the public that the only way to feel safe is to buy more and more weapons to protect them from an increasingly dangerous threat – a threat they engineer, of course. He even lectures about himself and his own ignorance of his privilege when he first began as the Green Arrow.

But what’s so effective is that, despite how over the top things get in this comic, the results are all too familiar. A formally pro-peace senator being scared into supporting increased “defense.” Despite saving the day, Oliver and the comic believe that, regardless of political affiliation, all politicians are motivated by fear and eventually learn to support endless war for the sake of feeling secure. It’s all lies acted on for the sake of profit.

  The Wild Storm #6

We’re 25% through this story, which, in Ellis time, means that it’s finally appropriate time for an infodump.

After an expertly scripted and executed fight scene, that reads like John Wick fighting Jaws from 007, between Cray and the two-person kill-squad sent to kill him ends with Cray accepting Christine Trelane’s job offer – Adrianna brings Spica to Jake Marlowe’s base in Brooklyn so she (and we) can get some questions answered about IO, Skywatch, and how this world is run.

The way the comic is put together, the fight in the beginning feels like having your dessert before your dinner; quenching our action-tooth before giving us some nourishing exposition. But I don’t want to give the impression that this is dry exposition. Ellis still writes some of the sharpest dialogue in comics (and TV and film), and Davis-Hunt still finds ways to make two people talking at a table graphically disturbing when certain reveals make it appropriate. Between this and Clean Room, he’s become my favorite comic artist for scenes of the grotesque and Giger-esque.

  Secret Empire #6

While lost-Steve continues to be tortured by the Red Skull, and the heroes trapped in the Darkforce dimension do their best to keep Tandy’s light; Hydra unleashes a full-on assault on the resistance base. And inside their crumbling base, the resistance tears themselves apart trying to find their mole.

This issue is all over the place, not giving any of its developments any time to breathe. I’m not sure if this issue is supposed to end on a high-point or low-point, and I doubt that’s intentional. Through the issue is a narration that starts with Steve talking about how all heroes are hypocrites who fight only for their own pride and reputation, then goes to Hawkeye during the attack on the Mount where he seems to admit defeat before being reminded of why heroes really fight. And there’s a dramatic showdown between Steve and Tony that intentionally echoes the first Civil War. Hydra unleashes the Hulk on the resistance in what feels like it’s supposed to be the story’s lowest point, but this is right about the point in the story where Hawkeye’s narration tells us that this is where all the heroes regain their nerve…and then there’s a nuke and we’re supposed to believe everyone died even though we saw them all escape…?

Again, nothing has room to actually land and breathe before the issue hits us over the head with the next dramatic moment. While I’m normally against extending these events at all – and this one is already set to be 10 issues – this issue could’ve easily been split into two that allow for a better dramatic arc to unfold over the course of this one battle.

  Peter Parker: The Spectacular Spider-Man #2

After a brief misunderstanding with Ironheart, who eventually agrees to help Peter with the hacked Stark phone, Pete heads back to New York to summarize Amazing Spider-Man: Family Business to a confused Johnny Storm, and then go on his date with Rebecca…in full costume.

Like Zdarksy’s other books with Marvel, this one slows down and takes us more towards the ground-level with its characters, putting more focus on their day-to-day rather than whatever big criminal plot they’re gonna have to face. We spend a lot more time with Peter in his apartment chatting with Teresa and Johnny, or out on his date than we do following up on the hacked phone.

And Zdarksy writes the most natural sounding Peter dialogue in any Spider-Man comic today. Where Bendis’ writing can often feel like the characters are reading from a script, and many of Slott’s quips feel (appropriately) forced; Zdarsky’s Peter reads like someone legitimately saying the first funny thing that pops into his head, and is appropriately hit-and-miss. That feeling is also aided by the more normal situations that Peter’s found himself in this issue; as he’s quipping during a date, not while fighting supervillains.

I think, more than not mentioning his current status quo as a billionaire, the reason that this series feels like a return to form is because it’s focusing a lot more on Peter than Spider-Man.

  Ms. Marvel #20

In this issue’s opening pages, Ms. Marvel establishes itself as the ideal of “the world outside your window” that all Marvel comics that choose to attempt that should strive towards. Aamir, who was arrested for no reason last issue, pleads his case explaining his innocence, and even explains who the authorities should look for if they want to find terrorists that look like him. It’s an eloquent and grounded explanation of who gets radicalized and why, delivered by a character in a situation that reflects our unfortunate reality. It’s a clear-headed and powerful scene, and more comics should strive for such relevancy.

Then, Ms. Marvel wakes up from being knocked-out last issue, and jumping back into action, finds herself in the middle of a Chuck Worthy rally. Worthy’s speech is reflective of the sort of conservative rhetoric of law and order and nostalgia that unfortunately wins elections; but presents it in a way that doesn’t necessarily hit you over the head with it, like a comic like Green Arrow would.

This arc – and this series overall – successfully puts it’s hero against clear analogues for real world issues, and makes them approachable and resonant. Yeah, you’re getting a story about a stretchy girl that punches bad robots, but Ms. Marvel has also told stories about gentrification, online-harassment, and islamophobia that confront each issue with the same tenacity that Kamala confronts her villains.

  Bitch Planet: Triple Feature #2

And where Ms. Marvel tackles real world issues with a degree of allegory, Bitch Planet has always come at it from the angle of parody – ramping up the real world effects of white patriarchy to what are supposed to be ridiculous extremities. Like the last triple feature, this issue takes us off the prison planet and to Earth itself, where life isn’t that much better for women.

The first story, Bits and Pieces, shows us a child’s beauty pageant in Bitch Planet, where tween girls are judged on the beauty of a single body part, and has one heck of a final page. The second, This is Good for You, shows us a propaganda film. And the third and longest story, What’s Love Got to do With it?, tells the story of one woman’s quest to get married before her family is forced to pay an “Old Maid tax,” and explores how dating is done on Bitch Planet.

All of these stories are generally funnier than the main series, each acting as a short parody of a single aspect of what living in an uber-patriarchy would be that rather than telling the sort of wide-ranging story of the main title. This means that each story is also sharper, with single page conclusions finding inventive ways to twist the knife like the best episodes of The Twilight Zone.

Comic Reviews for 7/19/17 Batman #27 One man finds himself caught between the forces of the War of the Jokes and Riddles like a kite in a hurricane, being pushed and pulled between Joker, Riddler, and Batman; and his family's safety hanging in the balance.

[totesmccoats]

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Batman #27

One man finds himself caught between the forces of the War of the Jokes and Riddles like a kite in a hurricane, being pushed and pulled between Joker, Riddler, and Batman; and his family’s safety hanging in the balance.

There’s been one character that’s popped up randomly but reliably since King started his run on Batman, and he finally gets an issue (at least one issue) all to himself. Ironically, King is using his focus on this character to give us a ground level perspective on the war, what it’s like to be a small time criminal with some notable skills in the middle of one of the most tumultuous times in Gotham’s history. It’s not only the opportunity to give pathos to someone who’s been a joke up until now, but in that pathos, we better understand the toll this war pays on even the D-listers of the city. And, of course, King handles it with the same poetry he’s handled the rest of the series, showing us the seeds of a flower that’s already bloomed.

  Superman #27

It’s time for a Kent family vacation, and for the Independence Day (this comic is a wee bit late), they’re going on a tour of American memorials, with Clark and Lois teaching Jon about the history that makes them worth the trip.

I’m a fan of hokey and schmaltzy, but patriotic schmaltz is where I draw the line. After all, there’s history and there’s hierography, and it’s hard for me to tolerate any account of, for example, the founders, without bringing up their hypocrisies of slave ownership and genocide. Plus, there’s the general glorification of war that happens whenever you do this type of thing that sours even sweet scenes like the Kents treating a hopeless vet to dinner and standing up for his right to dine somewhere even if he may “disturb other customers.”

Superman is meant, in part, to represent the best of American ideals, and unfortunately, this comic doesn’t really touch those.

  Green Arrow #27

Here, however, is a comic that discusses America in a way I can get behind.

Green Arrow’s search for the Ninth Circle takes him to Washington DC, where he runs into Wonder Woman, and the two foil a plot to increase America’s support of war, and thus military spending.

Green Arrow doesn’t even try for subtlety here, at times reading like a polemic against America’s hawkishness – which is incredible. Oliver waxes on about how the Ninth Circle uses fear to motivate people to their side by convincing the public that the only way to feel safe is to buy more and more weapons to protect them from an increasingly dangerous threat – a threat they engineer, of course. He even lectures about himself and his own ignorance of his privilege when he first began as the Green Arrow.

But what’s so effective is that, despite how over the top things get in this comic, the results are all too familiar. A formally pro-peace senator being scared into supporting increased “defense.” Despite saving the day, Oliver and the comic believe that, regardless of political affiliation, all politicians are motivated by fear and eventually learn to support endless war for the sake of feeling secure. It’s all lies acted on for the sake of profit.

  The Wild Storm #6

We’re 25% through this story, which, in Ellis time, means that it’s finally appropriate time for an infodump.

After an expertly scripted and executed fight scene, that reads like John Wick fighting Jaws from 007, between Cray and the two-person kill-squad sent to kill him ends with Cray accepting Christine Trelane’s job offer – Adrianna brings Spica to Jake Marlowe’s base in Brooklyn so she (and we) can get some questions answered about IO, Skywatch, and how this world is run.

The way the comic is put together, the fight in the beginning feels like having your dessert before your dinner; quenching our action-tooth before giving us some nourishing exposition. But I don’t want to give the impression that this is dry exposition. Ellis still writes some of the sharpest dialogue in comics (and TV and film), and Davis-Hunt still finds ways to make two people talking at a table graphically disturbing when certain reveals make it appropriate. Between this and Clean Room, he’s become my favorite comic artist for scenes of the grotesque and Giger-esque.

  Secret Empire #6

While lost-Steve continues to be tortured by the Red Skull, and the heroes trapped in the Darkforce dimension do their best to keep Tandy’s light; Hydra unleashes a full-on assault on the resistance base. And inside their crumbling base, the resistance tears themselves apart trying to find their mole.

This issue is all over the place, not giving any of its developments any time to breathe. I’m not sure if this issue is supposed to end on a high-point or low-point, and I doubt that’s intentional. Through the issue is a narration that starts with Steve talking about how all heroes are hypocrites who fight only for their own pride and reputation, then goes to Hawkeye during the attack on the Mount where he seems to admit defeat before being reminded of why heroes really fight. And there’s a dramatic showdown between Steve and Tony that intentionally echoes the first Civil War. Hydra unleashes the Hulk on the resistance in what feels like it’s supposed to be the story’s lowest point, but this is right about the point in the story where Hawkeye’s narration tells us that this is where all the heroes regain their nerve…and then there’s a nuke and we’re supposed to believe everyone died even though we saw them all escape…?

Again, nothing has room to actually land and breathe before the issue hits us over the head with the next dramatic moment. While I’m normally against extending these events at all – and this one is already set to be 10 issues – this issue could’ve easily been split into two that allow for a better dramatic arc to unfold over the course of this one battle.

  Peter Parker: The Spectacular Spider-Man #2

After a brief misunderstanding with Ironheart, who eventually agrees to help Peter with the hacked Stark phone, Pete heads back to New York to summarize Amazing Spider-Man: Family Business to a confused Johnny Storm, and then go on his date with Rebecca…in full costume.

Like Zdarksy’s other books with Marvel, this one slows down and takes us more towards the ground-level with its characters, putting more focus on their day-to-day rather than whatever big criminal plot they’re gonna have to face. We spend a lot more time with Peter in his apartment chatting with Teresa and Johnny, or out on his date than we do following up on the hacked phone.

And Zdarksy writes the most natural sounding Peter dialogue in any Spider-Man comic today. Where Bendis’ writing can often feel like the characters are reading from a script, and many of Slott’s quips feel (appropriately) forced; Zdarsky’s Peter reads like someone legitimately saying the first funny thing that pops into his head, and is appropriately hit-and-miss. That feeling is also aided by the more normal situations that Peter’s found himself in this issue; as he’s quipping during a date, not while fighting supervillains.

I think, more than not mentioning his current status quo as a billionaire, the reason that this series feels like a return to form is because it’s focusing a lot more on Peter than Spider-Man.

  Ms. Marvel #20

In this issue’s opening pages, Ms. Marvel establishes itself as the ideal of “the world outside your window” that all Marvel comics that choose to attempt that should strive towards. Aamir, who was arrested for no reason last issue, pleads his case explaining his innocence, and even explains who the authorities should look for if they want to find terrorists that look like him. It’s an eloquent and grounded explanation of who gets radicalized and why, delivered by a character in a situation that reflects our unfortunate reality. It’s a clear-headed and powerful scene, and more comics should strive for such relevancy.

Then, Ms. Marvel wakes up from being knocked-out last issue, and jumping back into action, finds herself in the middle of a Chuck Worthy rally. Worthy’s speech is reflective of the sort of conservative rhetoric of law and order and nostalgia that unfortunately wins elections; but presents it in a way that doesn’t necessarily hit you over the head with it, like a comic like Green Arrow would.

This arc – and this series overall – successfully puts it’s hero against clear analogues for real world issues, and makes them approachable and resonant. Yeah, you’re getting a story about a stretchy girl that punches bad robots, but Ms. Marvel has also told stories about gentrification, online-harassment, and islamophobia that confront each issue with the same tenacity that Kamala confronts her villains.

  Bitch Planet: Triple Feature #2

And where Ms. Marvel tackles real world issues with a degree of allegory, Bitch Planet has always come at it from the angle of parody – ramping up the real world effects of white patriarchy to what are supposed to be ridiculous extremities. Like the last triple feature, this issue takes us off the prison planet and to Earth itself, where life isn’t that much better for women.

The first story, Bits and Pieces, shows us a child’s beauty pageant in Bitch Planet, where tween girls are judged on the beauty of a single body part, and has one heck of a final page. The second, This is Good for You, shows us a propaganda film. And the third and longest story, What’s Love Got to do With it?, tells the story of one woman’s quest to get married before her family is forced to pay an “Old Maid tax,” and explores how dating is done on Bitch Planet.

All of these stories are generally funnier than the main series, each acting as a short parody of a single aspect of what living in an uber-patriarchy would be that rather than telling the sort of wide-ranging story of the main title. This means that each story is also sharper, with single page conclusions finding inventive ways to twist the knife like the best episodes of The Twilight Zone.

Comic Reviews for 7/19/17 Batman #27 One man finds himself caught between the forces of the War of the Jokes and Riddles like a kite in a hurricane, being pushed and pulled between Joker, Riddler, and Batman; and his family's safety hanging in the balance.