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zayneternal · 4 years ago

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《 Halloween in June 》

summary ↠ It’s been 6 months since you and Taehyung have made it official, and it’s been nothing but sarcastic roast sessions and the occasional binge of Criminal Minds on Netflix, but for the last of those glorious months, a rather strange arrival has made himself known to the closing baristas at your place of work. Which brings you to the newly normalized routine of your closing shifts: the weird guy (who wears demon horns?) is seen stalking the outside of the shop again, Taehyung specifically asks you not to work the shift alone, and you do exactly what you always do...work the shift alone.

genre ↠ angsty angst ooO

member ↠ kim taehyung

warnings ↠ physical violence | stalking

word count ↠ 5.1k

moodboard credit to @jiminspjm

"Don’t close by yourself tonight,Y/N. I mean it.”

The words of your boyfriend, Taehyung, sternly imparted by soft lips against your temple while you’d prepared to leave for work earlier today, are still ringing painfully around between your ears as you directly disobey him. You watch the new barista, whom you’ve just excused from the gruesomely slow shift, gather her belongings, clock out, and disappear into the caramelized evening with a resounding jangle of the door chimes.

Arching away the guilty prickles that slowly inch up your spine at the knowledge of what you’ve just done, you sigh inwardly, pursing your lips as you traipse back behind the bar to finish up the last of the menial cleaning tasks. Taehyung is fully aware of your nasty habit to send home the newer baristas a little early on particularly slow nights like this one which is exactly why he’s been blowing up your phone since you arrived, making calls every hour that you’ve been declining in the name of “busyness”, but really, you know that hearing his voice will only make you feel worse about sending Jess home when he specifically told you not to. If it weren’t so furiously endearing and didn’t make you feel a kind of protected that you’d never let him know you felt, you might think Taehyung was being a little more overbearing than he is.

Despite Taehyung’s wishes, there’s really no point to having two people on the clock when there have only been three customers in the last hour--one of which being the regular that resides in the back corner working on the next great American novel that he’s had half finished for about two years now. You and Jess, even with her distracted habits and scatterbrained nature, got miles ahead on the closing list, leaving you very little to do besides counting the money drawer, cleaning out the espresso ports, and locking up at the end of the night.

You regret these bulleted thoughts when a sharp buzz begins smarting against the glass at the top of the pastry case, your phone screen lighting up to reveal a candid frame of Taehyung’s squinted smile, his name shining like a beacon across the top. Even after half a year of that picture present in your phone, the reminder that the man whose image it bears is the one calling you still sends your nerves blazing--a fact you’ve had to endure Taehyung teasing you about on numerous occasions (though he would admit to the same).

Gripping your phone in your palm to cease the outright noise, you clench your jaw in preparation, letting your thumb hover over the green phone icon so long you have to rush to press down before the call times out.

“Hello?” you breathe into the receiver, the muffled sound of a Seinfeld rerun playing on the mounted TV above the coffee bar.

“Y/N! Hey,” Taehyung’s rasped resonance hurries back, slightly airy as if he’d been holding his breath before you answered. “How are things going? Is everything good there? I haven’t been able to get a hold of you all night.”

You sigh again, running a hand through the haphazardness of your hair as you lean against the pastry case, holding the phone closer to your ear. “I know, I’m sorry. Me and Jess were swamped trying to get ahead on the cleaning while we had time.” There is only a small bit of solace you find knowing it’s more of an omission than a lie.

“Swamped?” he repeats, voice almost unreadable. “Huh, well that’s nice. Every shift I worked last week totaled maybe 10 customers.”

You bite the inside of your cheek, shifting your weight. “Yeah, business isn’t the same in the summer,” you sigh, deftly avoiding the truth of your customer count.

“Quite the bummer,” Taehyung speaks in that way he does when he’s waiting for a laugh. One you can’t help but give if for no other reason than how stupid it was.

“Lame,” you chuckle, finding the feeling of the smile tugging against your lips rejuvenating.

“How’s Jess doing?” Taehyung’s next question sends your grin running back to its hiding place with its tail between its legs. You’d have to tread carefully.

“She’s...” you begin, trying your hardest to sound casual. “Ya know, good.”

Nailed it.

“Good? Hasn’t run the espresso machine without the espresso yet? Dropped any open milk jugs?”

You’re trying to read his tone, but he sounds naive to your “omissions” so far. “Nope, no messes, broken machinery, or third degree burns to speak of yet.”

He huffs idly. “It’s only a matter of time. I’ll make sure to warn her about the christening the espresso machine likes to give newcomers when I work with her next week.”

You manage to quirk a grin as you settle into the conversation. “I’m sure she’d be grateful to hear that from you.” It was no secret that Jess had a certain affinity for Tae and his boyish charm, always dropping soapy dishes and fumbling with change when he would walk into the shop. It was somewhat endearing.

“Hmm,” he hums idly before saying something that shoots an arrow into your stomach. “Why don’t you just give her the phone for a sec, and I’ll tell her now? No time like the present.”

Your muscles tense and eyes close, slowly recognizing the familiar color to his voice. He also dons it when he’s asking if you ate the leftovers that no one else but you and he have access to.

“How’d you know?” you breathe, defeated, lifting a hand to your face.

“You didn’t brag about how much more tip money you’re bringing home with all this ‘business’ you have,” he responds casually, and you can’t tell if you’re in trouble yet or not. “You never miss a chance to be the breadwinner.”

You chuckle lightly, cautiously, breath tense for the moments that follow. “I thought you might be...ya know, mad if I told you I was closing alone.”

“Again,” he corrects. “Closing alone again.”

“Again...” you amend, feeling like a child on the other side of a pointed finger. You might’ve been upset, annoyed, that Taehyung is parenting you if you hadn’t been the instigator, knowing exactly how to avoid his gentle wrath and still choosing to step in its way.

You hear an exasperated sigh seep through the phone, and you can almost see him, eyes closed, locks shaking back and forth, nose bridge pinched between his pointer and thumb. “Y/N,” he breathes. “Are you actively trying to make my hair fall out? Cause it sure feels that way. You can’t see, but I’m holding a few shiny, very luxuriously conditioned locks in my hand right now. They should not be in my hand right now.”

You know he’s scolding you, but his personality washes through the receiver and makes you smile--something you try to hide in your tone lest he turn into more of your father. “I promise your balding is the farthest thing from a priority, Tae.”

“Then why, why, do you insist on blatantly ignoring me every single time?” In the background of the call, you hear the soft click of a door being shut. The jangle of keys.

“Taehyung, please tell me you are not leaving the apartment right now.” You say instead of answering him, your own eyes closing.

“My hair is falling out, and you’re upset that I’m coming to see you? Your priorities really are out of whack.”

You sigh and laugh in tandem, your neck almost hurting as it tries to decide which side to commit to. Annoyed or humored. “Of course I’m not upset that you’re coming to see me. I just wish it wasn’t because you think I can’t handle myself by myself.” You begin idly tracing the frame of the register next to you, twisting the key in the cash drawer back and forth.

Another creak as Taehyung pushes through the front door of your apartment building, the sounds of passing cars whooshing through the background as he begins the trek further downtown. “Y/N, I promise I believe you are fully capable of handling yourself. It’s just with everything that’s been happening there lately...that maniac...” He trails off, breath tight. “Just humor me. I’m protective.”

You breathe slowly before answering with half a mind to roll your eyes at the fact that you almost did want to humor him. The maverick inside you fights lazily with your secret desire to be sheltered. Instead of giving in outright, you glance at the clock and make your escape for the time being with a curt, “I’ve gotta lock up. See you soon.”

You end the call and replace your phone on the counter, moving to inform the great American author in the back that it was closing time. He gathers his things quickly, looking slightly deflated at whatever progress he had or hadn’t made during his time here, and disappears into the blackening night. With an empty store and slight prickle of annoyance rumbling in your stomach, you flip the locks closed on the front door, swiftly turn up the chairs onto the tables, and clean the final espresso port before clocking out.

Taehyung still isn’t here, but you aren’t surprised. Your apartment is a twenty minute walk from the shop and you’ve spent all of ten finishing up the quick close.

You gather your things in your arms and stand by the front window, taking only a moment to decide that you will meet Taehyung halfway home instead of sitting like a duck in the dark and empty space, knowing that your maverick is winning the fight now and you want to leave if for no other reason than to show Taehyung you really could handle yourself by yourself.

You take a step, backing away from the window with pursed lips. It isn’t even the length of an inhale after you turn your back, however, before a loud and raucous slam resounds throughout the shop. You freeze mid-step, shoulders tensing immediately and eyes wide as you slowly shift your gaze behind you, already knowing what you will find when it arrives.

There he is.

Party City devil horns pointed high. Halloween makeup smudged and unnerving across his wild face. Palms planted flat and tense against the thick glass of the window.

No one knows where he came from or why, only that a few weeks ago he made a claim on main street. A demon in human form hellbent on terrorizing the small businesses littering the downtown area in the dead of night. Somehow he was in perfect sync with the closing schedules, choosing the nights when you least expected him to appear without a warning to make himself very known and frighten the living fuck out of the witnesses.

He hasn’t hurt anyone...yet...mostly because everyone so far has been smart enough to stay out of his way. Make it home before he showed up, if you were lucky, or stay in a pair or group which he tended to keep his distance from for whatever reason. Everyone so far except for you. Of course.

Realizing you are still frozen and freaked, you turn your eyes to the basement door that you had been heading for in the first place--a less conspicuous way to exit and the way you had been hoping to take to avoid him altogether. He hasn’t shown up at all the last few closes you’ve done alone, and most of his appearances--besides the first time almost a month ago--you’ve only heard about from coworkers. Maybe that’s why the healthy dose of fear you are supposed to have was nowhere to be found tonight.

It sure as hell is here now. Too little too late.

All of a second has passed since you glanced away, but with a swift look back, your eyes come up empty of all things frightening which somehow frightens you all the more. Your breath quickens. Your saliva dries, sticking as you attempt to swallow without success.

“Ok, Y/N,” you self soothe, the weak sound you hear squeak from you not in the least bit convincing. “No need to freak out. You’re gonna be just fine. Composure. Composure.”

You swallow thickly once more and stand up straight. Maybe he’s gone? Maybe your presence is of no interest to him tonight? You try to assure yourself of these things as you slide to the basement door, glancing over your shoulder every other beat because of course you aren’t convinced. Is the basement the safest way? What if he’s waiting down there? What if that’s what he wants you think so you’ll walk right out the front door instead? Is it better to just stay put? Can he get inside?

Deciding it’s less likely he knows about the back exit and feeling too frazzled to stay, you hurry on. The sweat lacing your palm as it clamps around the brass door handle is thick, sliding somewhat as you turn and tug it open, closing it just as swiftly behind you. In the dimly light stairwell, you feel only slightly consoled.

It’s with haste now that you descend the rickety old wood and stumble across the dank room towards the hidden alley door, grappling with the key in your purse all the while in preparation for your speedy retreat. Taehyung has to be close -- and then a spike of fear because Taehyung is outside with him.

The basement door is opened and then closed, ushering you outside within the same moment, and as you shove the key into the lock, you fumble with your phone in your free hand, your nerves making it doubly hard to unlock it and redial your most recent contact.

“Hey, I’m almost there,” he answers immediately, sounding annoyingly clueless to the danger he so adamantly warned against. You feel almost hypocritical as you interrupt his, “Just another minute or-”

“Tae, turn around, please,” you hiss intensely, your eyes wild around you as you creep down the narrow alleyway, not sure if you should feel protected or trapped yet.

“Turn around? But I’m almost--” He pauses, confused. “Y/N what’s going on? Did you leave? Please tell me you’re still inside.”

“I-I-” you stutter, questioning if you want to explain your reasoning in this current moment. You are almost to the end of the ally and then it would be brightly lit streets and witnesses. Almost there.

“I’ll defend myself later,” you urge, realizing you are whispering. “Just turn around, please. I’ll meet you at the apartment.” You shake your head at yourself, upset for a random moment that you are so affected just by the sight of this human apparition. He hasn’t hurt anyone, you remind yourself.

And then suddenly you are on the ground, your phone scattering a few feet away from you. The muffled electronic questions of Taehyung are thin and blurry in the background. You realize your vision is swimming and lift a hand to your forehead where it comes away red and sticky, shining in your fuzzy view. The asphalt had hit you hard. Confusion quickly gives way to concern and then terror as you roll to your side, head pounding. The first clear thing that enters your vision is the double point of a pair of horns leering over you.

You think you scream, but can’t be sure. The sound melts into the night, as if it never happened, leaving you even more petrified than you thought possible. Voiceless.

You feel so helpless, bleary and bleeding, underneath the shadow of this terror, his face illuminated in the most horrifying of ways as the moonlight stripes over his dark and dreary makeup, lighting up half of his sickeningly joyed smile with flashes of silver fire.

Another silent scream.

He’s standing over your lower half, nothing in his hands to indicate he’d been the one to cause your stumble. Maybe one clumsy moment of fear has fated you to this. No one to blame but yourself.

He leans down, and your heart stops for a moment making breathing impossible. You try to discern if the liquid you feel on your cheek is a stream of thick tears or the blood from your forehead streaking down. Neither bring you any form of comfort or distraction from the hell spawn closing in on you. He speaks no words with the part of his sinister smile, just a ravenous snarl followed by a hyena-like chortle that tells you, “I’m having fun. Are you?”

You feel yourself attempt to move away from him, your palms scratching desperately against the black pavement beneath you, cutting and clawing your skin with a welcome pain that tries to convince you you have a chance. Only you don’t and he is on top of you again, this time reaching out, his grin deepening as his ink stained hands spread around your forearm, tugging hard.

You yelp, audibly this time, gathering just enough breath to plead, “No,” as the grimy feeling of his fingers spreads along your arm like poison. This only seems to please him further as he grips harder, pain igniting beneath his touch.

And in that moment, a moment that feels like eternity in slow motion, you want nothing more than to apologize to Taehyung. To tell him he was right and you’re sorry and you miss him and need him and want to be protected and will tell your maverick to move out for good if it means this second of pure terror will end. You close your eyes, certain now that the liquid on your cheeks is both blood and tears. Please let it end.

And it does.

The pain blooming along your arm subsides. The searing presence of him overtop of you is removed. You can breathe. You can move. You grasp at your chest, sucking in air like you’ve never drank a breath in your life. It’s only after multiple deep gulps of oxygen that the blurry noise in the background races to the forefront, clear and alarming.

“You fucking bastard! You sick fuck, don’t touch her!” Taehyung’s voice echos sharp and furious in your ears, and your eyes fly open to drink in the scene. He’s grappling with the demon, rolling him over as the devil fights with the growls and snarls of a wild animal, biting and gnashing his fangless teeth at Taehyung’s face before his hands are pinned on either side of him. The control only lasts a moment, though, as Tae’s anger gets the best of him and he releases one of his hands to throw a few heavy fisted punches against his target’s jaw.

The horned man’s head thrashes to the side with the force of the impact, and you know you should feel assuaged somewhat by the karma being dealt, but the way the man laughs through the pain puts your nerves on ice. You scrabble away in a moment of clarity and urgency towards your discarded phone, a slim crack racing along the screen. You fumble once more to unlock the device.

“911, what’s your emergency?” A calm voice questions in response to your dial, the juxtaposition almost enraging against the scene you’re helplessly witnessing.

“My boyfriend!” you cry. “He’s--the other man jumped me and--please help, I don’t know how long he can keep him down!”

“Please slow down, ma’am,” the voice urges, only a fraction more concerned than before. You have to remind yourself that it’s their job to stay calm when the other end of their line is anything but. “Where are you now?”

“Alley!” you answer desperately. “The alley behind the shops on main street! Please hurry!”

In front of you, where your eyes are still glued, Taehyung is flung to the side with a zealous convulsion from the demon beneath him. He smacks into the brick wall next to their writhing tussle with an oof before the man is clambering onto him like a beast, his face bruised and bloodied by Taehyung’s fists. Vengeful.

A shriek rips through you and the phone drops to the ground just as the 911 operator is mollifying, “Help is on the--”

“Taehyung!” you wrack, your head empty of anything but the sight of him bracing futilely against the claws the man is using to slash across Taehyung’s forearms and face. He is trying with everything in him to buck the devil from his chest, but he has him pinned good and shows no signs of relenting, practically foaming at the mouth with unfettered hate. And that face...the evil. The rage.

You don’t think. You don’t question your next move. You’re suddenly casting yourself from where you’d been crumpled on the asphalt, a shout that could’ve come from anyone but you tearing through your throat as you launch across the space between you and your attacker. Your hands feel the tattered fabric of the demon’s jacket before your brain catches up to you, nails digging into the flesh beneath it and you yank.

A confused grunt escapes who is now your victim as he topples backwards and away from Taehyung. “Get OFF!” you seethe, furious, terrified, and aflame with adrenaline as you tug with the strength of ten of you and slam the unaware man into the pavement. You give him no moment of respite before you’re the one in control, pinning his arms down with the weight of your knees and laying into him with all you’ve got. Your nails are just as effective as his were against Tae, if not more-so. Blood is slick in the gashes you leave against his cheeks, neck, collarbones, blazing red against his ruined makeup. The facade of the maniac is crumbling beneath you.

You see the wild anger give way to what resembles fear as he slowly realizes the mistake he has made. At least he’s sane enough for that.

Deep moans of anguish and pleading are flowing from him now, still no words, but you don’t need them to know you’re inflicting pain. Well deserved.

“Y/N! Y/N that’s enough!” Taehyung’s voice seeps into your red rage fueled tunnel, a light at the end that you’re not ready to reach. You feel the weight of his arms wrap themselves around your midsection, pulling with a force you can’t combat before you’re unfastened from the devil. He remains grounded. He doesn’t move to run or escape, instead rolling over with another moan as he covers his bleeding face with his hands. One of his horns has detached beside him. In the near distance, you register the sound of sirens.

“You got him, Y/N, you got him,” Tae hushes into your ear, still holding you tight against him. It’s not until he speaks that you realize you are still struggling to free yourself and return to your karmic retribution. “Relax, Y/N, we’re ok. You got him.”

It’s then that you hear yourself crying, your cheeks now completely doused in the sweat and tears of the passed moment. You’re shaking against Tae’s chest, and as he finally sets your feet back on the ground, you crumple in his arms, all the adrenaline rushing out of you quicker than you can adjust to. He catches you deftly, holding you upright as he turns you into him, hiding your face in the joint of his neck and shoulder as he sways back and forth, ushering a calming pattern against your back.

“The cops are here, Y/N,” he whispers, alerting you to the red and blue lights swimming a few yards away and the sound of car doors popping open. Questions shout their way down the alley towards you, but you don’t hear anything but noise. You breathe Taehyung’s scent in for all it’s worth.

“He’s right here, officer!” Tae speaks for you both, calling towards the coming aid. The sound of clattering footsteps rushes past you, and you hear the echoed moans of the man become more desperate as he’s lifted off the ground and cuffed with a comforting click before the horrid sound disappears away down the alley and into the back of a car. It’s not until that car has pulled away and sped off, your nightmare with it, that Taehyung gently pulls back, his hands coming to cup your trembling jaw. He lowers himself to look into your eyes with intense concern, searching you. The red and blue lights of the remaining cop car flash methodically behind him, and you can feel the lingering presence of another officer nearby, waiting to question you, you’re certain.

“You okay?” Tae softens. His thumb brushes your cheek.

“I will be,” you assure him with some semblance of a smile. “You?” With a sense of normalcy returning to you, you bring your own hand to ghost against the scratch marks left in the perfect skin of his face. Taehyung tries not to flinch against the sting. You’re only pacified knowing you did much worse. “Look what he did to you...”

He mirrors your soft smile of reassurance. “I’ll be okay. It beats going bald.”

You’re surprised that you laugh, given the circumstances, but you’re grateful for it. The sound feels like a weight rolling away. You lift your hand further to tousle his very thick and secure locks. Taehyung sighs against your fingers. “Can we go home now?”

____________

“Ow.”

“Oh, sorry,” you smile apologetically as you dab the cotton ball softer against Taehyung’s skin. His eyes are closed, palms resting against your thighs as you both sit criss-cross-apple-sauce on the floor of your apartment bathroom. You’ve been tending to each other’s wounds for the past half hour after arriving home, but with every pat pat pat of rubbing alcohol and Neosporin across marred skin, you’re hit with a wash of guilt that began bubbling in your stomach the moment that cop car drove away.

You clear your throat and the lump in it. “Um, Tae...thanks again for dealing with the police afterwards.” You’ve thanked him five times already, but you can’t seem to satiate the guilty conscience living it up in your gut. “I don’t think I would’ve spoken coherently if I’d tried.”

He doesn’t call you out on the fifth repeat. He just sighs softly and smiles against your gentle cotton touch. “You don’t have to thank me, baby. I’m just glad you’re ok. Seeing you in that alley when I got there...” He trails and his smile tenses before he shakes it off, not wanting to add anymore weight to the night. “Well...it could’ve been a lot worse.” His hand tightens around the flesh of your thigh.

Your careful trail across his face slows to a stop. Taehyung opens his eyes to question you only to find your gaze fixed over a spot on the floor, eyes clouded.

“Y/N...” he whispers, reaching for your face.

“I’m sorry,” you rush, pushing his hand away. He stares at you, confused, hand frozen in midair. “I’m so sorry, this is all my fault.” The lump in your throat won’t be swallowed away this time.

“Y/N, don’t--”

“No, Taehyung, it is,” You urge, your voice tightening as the prickle of heat ignites behind your eyes. “Tell me I’m wrong.” The warmth wells the more you try to contain it behind the brazen tone of your voice. “If I had just fucking listened to you, we wouldn’t be sitting here on the floor wiping blood off of each other’s faces. If I wasn’t so goddamn stubborn, I wouldn’t have had to cut into a lunatic in a middle of an alleyway. Tell me that’s not my fault, Taehyung.” There is no hope of hiding the tears now as they bubble and boil over and down your cheeks, stinging all over again. You’ve had enough crying for a lifetime tonight. “You can’t. You can’t tell me it’s not my fault because every time I look at your face--” You clasp his jaw between shaking hands. “--I know it is.”

You bite your trembling lower lip and let go of him, pressing the heel of your palms against your burning eyes. You want to hide, disappear, get swallowed up in this moment, almost ashamed to be sitting in front of him so freely. You want him to at least get mad at you. You deserve something.

Instead of any of that, though, you feel the warm and soothing trace of Taehyung’s fingers bloom around your wrists, peeling them away with gentle force until your rash red face, swollen with cuts and tears and splotches, is revealed to him. He takes both of your hands into one of his, his free palm coming to wipe away the waterfall streaming across your skin, and you can do nothing but squeeze the warmth of him like any second it’s going to disappear. Maybe that’s exactly what you deserve after what you caused tonight. The thought of it shreds you.

“Y/N,” he calls, and you meet his eyes for the first time, a fresh flow of waterworks exploding when you see the utterly pure sincerity he wears in his gaze. “Listen to me very carefully.” He leans forward, tugging you along until your foreheads rest gently together, his hand trailing to the back of your neck where he holds you secure. It’s still not close enough.

“Was a single decision tonight made with any intention of purposefully putting someone in danger?”

The question gives you pause. You weren’t expecting it. “...No.”

“Then nothing--not a single thing--that happened to either of us was anyone’s fault. Do you hear me? You did nothing wrong.” His voice is like honey in your ears, his soft conviction so mesmerizing, you want to believe him. “Even had I known what would happen...I would’ve done it all over again for you. Never question that.”

You cry softly as you stare at him, utterly speechless as to how you deserved someone so full of kindness and goodwill. You don’t know if you’ll ever figure that one out.

He tips his head forward and attaches his lips to yours in a slow kiss, the feeling of it sending a wave of total calm and reassurance through you. When he pulls away, he pulls you with him until you are cradled against his chest, his legs walled around your form as you rock back and forth on the bathroom floor, surrounded by discarded cotton and open tubes of Neosporin.

“I love you,” you hear yourself whisper against him.

A content sigh from above you precedes lingering lips atop your head. “I love you,” he agrees. “More than you know.”

Through the fading sting of tears and freshly healing wounds, you really do believe him. And no amount of worry-fueled balding or strong-willed stubbornness will change that.

___________

ok, before you say, “devil horned man? really?” which many of you MAY HAVE already done I PROMISE YOU this plot was inspired by very true events at a very real job i had a while back, LEGIT someone like this exists, and i just ran with what I was given, ok thank yew.

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human-enthusiast · 4 years ago

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Absurd Person #1 - Monkey D. Luffy (kid)

Let’s start with not only the main protagonist of One Piece but also the first character to give Luffy any sort of injury...

...his dumb, seven-year-old self...

*Disclaimer: I don’t own this image - screenshot from Episode of East Blue

The last time I wrote this, I forgot to hit save and my browser just reloaded the page and lost everything. After that I just went “I’m done” and rage quit Tumblr for the night (which I normally don’t do). That’s how my Sundays usually go😒🥴

Now Onward!

Basic Classifications

Real World Ethnicity/Nationality: Brazilian

Class: farm / country / lower class

Culture (the one he grew up around): Dawn Island - Sea-side village

Fishing community

Farming / Ranching community

Hard work ethic

Small and close community members; relatively friendly; little to non-existent conflict

Selective mix of being open towards strangers (especially with merchant vessels for better trading opportunities) and weariness towards those they expect to be harmful (likes Pirates; I’d imagine the people of Windmill Village were understandably unnerved with the Red-Haired Pirates first showing up).

Core values (personal to Luffy): pride, physical strength, adventures on and outside his home village,

Relation to authority: neutral - shifting slightly towards negative (no clear basis of opinion; can only go off on Luffy’s fascination with pirates as the main viewpoint)

(The added information feels a little scatter-shot but figured I give it a try based on little information from the manga panels and how it lines up with real-world similarities. Most information is based on logical speculation and could change with new information in later chapters.)

I know that the Romance Dawn arc consists of the chapters up until he meets Coby and Alvida (I think...), but the depiction of Luffy’s character in the first chapter seems different from when he is seventeen and setting out to sea. So, I’ll treat kid Luffy as a separate character for the first analysis.

First Impressions and Introduction

Now, I am an anime watcher, first and foremost, so my first impression of this character stems from the Anime. My introduction towards this ball of chaos was when he popped out of a barrel, that he put himself into after realizing that a whirlpool suddenly appeared (how he missed it? - It’s Luffy), and then inexplicably took a nap in. That was the absurd reason I was able to stick with One Piece in the first few arcs (until Baratie became one of the major reasons I stuck with it - I’ll explain why when we get there).

And since the first chapter was used for episode four in the anime, I was already somewhat familiar with how the story started and who Luffy was as a kid. However, reading the first chapter felt....different than what I would’ve expected. And because the anime cut out a few details from the chapter, there definitely are some things to take from kid Luffy at that point.

So my first impression was, as follows:

The kid is unhinged...That explains some things...

Complete wild child of a backwater village from Day 1.

LIKE-- The anime episode DID NOT explain how he got that scar and the guy didn’t bring it up ever. To be fair, that wasn’t a big focus because the anime didn’t make it a focus. Reading that part though did more for his character and a little of his upbringing, through speculation, making it a rather slow-building but also fascinating introduction into this series.

Just a bit of an add-on, but if the manga introduced Luffy in the same level of neutrality as what the Anime did, It may not have fully made it clear if Luffy was going to be the main protagonist. Then again, it’s a shounen manga, maybe it was rather obvious to everyone else. Regardless, his introduction served to

(1) Make his entrance memorable

(2) Establish his character that could either compare or set him apart from his teen self.

(3) Act as a sort of precursor towards the introduction of Luffy’s world and upbringing (which isn’t completely established until the last few arcs of Pre-Time Skip)

Personality

The best way I could describe Luffy at this point is a stereotypical kid...

Energetic, short-tempered, adventure-seeking, easily impressed, and ignorant...

That last description is actually something I brought up in a separate post about the “Fluid themes” of One Piece. Because I found that a small but overarching part in many (almost all) themes and world issues that One Piece reflects has some level of unawareness or apathy. Jimbe put it best during the Fishman Island Flashback when they found Koala (paraphrasing)

“They are afraid of us because they don’t know us.”

Know us referring to acknowledging them as people on the same level as humans.

Because of that and plenty of other instances from the East Blue, it can be a potential center for many characters who go up against or wish to explore the world and find that they are a frog in a well.

And that’s what kid Luffy represents. A rather aggressive frog in a well that wants out.

Granted, he is a seven-year-old, whose schooling has a closer equivalent to the 16th and 17th centuries of our world, living in what appears to be a farming community, so I’d imagine his education only focuses on at least the basic levels of reading/writing, mathematics, etc. A small, unexciting farming village probably has more concerns over their melon crops rather than what the world has going on. Adding in Luffy, you get a kid who dreams about being a pirate and adventuring outside the isolated village, making him avidly interested in a world he has no experience with. Or in a world he thinks is all fun and games.

That’s pretty standard for any child that has a mild and peaceful life. No doubt Shanks and his crew would tell him stories about their adventures. Not as a sort of attempt to make him a pirate, but because he was easily entertained by it, building up this expectation with stereotypical pirate personas. And whether he has his “destructive” tendencies before they became a fixture in Windmill Village, they definitely seemed to amp it up enough for Luffy to try and prove he was “man enough” to be a pirate at seven years old.

Then when you add in this idealistic expectation with the selfishness of a young child, it creates an opportunity to learn. Because, as any kid may go through, will find that their fantasy of the world won’t be what they expected, and will often react negatively. Luffy’s expectation of Shanks is that he is the strongest man worthy enough to be a pirate.

Now, Luffy’s view of a “real man” stems a lot from this stereotype of men solving their problems through fighting only. Which also embodies this rather damaging philosophy of never running away or backing down from a fight (which I refer to as stupid bravery - something that comes up in a certain other character).

The amazing thing about all the combined aspects of this kid is the ability to create a learning lesson for Luffy. Which can become a motivational factor in his pursuit as a pirate.

His easily impressed nature makes it known both when the Red-Haired Pirates talk positively about piracy adventures and when Shanks leaves the village. The difference between the moments can be showcased by the difference in determination and will to make an effort to achieve his dream. As he declared he wants to be King of The Pirates, he sets himself to work at it, rather than try and go with others.

How He Shapes the Story / World Around Them

I don’t know if anybody else made a similar connection (I wanna say someone DID but I can’t remember where) but in combination with Luffy’s general enthusiasm growing up hearing wild stories, his narrative reminds me so much of Don Quixote De La Mancha.

It’s been a while since I last read that story-- and by read I mean translate some paragraphs from Spanish to English during my Spanish I class in freshman year of high school. Nonetheless, I thoroughly enjoyed the story. Part I entails an old man who, after indulging himself with various stories of knights and valor, decides he wants to partake in his own adventures. Under various delusions and misadventures, his story becomes a rather well-known one.

Don Quixote was called the first “modern book”. That was something my Spanish teacher mentioned regarding its acknowledgment by the world and always stuck with me. It was one of the first stories of the early medieval period to focus on a regular man. Other stories before this tended to be about legends, gods, demigods-- individuals who often were referred to as legends because they were born into high status (often above humans). Either through original texts (often for religious purposes) and then through varying interpretations (such as the Arthurian Legends), these tales were a part of the status quo.

Kid Luffy is a person that reflects so much of the Don Quixote story (And not just because his village has windmills-- the most iconic scene about the knight’s story). He is that simple, normal boy that longs for his own adventures when there seemingly is already a well-talked-about story about someone who achieved infamy. In place of that is a man named Gold Roger whose execution we see in the manga’s opening. At this point, we don’t have much understanding about how it impacts the world as of yet, we just know it is setting up for something significant to the story.

Luffy becomes that “regular” person from a small-town with big expectations for a grand adventure.

That perspective can slowly build into the story by starting in a simple setting with a character going through one of the first dynamic changes in his life. Luffy’s experience with Shanks’s sacrifice sets a course in his own adventure. A story that trails into a rather bonkers adventure at the end of chapter 1.

His development is what shaped his world. It’s the way he learns when as it stems from the consequences of his actions. Especially ones where the smaller ones turn out to be very costly, making it a hard lesson that ingrains into the young kid. His actions created by his old ideologies sparked an intense reaction in the people around him. Especially Shanks, who felt he was worth losing an arm towards.

How The WORLD Shapes HIM

So, for the sake of the fact that kid Luffy’s “World” in Chapter 1 mostly consists of Windmill Village, I’m adding in Shank’s and his crew’s influence to extend and further give credence to his influence. Because, as of this point, Shanks represents a glimpse into the life of a pirate that Luffy strives for.

With Luffy being in a quiet environment all seven years of life, there is growth through basic schooling and healthy child development (theoretically since Makino seems to be the most likely one acting as his guardian), instead of doing things outside that norm. Now Shanks is the odd factor that creates new development into Luffy’s dreams and future ambitions.

The crew’s stories, charisma, and connection towards the kid actively (and probably unintentionally) created a positive expectation if he chose to pursue his dream. While that sounds inspiring, there were also negative aspects. Such as driving his ignorance and impatient nature to seek it out too early in his life.

Shanks then became a mediator. Luffy often has mixed feelings with Shanks as the man begets a level of encouragement while verbally making fun of Luffy for being a kid constantly. Despite that, it doesn’t completely deter Luffy’s ambitions. All it does is slowly drop his high expectations in Shanks after the first bar incident. This is again done by his childish outlook of physical strength and bravery equating to his ideal of a real man.

With Higama, Luffy learns about real-world dangers, and how bravery won’t always be enough to win battles. The same can be said for physical strength but at that moment it doesn’t apply to Luffy.

Shanks’ and the crew’s involvement helped Luffy’s views change. His expectations are fulfilled, which in turn reveal that he was wrong about them.

Finally, seeing Shanks’ sacrifice unfold drove Luffy into a pang of newfound guilt. By then, he was able to change one part of his world views from a childish fantasy into the beginnings of a mature way of thinking.

He gains some level of patience. Along with a set goal to work with. Attributes which are identifiable with Luffy in the chapters last few panels.

Patience = Luffy took time to train and learn to set sail at age seventeen.

Set goal = Be King of the Pirates

Add-Ons

When I say that kid Luffy, after Shanks’ sacrifice, gained a level of patience, it is meant as a deduction during that chapter. By no means am I insinuating that it became a permanent trait for his character. Because as of chapter 1, all of Luffy’s personality has yet to be revealed.

And this will apply to other posts for various characters. They may behave in ways during or in response to a particular event but it doesn’t necessarily equate to that becoming a whole personality trait. Calling Luffy patient, with having full acknowledgment of his personality during the bulk of One Piece, is completely off. But, there can and will be moments where Luffy will act patient when he deems it necessary.

This is a little hard to articulate but I hope it makes enough sense.

🏴‍☠️🐒

After-Notes

Here’s my first attempt at this analysis. It felt scattered even after editing everything. Breaking down characters sounds easy (and most times it is) but articulating and connecting things takes a lot of work.

Here's to hoping it gets easier with the next character. And maybe shorter paragraphs.

Up Next: Shanks (East Blue)

#OPA #One Piece #East Blue Saga #Romance Dawn Arc #Monkey D. Luffy #Chapter 1 #One Piece Characters #Worldbuilding #Analysis

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pop-punklouis · 5 years ago

Note

Do you have any book/movie recommandation to undersatdn better how the music/entertainment industry works? Thanks ❤️

three books i personally have are:

Ripped: How the Wired Generation Revolutionized Music— Greg Kot

Ripped tells the story of how the laptop generation created a new music industry, with fans and bands rather than corporations in charge. In this new world, bands aren’t just musicmakers but self-contained multimedia businesses; and fans aren’t just consumers but distributors and even collaborators. Since this digital revolution hit the music industry, its infiltration into every other form of media has been well documented, if often not well understood.

Music Entrepreneurship — Allan Dumbreck & Gayle Mcpherson

Music Entrepreneurship features an analysis of the changing landscape of the music industries and the value of the entrepreneur within them through a series of focused chapters and case studies. Alongside contributions from key academics across the globe, expert contributors from across the industry highlight successful entrepreneurs and offers practical help to the reader trying to navigate the business. Sectors examined include: The value of the music industries, Recorded music, Live events, Branding in music, Artist management, and Digital distribution

All You Need to Know About the Music Business (Ninth Edition) — Donald S. Passman

“The industry bible” ( Los Angeles Times), now updated, essential for anyone in the music business—musicians, songwriters, lawyers, agents, promoters, publishers, executives, and managers—trying to navigate the rapid transformation of the industry.

• Films/Documentaries

Artifact (2012)

Telling harsh truths about the modern music business, this riveting and award-winning documentary gives intimate access to singer/actor Jared Leto and his band Thirty Seconds to Mars as they fight a relentless lawsuit with record label Virgin/EMI and write songs for their album "This Is War." Opening up his life for the camera during months of excruciating pressures, Leto reveals the struggles his band must face over questions of art, money and integrity.

Backstreet Boys: Show 'Em What You're Made Of (2015)

An emotionally open and honest film portrait, this documentary explores the highs and lows from boyhood to manhood that led the group to a London studio in 2012 to write a new album, make a film and plan their 20th anniversary re-launch. The reunion renewed friendships, but dynamic shifts reveal new and old tensions that need confronting and resolving. This is a surprising and rewarding journey filmed over two years that delves into the extremes of fame and fortune, betrayal and renewal of being in a boyband

Woodstock: Three Days that Defined a Generation

In August, 1969, half a million people from all walks of life converged on a small dairy farm in upstate New York. They came to hear the concert of their lives, but most experienced something far more profound: a moment that came to define a cultural revolution.

Our Vinyl Weighs a Ton: This Is Stones Throw Records

Our Vinyl Weighs a Ton is a feature-length documentary about avant-garde Los Angeles-based record label Stones Throw Records. The film weaves together rare concert footage, never-before-see archival material, inner-circle home video and photographs and in-depth interviews with the artists who put Stones Throw Records on the map.

Searching for Sugar Man

Searching for Sugar Man tells the true story of Rodriguez, the greatest ’70s rock icon who never was. Discovered in a Detroit bar in the late ’60s by two celebrated producers struck by his soulful melodies and prophetic lyrics, they recorded an album which they believed would secure his reputation as the greatest recording artist of his generation. In fact, the album bombed and the singer disappeared into obscurity amid rumors of a gruesome on-stage suicide. The film follows the story of two South African fans who set out to find out what really happened to their hero.

B4TMD (Before the Music Dies)

This documentary from 2006 takes a good hard look into the American music and radio industry and it’s ever increasing commercialization of music over the last 3 decades. Featuring great interviews and insights from artists who are both new and old to the industry and their struggle to make art whilst operating in a business where that is not the priority. A great documentary (and one of my favorites) from a time when many artist where going their own way and leaving the old business model behind.

Downloaded (Napster)

In this day and age ‘Downloaded’ is an absolute must watch. It addresses the rise of the biggest change to the music industry in probably more than a century, digital file-sharing. Showcasing the history behind the now granddaddy of them all, Napster. Featuring interviews from the likes of Henry Rollins, Billy Corgan, Beastie Boys, Trent Reznor, Island Records founder Chris Blackwell, Don Jenner the former chairman of Sony Music and many more.

American Music (Off the Record)

Featuring well renowned theorists such as Noam Chomsky and Douglas Rushkoff, Off the Record is an insightful interrogation of the American music industry. Touching on the very relevant topics such as: the rise of indie labels and its circumvention of the ‘corporate machine’, the authenticity of live music and the downfall of privately owned music retailers.

Meeting People is Easy

Following Radiohead’s ‘OK Computer’ and its huge international success, the band undertakes a monumental world tour. The film follows them as they struggle with endless stadium shows, radio showcases and interviews over a course of two years with seemingly endless promotional work. ‘Meeting People is Easy’ is a no holds barred insight into the dissolution of mainstream success and the often unseen struggle that these artist go through when record industries treat a band as a product.

EMI: The Inside Story

EMI, if anyone is unaware, was arguably the most important record label in Britain and maybe the world, bringing us such giants as Queen, Pink Floyd Iron Maiden, The Beatles and many, many more. This documentary traces their rise and struggles throughout it’s many years in operation. Featuring interviews from members of Queen, Pink Floyd, the Sex Pistols, Pet Shop Boys and also former employees with insider knowledge and gossip from a very British institution.

#grey

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dragonofyang · 6 years ago

Text

The Heroine with a Thousand Faces

As the youngest member of #TeamPurpleLion, not only have I learned a lot in just the four months we’ve been working together, but I’ve explained a lot of what I’ve learned to others. Sometimes it’s about the history of Defender of the Universe and Beast King GoLion that @crystal-rebellion researched, sometimes it’s referencing @felixazrael‘s musical knowhow or @leakinghate‘s animation knowledge, and most recently, it’s leaning on @voltronisruiningmylife‘s expertise in how to break down and identify writing to provide corrections to those who see something in a show or article not working but can’t tell why. One big thing I learned since starting this crazy ride with my team is a massive hole in my college education on writing, which Felix filled in for me since we hit the ground running. Sure in my fantasy literature class we discussed Aesop and The Hobbit, and what the phrase “The Hero’s Journey” means and why it’s the monomyth, but there was one thing that my dear professor never taught us, although I’m sure she will in the future. Compared to Joseph Campbell’s heroic journey, this other monomyth is much younger.

What is it, you may ask?

Simply put, it’s a heroine’s journey.

[Image description: Princess Allura with her hair up and wearing her flightsuit from season 1 “The Rise of Voltron” backlit by white light.]

Let’s go on an adventure together.

To understand the heroine’s journey, I want to give you all a rundown on what exactly the hero’s journey is first. While it was never neatly labeled as “The Hero’s Journey” until Campbell, studies on common themes and plot points began back in the 1870’s. As time moved forward, Campbell published his 17 steps to the monomyth in 1949 (The Hero with a Thousand Faces) and as we move toward the present his monomyth is eventually dubbed as “the hero’s journey”. I won’t overload you with the dates and stuff I needed to study since that’s a) not the point of this piece and b) Campbell’s monomyth is actually secondary to the main one in Voltron: Legendary Defender. That said, it’s the backbone of a lot of literature both old and new, and while not every story follows these 17 steps outlined by Campbell or approaches them in the same order, you’ll find everything from the story of Christ to Lord of the Rings somewhere in these steps. It’s just that a lot of times the steps of the hero’s journey aren’t ever really explained, so you as a reader/viewer/consumer will see them and will have a gut instinct as to what’s supposed to happen, and when it happens you feel great! The story followed a formula that satisfies its audience! But it also makes a story that doesn’t follow a formula feel fundamentally wrong, from just a mild discomfort like putting on a shirt and buttoning it slightly off, all the way to triggering strong emotional responses including panic attacks or tears. Stories are designed to bring forth emotions from their audience, but what good is a tragedy without a lesson to learn? How can we enjoy an empty marriage when the couple has no chemistry?

So with this piece, I hope to illuminate just what the steps of the heroine’s journey are, contrast them against the hero’s journey, where VLD fits into all of this, and through that demonstrate why they are not interchangeable even though they share similar names.

Part I: Of Heroes and Heroines

In The Hero With a Thousand Faces, Joseph Campbell outlines seventeen steps, which are laid out in this diagram by Reg Harris:

[Image description: diagram of The Hero’s Journey using a circular diagram shape separating out the seventeen steps into eight categories, divided into the Known World and the Unknown World.]

In Maureen Murdock’s The Heroine’s Journey, she writes the heroine’s journey as follows:

[Image description: The Heroine’s Journey depicting a cyclical diagram of the narrative, featuring 10 distinct steps that loop back to the beginning at the top.]

The Heroine’s Journey is fundamentally cyclical in nature, and while the diagram above shows the Hero’s Journey as a circle as well, it ultimately has finite start and end points. One of the key differences between these is that the Hero’s Journey explores internal character in an external adventure and the hero achieves a (theoretically) lasting peace once their journey is finished. Conversely, the heroine must constantly evaluate themselves in the bigoted environment that tries to disenfranchise them.

As a note, while I use gendered terms such as “hero” and “heroine”, I use them as gender-neutral placeholders to label which monomyth I’m speaking about at present. Women can undertake a hero’s journey, and men can undertake a heroine’s journey, particularly when you examine them in an intersectional lens.

A heroine’s journey, at its heart, is an examination and acceptance of the self in an unaccepting environment, and its cyclical nature stems from the fact that whenever a heroine moves into a new environment, they have to make that journey over and over. They can be a queer man of color, a white stay-at-home mom, a disabled nonbinary person, whatever the case, the constant need to re-evaluate their place in the world is what marks the heroine’s journey as separate from the hero’s journey.

But while it’s cyclical in nature, we should start at the beginning nonetheless.

[Image description: Alfor (right) holding Allura (left) in the Castle of Lions. She says, “We can’t give up hope!” and he replies, “I’m sorry, daughter.”]

In The Heroine’s Journey, the story begins when an event causes the heroine to separate from the feminine. A significant event spurs them to reject the prescribed role of the patriarchy, which in the case of a woman could be a mother, a damsel in distress, a wife, etc. The heroine is put into a box and chafes against its edges because it cuts them off from their ability to reach for the masculine, the power and privilege it affords. This marks a stark difference from how our archetypal hero lives and begins their own adventure. The hero lives a fairly mundane life for the brief time we see them before the first element comes into play: the Call to Adventure. This is generally an external force spurring the hero to action, as opposed to the internal force of the heroine.

The hero then will Refuse the Call and will be introduced to the Mentor they will come to rely upon, whereas the heroine typically immediately begins on a journey to become more powerful/masculine, generally through rejecting femininity. Princess Allura does not inherently reject her own femininity. She rejects the helplessness of being forced into cryostasis after her people have been destroyed and embarks on embracing her masculinity by finishing the war her father and Zarkon started 10,000 years ago. The heroine Identifies with the Masculine and Gathers Allies, which we see Allura do in the pilot of season 1 of VLD. She awakens to find a team of five men and her male adviser Coran, her allies in the coming intergalactic war, and she takes up the metaphorical lion herself as the pilot to the Castle of Lions, changing into her armor--pink, to honor the fallen--for the fight against Sendak as he tries to claim the Lions of Voltron for Emperor Zarkon. Her choice of pink, particularly pale pink, is reminiscent of the breast cancer awareness ribbon, baby pink, it is an intrinsically female color that she dons to assume the role of her father, King Alfor. The narrative is reminding the audience that Princess Allura--the first nonwhite Allura, no less--is just as much a princess as her previous white and blonde iterations are warriors.

After choosing their allies and undertaking this quest of gaining power (not to be confused with empowerment, our heroine is still operating within the confines of the patriarchy here), our heroine undergoes trials and faces enemies that try to persuade them back into the box, into what’s known and fundamentally safe and silencing. The words may be kind, be delivered kindly, but ultimately they can be boiled down to a single message: “go back to where you belong.” For the hero this is a point of no return as an external journey. The hero can choose to go home and leave saving the world to someone else, or they can choose to face the trials that bar them from their prize. But the heroine? They can’t. There is nobody who can save the heroine’s world because for them because their world is what they are trying to escape, and often they are the prize for a hero. It’s up to them to save themselves, and at this point in time, adopting the masculine and the power of the father figure is the way to go. And it works. Princess Allura, again while she does not get discouraged by the men around her to remain an idle princess, because this is the 21st goddamn century, her conflict arises from inexperience. King Alfor supports her drive to finish the war and take decisive action, to finish what he started. The Paladins challenge her authority as a sovereign in the beginning because even if she’s a princess by birth, she has no planet and they’re not of her planet or species anyway, and until they themselves undergo trials in the first few episodes do they appreciate that Allura is still critical as a person, despite her lack of sovereign weight.

Together, she and her team move through the obstacles and the war against Zarkon together, while simultaneously trying to build a coalition of allies to aid in the fight. In fact, much of the plot of VLD takes place during this stage of the heroine’s journey, and it’s here where we as the audience follow Allura as she meets her animus in the form of a Shadow figure: the cunning Prince Lotor. He takes on the role of the challenger to force Allura to better herself, and as Allura rises to the occasion each time, he is textually impressed by her battle skill, then by her intellect. The most iconic moment of Lotor as a Shadow (aka: the half of herself that Allura doesn’t want to accept yet), is when he baits Voltron into battle, then pilots his cruiser through the volatile environment of Thayserix. He expresses disappointment at Voltron’s ability in battle, but when Allura in Blue rises to meet the challenge he lays out, he praises her, even if he textually does not realize who is in Blue at the time.

[Image description: Prince Lotor in profile, a pleased expression on his face, and the subtitles read “Someone’s learning.”]

As a brief aside: the animus comes from Jung and is often paired with an anima, or masculine and feminine energies. The key takeaway is that these energies are complementary to each other and exist in a balance. While they typically are portrayed in a more heterosexual context, like everything else in this meta, the terms are used in a gender-neutral context when not applied directly to Allura’s storyline. While Lotor could be likened to either Meeting the Goddess or (Wo)Man as Temptress in the hero’s journey, a key difference between the heroine’s journey animus and either of these feminized roles is that the Goddess and Temptress are two separate figures--generally women to male heroes--and are generally not equal to the hero physically or mentally. The animus, however, is intrinsically the perfect match to the anima of the heroine, being their complement and their intellectual and physical equal. Lotor is not meant to be seen as the woman on Indiana Jones’ arm, he’s meant to be a force in his own right, challenging Allura to better herself and raise the standards for them both. It’s fitting that this occurs in an episode full of fog and a dangerous abyss, because the traditional hero descends into a metaphorical (or literal) one to encounter these flattened versions of feminine energy.

The trials continue for Allura through the seasons, and she makes many allies and continues to face their enemies head-on, and once Prince Lotor, now Emperor, cements his place as one of Allura’s allies he shifts from the Shadow figure challenging her to the animus in full, being encouraging and supportive as they work together as allies to find Oriande, a mythical place that should yield them the secrets of unlimited Quintessence. While Lotor challenges Allura in a traditionally masculine way (physical trials, battle, strategy), he also encourages her in a decidedly feminine way through Altean history and mythology, as Altea is very feminine-coded compared to the Galra Empire, which through Zarkon represents a familiar and violent strain of masculinity that seeks to crush Allura and force the universe to fit his will through abusive language and physical violence and genocide. Allura taking up the battle in Alfor’s place is simply her continuing the cycle and seeing power in masculine terms, rather than breaking the cycle.

Now here is where the diagrams diverge even further. Until this point, the journeys followed fairly similar trajectories. After the trials and battles of the heroine’s journey, they experience the boon of the journey, which the hero does not achieve until they face further trials and temptations. As such, we will continue to follow the heroine’s journey model and I’ll explain the significance of the flip.

Part II: Not the Place to Arrive

One of the significant things about the heroine’s journey is that when a woman undertakes it, it’s empowering and her becoming her most unified self. Campbell once reportedly said to Murdock, “Women don’t need to make the journey. In the whole mythological journey, the woman is there. All she has to do is realize that she’s the place that people are trying to get to.” In the hero’s journey, often a woman’s place is as the prize, rarely is she her own agent. As I stated previously, the hero and heroine journeys do not have to ascribe to gendered protagonists, however the reality is that the hero’s journey is very patriarchal in nature since it was formulated primarily through the study of male heroes and does not take into account the constant reassessment heroines must face. For heroes, they simply must survive going from point A to point B. Heroines are always subjected to reevaluation within their environment and the people around them, so their journey never really ends.

All this is to say that the hero receives their boon at the end of their story and that’s the end of it. They get a happily ever after and can return to normal life and spread their bounty to those in need or dearest to them.

The heroines?

They get their boon at the middle of the story.

And there’s still more to come for our heroine as they build toward the climax (pun intended).

Princess Allura receives the boon of Oriande’s secrets with Lotor by her side, which in pretty much every literature class would become a discussion on the ways this represents sex, or the the ways Allura is interacting with the world in terms of gender, particularly how they discover Oriande after having an emotional reaction in Haggar’s lab and activating the Altean compass stone. In the heroine’s journey, this boon is often of the same significance as the hero’s boon/reward at the end of their journey, but for the heroine it’s false. It’s fleeting. It’s not meant to last. This is the turning point for our heroine because while yes, our heroine achieved the goal of the adventure, they did so by consciously or unconsciously shunning the feminine. In Allura’s case, she’s still taking after her father, trying to follow in his--and to an extent Zarkon’s--footsteps by mastering the unlimited Quintessence.

And true to form, before season 6 is out, our heroine seems to be betrayed by her animus, returning him to the status of Shadow figure as he challenges her to unleash the power within one final time. Princess Allura thinks Lotor lied to her and has been harvesting Alteans for their Quintessence when Keith and his mother Krolia discover a living Altean in the Quantum Abyss, and with the budding on-screen romance between Allura and Lotor, this betrayal cuts our heroine deep. To her, he not only lied about there being no more Alteans left, but he actively continued the genocide his father began 10,000 years ago. That’s not an easy thing to get over. So Lotor assembles Sincline, which bears a visual resemblance to a wingless dragon--the last metaphorical dragon she faces before moving into the next step of the heroine’s journey--and with Allura in Voltron the two battle it out in a tragic action-packed scene that leads to Voltron overloading Lotor with Quintessence and leaving him in the Rift.

With the dragon defeated and the boon lost, the heroine has to sacrifice not only her animus, but the last vestiges of her home to try and undo what following the masculine has done: close not only the original Rift, but all the fractures in reality caused by their battle.

And what does a girl who has already lost her planet, people, and lover have left to lose?

[Image description: The five Lions of Voltron flying away from the massive Rift, the Castle of Lions flying straight toward the center of it.]

The heroine following the footsteps of the masculine always comes at a major cost to them. In Allura’s case, she has to sacrifice her castle in order to make right the harm done to the literal universe. In this case, she mirrors Zarkon in his destruction of the universe, but rather than directly harming billions of lives on uncounted planets, she creates a literal hole in the universe because of her blindness to the consequences of the actions of herself and those around her.

And much like her father sending away the Lions, she must send away her castle in the hopes of saving the universe from greater destruction.

Part III: Transcending the Rift

From the gain and loss of the boon, things look dire for the heroine at this stage in the journey. In Allura’s case, she is without people, without planet, without castle, and as she learns at the beginning of season 8, her found family has families of their own--other than Coran, that is. Our heroine continues to lose pieces of the things and people surrounding her at the beginning of the story: which Murdock refers to as awakening feelings of spiritual aridity or death. She is losing her place in the universe even faster than before, when she stood on the shoulders of her father, and she must move forward. Allura passed the point of no return all the way back in season 1 episode 1. As the heroine, she broke free of the safe mold she knew for the past 10,000 years, and every episode since her awakening she has had to try to forge forward on the path she knew: that of her father. Now, though, her father’s methods have failed her, just as they failed him, leaving her with no option but to keep moving forward and to approach her journey from another angle.

[Image description: from left to right, Veronica, Allura, Romelle, and Pidge (mostly off-screen) in a clothing swap shop as Allura speaks. Caption reads, “I could give you a royal decree of service from the Crown Princess of Alte…”]

Allura not only must deal with the loss of her place in the universe, but she must also deal with the fact that by leaving Lotor in the Rift, she abandons half of herself as well. Physically she is a whole person, but if we look at her role as an anima and what her fears and strengths are, destroying her animus throws her self-knowledge out of alignment. She’s careening away from the safe path of her father, but she must now rediscover the strengths within herself without succumbing to her weaknesses and do so by stepping out of her father’s shadow.

Season 8 is rife with emotional buildup and no payoff. We as the audience don’t know what happened to Lotor for the whole of season 7 and we see Allura struggling to deal with all her losses, we travel to Earth and meet the MFE pilots, a plucky bunch who probably were meant to lay groundwork for a new Vehicle Voltron, and we see that Haggar/Honerva is the final big bad of the whole show, ready to vindicate the son she lost to the Rift, but also 10,000 years ago when he was born and she became the Witch we love to hate. So when we join Allura and the gang on Earth with Luca in the infirmary, and Allura’s final trials begin…

Or they should have.

[Image description: Lance and Allura kissing in rainbow lighting where they are artificially-colored in red, then pink, then blue from top to bottom in front of a fading background of warm yellow at the top to gray at the bottom.]

Instead, we are treated to the final acts of a hero’s journey, but still following our heroine through the steps.

Our heroine wears down to the persistence of Lance, who in a heroic journey would receive a fair princess as his boon, and Allura is trying to find a place to belong. In seasons prior to this, Lance acts like a goofy everyday guy, very much a typical character in many present-day stories that allows the audience to see themselves in him. He fantasizes about wooing the princess, calls himself a ladies’ man, tries to be funny, he’s a pretty typical character that a male audience is more likely to sympathize with, and as such the fantasy is pairing up with the prettiest, smartest, etc. girl in the story. The woman as a boon, the Goddess, and the Temptress are never on equal footing with the male hero, and even in the case of female heroes, the meeting with a god(dess) means that the female hero is worthy of being a consort rather than the equal that a heroine is to the anima/animus. In fact, Campbell reportedly told Murdock, “Women don’t need to make the journey. In the whole mythological journey, the woman is there. All she has to do is realize that she’s the place that people are trying to get to.” In the hero’s journey, if the hero is male and heterosexual, the women will always be the prize, the virginal ideal, or the sexualized damnation, and in all of them, the woman is meant to be receptive to the man (and doesn’t THAT sound like some familiar rhetoric). Never is the woman an agent in the hero’s journey when it fulfills a male fantasy. And it is this very same box that spurs a heroine to begin their heroine’s journey: this breakdown of people to individual parts as determined by a patriarchal society.

While Lance is a hero in his own right, in Allura’s heroine journey, he acts as an ogre that comes dressed as a male ally all the way back in season 1. He’s a Subverted Nice Guy in that he’s constantly trying to woo Allura, but ultimately he’s still reinforcing the same patriarchy that not only plagues Allura in this iteration, but also in previous iterations of the Voltron franchise. The Nice Guy doesn’t challenge the heroine like the animus, but rather encourages them to stay in place or to fit a predetermined mold once more.

Look familiar?

[Image description: Lance’s fantasy, with him standing triumphant over Zarkon as the team cheers him on, Allura kneeling at his right side and looking up at him, while a flag with his face waves on his left.]

Many of the silly shots in the series have been foreshadowing, whether in the most direct sense or in the promise of subverting what’s portrayed. In the case of this screenshot, by the time Lance gets the girl, Zarkon is killed (by Lotor), Allura has already had an intimate relationship (with Lotor), and the team collectively became heroes and allies of Lotor before the end of season 6 happened. Lance, textually, is not Allura’s equal as an animus, and while he doesn’t quite view her as his equal--especially in earlier seasons--he can only textually become her equal when she is at her lowest point, and he’s still affixed to the idea that she’s a prize, going so far as to say that “winning prizes is my specialty” in “Clear Day”. Really, it’s a messy relationship dynamic that tries to show the audience why, as they stand in the canon material, they don’t work. Not only is Allura still not his equal, but his fantasy comes about at the hands of others, or with the help of others, and he comes second. He plays a role, but he is not the singular hero he once fantasized about being. Textually this subversion is teaching him a lesson about becoming his best self and acknowledging that he doesn’t have to be the hero, the payoff of which should have come in season 8 as Allura completes her heroine’s journey to become her most unified and realized self. It’s meant to be his apotheosis, the new perspective and enlightenment brought to the hero after facing all the trials of the journey as a part of the final reward.

Allura, fighting with this sudden loss of herself, must now also help spearhead the war against Honerva, the archetypal Bad Mother, in an alchemist-versus-alchemist battle for not only Lotor’s physical soul but for Allura’s metaphorical one as well. This is a new fight, the gauntlet thrown by someone other than her animus, and after all his tests, she must still rise to the challenge with the same energy, but she must do so with new knowledge now that she knows she cannot rely solely on her father.

But what’s the next step for a heroine trapped in the arid desert of the unknown self and with the weight of the world pressing onto them?

They must descend to the underworld and begin the transformation from the masculine methods to unleash the femininity that’s been locked away this whole time.

And who do we have to escort Allura to the metaphorical underworld as she falls asleep?

[Image description: A close-up of Lotor’s face in deep shadows as he stares head-on at the “camera”.]

Her Animus, acting as a Shadow once more.

His entrance is littered with sex. Not literally, but metaphorically. He greets Allura while she’s in bed, the camera does a gratuitous slow pan over his body in a way that many cameras exclusively afford to women, the presence of a blooming flower with an erect stamen, the lighting of the preview--altered in the final season itself--is purple even, a romantic and spiritual color. You know the joke in college English classes about how everything is sex except sex? That’s this scene in a nutshell. He’s always been drawn and behaved in a way designed to appeal to the female gaze (an essay in itself), but this scene really takes the cake.

[Image description: Lotor as viewed in profile from a low angle in a Garrison room, looking down at a juniberry flower in a pot.]

And it’s this scene where we see Lotor give Allura the first critical piece of information for how she can stop Honerva/Haggar, but also reminding her that some people do not change. While Allura must change to achieve her realization, he reminds her that Haggar is still the same witch, and that her pain of losing Lotor becoming public does not excuse the fact that she has not expressed remorse or tried to change herself, let alone her hand in not only his downfall but in the brainwashing of the Alteans. She is an antagonist so focused on the wrongs done to her that she justifies the wrongs she does to others with them. Allura, however, expressed remorse and wanted to save Lotor as soon as she realized what was going on, which further cements the ways in which their fates could have been the same or switched had they made slightly different choices. Honerva is 10,000 years too late. Like Lotor mirrors his father and in “Shadows” is shown to be more empathetic, Allura mirrors Honerva and both prove throughout the show to have stronger moral compasses than their predecessors. They are the Emperor and Alchemist, and while fate decrees they must take up the mantle left behind, their free will dictates that they should not blindly follow their footsteps if they truly wish to make a lasting change. Narratively, they must forge a new path if they are to bring the universe to peace again.

[Image description: A close-up shot of the juniberry flower with Allura visible in the background, but blurred. The subtitle reads Lotor’s line, “The witch may change her name, but she will always be a witch.”]

Lotor tempts Allura to take the entity into herself, and when she reaches out to connect with it, she is taken further into the dreamscape and finds herself back on Altea and greeted by her mother. This marks the beginning of the reconnection with the feminine, but while Allura has always so desperately missed her family and Altea, she finds herself in a precarious position. Suddenly, she is in the very same mech suit that Luca was found in, and to save Altea from the Galra fleet overhead, she makes the decision to use the planet’s Quintessence. However, in the process of destroying the Galra fleet, destroys Altea as well. As her world crumbles, her mother congratulates her for a job well done. This presumably mirrors the dropped plot about the Altean Colony and the decisions Lotor would have been faced with, and after “Shadows” would lend both Allura and the audience a greater appreciation for the position he was in before he died.

And when she finally wakes?

[Image description: Allura sitting up in the Garrison bunk, looking at the mice, the juniberry dry and wilted in the foreground, blurry. The subtitle reads, “It was only a dream.”]

Our oh so sexual symbol is wilted, and Allura wakes up alone.

With the visual deflowering and this new revelation about the kinds of decisions those before her have had to make, Allura can begin reconnecting with the feminine in earnest without falling into the old placements she may have been subjected to at the beginning of the story. This would have continued further with Allura reconnecting with her animus in the missing episode @leakinghate titles “The Descent”, especially fitting as she continues her descent to her feminine roots as a heroine and to reconnect with her lost animus. Reconnecting and reconciling with him--and with the side of herself he represents--is critical to her achieving unity within herself and being able to face Honerva head-on.

Once the heroine has descended to the underworld, begun the reconnection to the feminine, and returned with new knowledge on their relationship to their emotional side and the aspects overshadowed by the masculine, they are ready to begin healing the mother/daughter split. This in essence is the heroine returning to the old knowledge she has cast aside when following the path of the masculine/father, but approaching it with a new understanding and perspective. Think of it as understanding why your parents enforced rules like “don’t run into traffic”. As a kid, the danger may not be obvious, but as an adult you’re able to look at the same situation, see over obstacles younger you might not have, and realize “oh shit, that’s a car”. That said, the heroine does not allow themselves to get put back into the same or even a different pre-prescribed role because they now have a greater understanding of the situation at hand.

In Allura’s case, this means revisiting the plan on how to take down Honerva, and realizing that she must pursue the course laid out by her trip to the underworld to not only save the universe, but awaken Lotor from being a robeast. Part of the conflict against this plan comes from the team, who see the entity she took within herself as dangerous. While that’s true, stopping the plan also prevents Allura from growing in strength to be able to fight Honerva. The power flowing within her that Lotor referred to back in season 6 is at her fingertips, and like his visit in “Clear Day” reminded her, she need only take it. During both parts of the “Knights of Light” episodes, Allura is confronted with shades of Honerva’s memories as they dive deeper, and it’s here that we as the audience and the cast are meant to learn what truly became of Lotor after he was imprisoned in the Rift, and it’s meant to be utterly jarring to everyone. Instead, with how the scenes were edited together during the post-production alterations, Hate aptly points out in “Seek Truth in Darkness” that Honerva promising vengeance and seeing Lotor’s corpse has next to no impact. Or rather, it does to the audience--a melted corpse isn’t exactly Y-7 appropriate--but the characters don’t really react to this revelation at all.

That said, it’s more than likely that Allura genuinely believes Lotor to be dead (as opposed to a sleeping prince), which would explain her aggressive reaction to seeing pre-Rift Zarkon, and we don’t see his reaction to learning what he did to his son, either. This would be a prime location for Zarkon to experience and express remorse for what his actions have done to his son, subverting the toxic masculinity narrative his character had been representing prior.

At the end of “Knights of Light Part 2”, Hate mentions that Allura would need to make another trip to the underworld to commune with Lotor and realize that no, he’s not dead, but also that she not only must defeat Honerva, she must do so in order to save Lotor and free everyone of the cycle of violence that began 10,000 years ago. This is the final descent she makes before she can heal the wounded masculine, both in herself, and Lotor directly.

[Image description: Allura in profile inside the cockpit of Blue Lion, unconscious. Her window displays measurement increments and stars in red-tones, while Allura herself is lit in blue tones.]

After the end of this episode, however, Hate mentions that much of what was there is butchered in the post-production editing, so I will be extrapolating based on the content we have in the season as well as utilizing her analysis of the story as it should have been.

When Allura wakes up from falling unconscious, this is when we should see her proposing to save her animus, and it should come with a discussion with Lance about how they don’t click romantically. That said, in the version on Netflix, we see their relationship continue, however much of their shared body language doesn’t necessarily even match up with an awkward couple. Lance seems sullen and possessive, and while he might still be sullen in Allura’s original heroine’s journey, he would have had this moment of growth in which he learns to let go of Allura. She’s his fantasy, and not only is that unfair to Allura, it’s also unfair to him, and he doesn’t need to be the hero or the guy that gets the girl. He can be himself, silly, sharpshooting, video game-playing Lance. A genuinely nice dude, which completes the subversion of the Nice Guy trope his character embodied for so long.

“Uncharted Regions” is a hot mess of an episode in terms of narrative flow and consistency, but this would have marked the beginning of the alchemist vs. alchemist fight for not only Lotor’s soul, but the universe. Honerva uses the Sincline mech and her new mech to start tearing holes through realities, and once Allura jumps into the fray, that moves the audience into the next missing episode proposed by Hate: “Storming the Pyramid”. This would be where Honerva uses Allura to revive Lotor because she did not receive the life-givers’ blessing, and Allura would do it, literally healing the wounded masculine, but also falling right into Honerva’s trap in the process. This would almost certainly be a highly-controversial thing among Allura’s allies, but like Allura remaining on the path she knew, it’s easier to accept Lotor as pure evil who got what he deserved, when at no point is there a definite case against him. In fact, “Shadows” is designed to render him as a sympathetic character, and seeing his melted corpse is even more horrifying after seeing him as a baby and child. But that’s the way it is when a heroine breaks the mold. The heroine defines their own role, and as part of that, it gives them the ability to help others break theirs. The heroine experiences true empowerment by divorcing themselves from the power structures that defined them before, and doing so with the greater knowledge of their internal masculinity and femininity. Allura revisiting the war of her father with the lifegivers’ knowledge to compound her intrinsic alchemical abilities is the moment when she achieves union within herself, and it manifests physically as reviving Lotor, her animus.

It’s after this point that we see the Purple Lion and Purple Paladin manifest, our namesake.

In “Day 47”, Kolivan references the team sizes the Blades of Marmora use. He references four and five as the usual sizes, but six occasionally happening, but what he says next is particularly interesting.

[Image description: Kolivan being filmed for an interview, saying, “Seven seems rare, but… it could happen.”]

The Voltron team had four Paladins briefly after Shiro disappeared and before Allura took up the mantle, but the full team always has five. After Shiro returned for good, their team became six Paladins.

Now, with the healed animus Lotor on their side, they could have the rare seven-person configuration that Hate discusses at length in “Seek Truth in Darkness”.

With the anima and animus aligned together at last with no secrets, they can unify externally the same way Allura unified internally, and battle against Honerva properly. Now, Team V, Lotor, and the entire universe can face Honerva head-on and stand a chance at winning.

We also should get the emotional payoff for Lotor as an abuse victim in his own arc, closing up this nice little loose end that hurts way more than it did before season 8 dropped.

[Image description: An up-close shot of Lotor glaring into the “camera” in green lighting and saying to Haggar, “maybe I will take pity on you when the time comes.”]

And it’s worth mentioning that while the final battle is exciting and action-packed, the final surrender of Honerva comes quietly, in the rift of all realities. The characters of Team V are able to deliver their character-based arc lessons, it’s a somber moment of learning as Allura, using once more the blessing of the lifegivers, enlightens Honerva to her memories and what she’s done, but also restoring her sense of self the way Allura was. This is the final healing of the mother/daughter split, and it’s significant that Honerva’s abuse victim not be her healer. Not only does Lotor (as far as we know) lack the ability, but it’s never the victim’s job to heal their abuser, just as it’s not the obligation of the oppressed to appease their oppressor. Honerva can finally move on and begin atoning for what she did by setting the ghosts of the Paladins of old in her mind free, but that still begs the question of what our heroine and her animus must do to finish the job.

This is where Lotor would get his second chance, in the most literal sense of the term, where he faces a similar trial to the one in Oriande back in season 6 and the burning question for a man so concerned with survival and cunning.

Is there something he would give up the life he has known and fought so hard to keep for?

And this time, the answer is yes.

Allura.

It was always Allura.

While Honerva is able to stop the rift from expanding by, well, not expanding it herself, she lacks the ability to properly close it the way that it was closed the first time. It takes one final adventure, one final unification by the anima and animus, by the heroine and her Shadow, and one final goodbye. Allura and Lotor, born of an age long past, become the lifegivers eternal through staying behind to close the rift.

The lionhearted goddess of life and her stalwart champion of survival.

[Image description: The final scene after the credits, where an Allura-shaped nebula is nestled up against a smudged, darker nebula with a sea of stars among them, and the five Lions of Voltron flying toward the nebulae.]

Sources

Dos Santos, Joaquim and Montgomery, Lauren. Voltron: Legendary Defender. Netflix. 2016-2018.

LeakingHate. “Seek Truth in Darkness”. VLD Visuals Detective and Imperial ApologistTM. 2 Mar. 2019. https://leakinghate.tumblr.com/post/183160042843/seek-truth-in-darkness

“Maureen Murdock’s Heroine’s Journey Arc”. The Heroine Journeys Project. https://heroinejourneys.com/heroines-journey/

Murdock, Maureen. The Heroine’s Journey. 1990.

University of Kansas. “Science Fiction Writers Workshop: Joseph Campbell’s Hero’s Journey”. KU Guinn Center for the Study of Science Fiction. http://www.sfcenter.ku.edu/Workshop-stuff/Joseph-Campbell-Hero-Journey.htm

#dragon's ramblings #TeamPurpleLion #vld #the heroine's journey #voltron #allura #lotor #writing #literary analysis #strafe #hero's journey #lance #executive meddling #freevlds8 #free vld s8

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tomasistrill · 5 years ago

Text

“Don’t look; but I Think The Elephant In The Room is Wearing An MF Doom Mask..”

By @tomasistrill

December 12, 2019

The Manifesto

“I am the elephant in the room;

bringing doom,

really soon.”

-TOMMY TRILLY

-Form & Shape

The image is sized to be square to eligantly frame my thesis of the symmetry that outlines all things asymmetrical.

Using dimensions of 1080x1080pixels gives the piece functionality & purpose as cover artwork for an important project being manifested as we think, speak & breath.

The color scheme is purposely & purely monochromatic. Starting from left to right; the viewer will immediately see that black is the dominating color of the composition.

However, dominant, is nothing less than an understatement. When working with black on this piece; I found myself compulsive, aggressive & even manic at times.

I strayed far from my initial concept of having the black fade to an almost white tone; never truly giving my viewer the graceful embrace of a pure white.

Instead; my fanatical usage of black lead me ever deeper into the enigmatic labyrinth of my subconscious & a graceful awareness of the courage to create.

-Ethos, Pathos & Logos

The toxic love affair between my creative mania & the color black conceived a scene no longer so two dimensional; contrasted with a character that will never be anything more than it’s two dimensions.

The character is depicted in the center of the room. However, because he cannot escape his two dimensional existence, the center of the room is a place he can only observe from afar. He doesn’t understand why none of the people in the room pay attention to him.

His body language communicates a lonely disposition; arms hanging at his sides, hands [possibly] in his pockets & eyes staring far into the abyss; painfully conscious of his glaze matched by the depths of true existence.

On the left & right of our self-ruminating character; reads “S†≡≡Z.”

A word meaning to have style with ease; made popular by hip-hop on the East Coast. In my meditations on the word, came to me, the most clear understanding of grace & what it means to have it.

Bruce Lee describes it as the effortless flow of water; taking the shape of whatever contains you; the body containing the mind & the mind then containing the soul.

This journey inward in search of the holy S†≡≡Z requires you to courageously be yourself purely in the face of adversity. Everytime you choose fear over courage; you’re taking steps outward & away from the S†≡≡Z!

-Spiritual Subliminals

Diving ever deeper into the art & the messages it has for us; we’ll turn our focus to how the word “S†≡≡Z” is communicated to the viewer. Using things such as; color, form, shape, symbology, typography, etc. I was able to effectively communicate ideas to the beholder, in a very visual, yet subtle way.

“S - - -Z”

The “S” at the beginning represents a wavelength that’s smooth from crest to trough.

While the “Z” at the end presents an opposite, but equal wave; this one being more aggressive in it’s frequency.

This is the inevitability one faces in making the decision to be themselves.

Sometimes the wave is S & sometimes the wave is Z, but if you know how to surf; the ride is always steezy.

“- † - - -“

The letter “T” here serves at a ✞ symbol standing for the divine power of love & forgiveness within Man.

“- - ≡ ≡ -”

The arrangement of three horizontal lines is an angelic numerical sequence “111” that tells the intuition to take action.

Encouraging you to keep following your spirit; if you see this listen to your gut/heart.

This rendering of “S † ≡ ≡ Z” is then contrasted across the longitude of the entire ensemble; painting a polarizing picture of the age old existential struggle of the inner against the outer.

The only usage of a true white tone is in the first occurrence of S†≡≡Z; in the darkest section of the piece. Then, almost mockingly, right in the middle of the lightest area, we see the return of darkness; in the second & final occurrence of S†≡≡Z.

This beautifully illustrates; when the world is dark, the individual will intuitively become the light he so desperately seeks.

We can then safely assume if the world becomes illuminated in mankind’s brilliance; the individual will only find peace in the shadows of his own world.

Narrative-

MF Doom:

A character/persona written by british-born EMCEE Daniel Dumile.

From his upbringing in Long Island, New York to his controversial rise to infamy; his story is trill hiphop lore. He became a man deep in the minds of millions & they don’t even know his name.

Initially, rapping under the alias Zev Love X, he formed the rap group KMD & signed to Elektra Records. Just before the release of the group’s second Album, boldly titled “Black Bastards,” the doom rapper’s late brother DJ Subroc was struck by a car & killed.

That same week the group was dropped from their label & the album was scrapped. Dumile left the industry & lived essentially homeless from 94’ to 97’.

He then left New York to settle in Atlanta, Georgia. Still recovering from his wounds; the rapper would don the iconic DOOM mask & take revenge "against the industry that so badly deformed him".

Thus the notorious villain of the hiphop underground MF DOOM was born.

He is often praised as not only one of the illest lyricist to ever do it, but also as a genius producer.

However, inspite of his immaculate discography & significant respect from industry legends, he is still widly unaccepted by the community he’s devoted his life to.

The Elephant:

Elephants are known as a keystone species; meaning it has disproportionately large effect on its environment relative to its abundance.

In fact, by simply existing; the elephant has the power to inflict change in the world it lives in. They, as all animals do, move across the earth manifesting their every desire; unconcerned with anything & everything that isn’t necessary to life.

Effortlessly laying the foundation on which nearly every other speices, within it’s domain, inevitably builds it’s existence.

They themselves embrace a matriarchal lifestyle; in which the feminine is the primary power within society.

Family Groups, consisting of mainly females & children, are led by the eldest female matriarch; with many of the males choosing a more solitary existence.

The elephant recognizes itself in a mirror; demonstrating a capacity for self-awareness found only in apes & dolphins. They also morn their dead & show signs of stress when loved ones aren’t well.

It is well known that the elephant’s memory is stone; able to recall locations of watering holes, family members, vast migration routes, etc. all over their 70 year lifespan.

Conflict:

It’s no surprise that elephants have inspired many literary, mythical & religious cultures; traditionally the elephant has been a symbol of strength, power, wisdom, longevity, stamina, leadership, sociability, nurturance and loyalty.

We see these things reflected in political ideologies of the American Republican Party; who’ve used the elephant as a mascot since 1874.

Conveying a message to undecided voters to preserve the values of the past & to have noble principle guiding your actions.

On the surface level this is honorably patriotic, but as I dived ever deeper; I found a story of people divided simply by perspectives based on how reality presented itself to the misdirected & misguided naiveté of the ignorant & innocent.

The parable of the blind men & the elephant originated in the ancient Indian subcontinent. A group of blind men, who never encountered an elephant before, all touch a different part of an elephants body & insist they know exactly what it is in front of them; based on their limited experience, they all go on to describe what they understood the elephant standing in front of them to be. The first person, whose hand landed on the trunk, said "This being is like a thick snake". Another man, whose hand reached its ear, said it seemed like a kind of fan. The third man, whose hand was upon its leg, said the elephant is a pillar like a tree-trunk. A fourth man who placed his hand upon its side said the elephant, "is a wall". Another who felt its tail, described it as a rope. The last felt its tusk, stating the elephant is that which is hard, smooth and like a spear.

In this parable; I found a moral of the subjective truths we face every day in our common lives.

All of these men share a deep common attribute of blindness & thus will cling to shallow differences in sensual experience & each man will have a different ideology for why he does so.

Man will neglect fellowship with his fellow man if, in his limited experience of reality, he finds it to be a necessary action in his life.

Unfortunately for a more modest man; life is often misunderstood by his neighbors.

Perhaps he dreamns of power, so he creates the illusion he has a higher knowledge of the elephant. Maybe he’s a coward & would rather formulate an opinion than walk away, because he fears rejection from the group.

Man has a habbit of claiming to know the absolute truth based on their limited, subjective experience. As they ignore other people's limited, subjective experiences. Which may be equally true; only ever able to justify their claims with fear or courage.

Resolve:

Courage requires immaculate moral responsibility & higher knowledge. To stand in the face of destiny with the heart of a warrior is an endeavor most men can no longer dream of.

It requires too much & so most men spend their lifetime in the same predicament the elephant himself is in; standing in a room being ignored by those whose hearts call out to him! To be the elephant in the room is a tragedy largely ignored.

The expression "the elephant in the room" is a metaphorical idiom in English for an important or enormous topic, problem, or risk that is obvious or that everyone knows about but no one mentions or wants to discuss because it makes at least some of them uncomfortable or is personally, socially, or politically embarrassing, controversial, inflammatory, or dangerous. This same sociological & psychological repression operates on the macro scale of modern society.

Should something as conspicuous as an elephant be overlooked in codified social interactions? Of course not. You are the elephant in the room.

Conclusion:

Not only has he not forgotten; but the elephant himself, in all his divine S†≡≡Z, stands in a room full of people he remembers from the beginning of time. They talk of the old days; almost every word hinting at his presence in the room, but they just go on rambling as if the elephant himself isn’t standing next to them. They’re completely oblivious to the fact that there’s a god damn eight-foot seven-inch Asian elephant with a fucking MF DOOM mask on right there. He’s tired of being ignored; soon he will escape from his interdimensional hell & bring doom.

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pwnyta · 6 years ago

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Full Endgame spoilers/review:

(TL;DR: It was really fucking good. Theres some bad obviously but overall worth it. Even after reading the spoilers and feeling like I may not like it as much as I thought I would... I actually liked it more.)

- - So as I said I loved the movie I had some gripes but overall I thought it was one hell of a fun, entertaining movie. I'll go by each characters story in my review saving Cap and Tony for last.

Natasha- Honestly? Though I think the MCU dropped the ball on the 0G6 being a believable family... I think Nats role in this movie was sweet. I really like the scene where Tony Nat and Bruce were laying down talking about Strange and the stones. It was really cute but it really made me wish we got to see this earlier. Joss dropped the ball hard in AoU. Ive said it one and I'll say it again. AoU should have been the movie where the Avengers were a solid unit throughout the movie.Nats death was... heroic but honestly her and Clint beating the shit out of each other because neither could stand the thought of the other being sacrificed was kinda funny and cute which is jarring to the story. It kinda sucks that she was fridged before the final battle though.

Clint- What are the fucking odds that every one of his family was dusted? But w/e. Clint having a wild sword battle in Japan... it was ridiculous and weird and IDK what they were thinking with that scene but it was played really dramatically but I laughed? Cuz it was so over the top and silly... even though he just slit that guys throat and Nats like :c Clint~ honey no its fine... and they hold hands over the guys warm corpse. LMFAO WHAT!? Im at least happy his kids got him back if nothing else.

Bruce- ... Bruce with Hulks big green body? NICE. Thats gonna have some interesting fanart I can already tell and I lift my glass to you. I once tried to draw a little comic where Bruce and Hulk separated but also had swapped bodies.... so Bruce had Hulks body but I never did finish it I wonder if I still have it saved somewhere. Anyways. Honestly? I found Bruce in this movie to be equal parts funny and annoying? Like it was a bit jarring sometimes that he was so lighthearted despite everything.

Thor- When I read the spoilers I thought I was gonna really dislike Thor but watching it I understood where Thor was coming from and I couldnt really blame him for spiraling and its not like anyone close to him seemed to even check up on him despite clearly knowing where he was. Im really sad that it took all those years and only until he was needed for someone to try and talk Thor through what he was going through. Im not annoyed with Thor. Im annoyed with the rest of them (minus Tony and I guess Clint? Considering.). Bruce was his friend in Ragnarok, Nat keeps talking about them being family, and Steve is their leader where the hell were they? Unless im missing something... I guess Valkyrie too but shes been picking up his slack as a leader and was holding the Asgardians together so I can cut her some slack. ANYWAYS. Thor was kinda funny in the movie but it was kind of hard to enjoy his goofiness. It kind felt like Tony in IM2. Speaking of Im glad Tony seemed really tolerant of Thors drunk behavior... I was sure he would throw a lot of shots like Rocket did. I wish they had a moment to talk about Thor self medicating with booze... Tonys been there. I get why they couldnt really but.. His scene with Frigga was really nice. Frigga is a bad bitch raised by witches and shit.... she knows all~ A wise woman that Frigga.

Scott- HOLY SHIT Did I love Scott in this movie. He was soo funny and cute... and bullied a lot. You know I have a thing for easily bulliable character. And Scott just got spanked left and right. His helpless goofiness reminded me of Harry from KKBB a little. He bounced off everyone well and it makes me kinda wish he was one of the OG6 instead of Clint. He was more of the heart that kept the Avengers together than anyone. Also him and Tony talking about Caps ass? HILARIOUS. Bisexual icons honestly. 'That suit did nothing for your ass.' 'No one asked you to look!' 'I think you look great Cap as far as Im concerned thats Americas ass!' and then later Caps all 'That IS Americas ass.' Unbelievable. But his best scene is still him reuniting with Cassie. She was so big! Im so happy she got her dad back... but Bruces failed time travel machine scene.... that was a close second. 'Somebody peed my pants... idk if it was baby me or old me........ or me me.' Also the 'whats up regular sized man' scene is longer and more hilarious than the preview showed. FUCK YOUR TACO SCOTT. At least Bruce is nice to him. I ship GreenAnt a little. Rocket petting Scott and mockingly calling him a puppy. SAME.

Rhodey- JESUS RHODEY. Speaking of hilarious idiots. Im glad he got a bigger roll in this movie but he didnt hug Tony when he got back so whats the point? BUT W/E... He was hilarious and amazing. It was nice to see him step up as one of the sorta leaders after the snappening. But he was also A HUGE FUCKING DORK THE ENTIRE WAY THROUGH. Thinking that a secret cavern with a spooky name would be boobytrapped like in Indiana Jones and trying to convince Nebula to be careful. Naming a bunch of shitty time travel movies to prove a point about time travel (with Scotts help) and going back in time to kill baby Thanos...and Bruce was like 'yeah... no...' and him fucking TRASHING the magic of the iconic opening scene of the first GotG where Quill is dancing.... 'so hes an idiot?' RHODEY PLEEEEAAASSSEEEE have mercy. Him and Nebula are a trip. Also I made a note to mention Don Cheadles BEAUTIFUL soft voice. So here it is. I love Don Cheadles beautiful soft voice. He had too few scenes with Tony but their first scene when Tony starts freaking out and hes trying to get Tony to calm down was pretty good... and god that ending.... ;-; How come Rhodey got NO lines while Tony was dying? But also in the same position I dont think Id have any words either. I too would just cry. And did... for Tony. But yeah besides his lack of scenes with Tony I really loved Rhodeys scenes. I usually do. Hes adorable.

Nebula: Sweetie... You are just amazing. Shes legit one of the best most solid characters in the movie. The opening scenes between her and Tony? FUCKING adorable. Im sad we dont see more of them after the time skip. I also wish we got a longer scene of Neb and Rocket talking when she gets to earth... I guess just seeing them sit together sadly was enough to portray the emotions but.... I MEAN. More Nebula wouldnt hurt anyone. Having to see two tortured versions of Nebula was upsetting. Future Nebula who lost so much and past Nebula still under Thanos' thumb. 'You can change!' 'He wont let me' OOF. Im sad that past Nebula was killed... but appreciate that even in that moment past Gamora was upset to see her be killed. Im glad with Present Neb, Gamora was so easily heel-face turned. She loves her sister. Also their moment after past Gamora beats up present Quill was hilarious 'Really? This is the guy?' 'The choices were him or a tree.' WHAT ABOUT DRAX, NEBULA?! I know I said I may not watch any MCU movies after this but I might tune in for GotG3 for Nebula (and Thor).

Steve: I actually ENJOYED Steve in this movie for the most part. For the first time in any movie... even by himself I kind of enjoyed Steve. Especially the scene when hes fighting himself and his past self says 'I can do this all day' and hes like 'Tst... yeah I know... okay' Like he was sick of his own damn bullshit. And frankly? Same. Also him whispering 'Hail hydra' to get the scepter? Hilarious. I cant help but see it as a knock at that shitty Hydra Cap comic that everyone hated. But despite me enjoying Steve for most of the film... the MCUs inability to write a good romance and pretending like Steve and Peggys relationship was a peak or something completely undoes it all. It would still NOT BE GREAT regardless but the fact the RUSSOS are the ones who brought Sharon into TWS in the first place makes it SO MUCH WORSE that Steve dipped out. Steve should have moved on... even if it wasnt with Sharon. They could have at least MENTIONED HER but they knew they couldnt because then it would be too highlighted that Steve is a fucking FUCK BOY who used the niece of the woman he loved as a surrogate and that him going back to the past means hes gonna be meeting little Sharon at some point. Also? Really? Steve you have this whole new family you supposedly love and can live your life with but you rather go back in the past because the first woman who was nice to you was there? Move on. Its so fucking weird that hes so obsessed with her. You have your childhood friend and the rest of your new friends... and supposedly a girlfriend. IDK how anyone could be happy with that ending for him. But I guess its in character... remember the note he sent Tony 'I've been on my own since I was 18.' What about Bucky? He was there with you and you had family in the Avengers supposedly. Natasha seemed to think so. YOURE SUCH A FUCKIN SCUMBAG STEVE. Jesus.

Tony: First of all Id just LOVED his scenes with Nebula as I said. He sat there patiently teaching how to play paper football and held her win. It was REALLY cute. When he passed out she picked him up off the floor and sat him down on the chair and pat him. REAL CUTE. He nicknamed her 'The Blue Meanie' its cute and he tried to give her the last of their food but she insisted he eat it. Bobbos eyes never looked more gorgeous than in that scene where Carol finds them honestly. Tonys I told you so was really really sad. It had a lot of feeling like that scene in AoU when he laughs hysterically and starts ranting? Rhodey tried to calm him down but he just ripped into Cap. Also he yanked off his arc reactor and I FULLY JUMPED IN PANIC because I forgot it wasnt in him. I fully flinched. But he pulled his heart out and gave it to Steve and then passed out. Tony and Peppers daughter is ADORABLE. And her interactions with Tony are so sweet. Domestic Tony is lovely. I love that when Steve and the gang roll up on him Morgan runs out during their discussion and is like 'Mom told me to come and save you....' and hes like 'Well Ive been saved!' REAL CUTE. Also he swore and his daughter copied him and hes like NOOOOO!!!!!!! LMAO. LANGUAGE Tony. Tony is motivated to fix things seeing that pic of him and Peter. Hes such a softie. IM REALLY REALLY SAD that we finally see Pepper kinda GET Tonys need to be Iron Man and is like 'But could you rest?'. The one time she encourages him to go back to be Iron Man and he fucking DIES. Im so sad for Pepper. But that scene between them where shes like 'We'll be ok.... you can rest now.' FUCK. Im crying again. That scene between him and Steve- 'Someone shoula warned you~' 'You did...' 'Oh did I? Thank god Im here' has the same energy as 'Who taught you how to dance?' 'You did.' 'Well Ive done a marvelous job!' It was pretty great. Tonys nicknames for Scott are 'Pissant' and 'Thumbelina.' Im not OVERLY fond of his scenes with Howard. But honestly? My brother is the same way with our dad... he just chooses to forget the bad stuff and focus on the few good times. I cant do that but if it made Tony happier then VERY WELL. I wish Tony coulda talked to Jarvis too tho... just a word... anything? Best Tony scene is Peter babbling about how he musta passed out because Tony was gone and and and and Tony just hugs him so tightly and Peters hugs back and is like :D 'this is nice'! Though that STARK contrast of them after Tony uses the gauntlet... and Peter is like 'Mr Stark... we won... we did it... no Mr Stark...' Big Simba and Mufasa feels (and kind of Hughes and Elicia tbh). Not cool Disney. I was already crying. Rhodey was the first to reach Tony and Tony couldnt say ANYTHING to anyone and Rhodey just pets his cheek... Tony was just looking around as his family just has to watch helplessly as hes dying and Pepper tells him its ok. His funeral was really nice. He recorded a message for everyone kind of like his message for Pepper on the ship. Everyone was there... I think even Harley (Im really sad we didnt see them get reunited even once). The scene with Happy and Morgan was really sweet. 'I'll buy all the cheeseburgers you want....' It was cool to because... ya know.... Jon Favreau. He got a really beautiful end. I wish he could just retire and live with Pep and Morgan... but if he had to die... that was a really lovely sendoff. SO ALL IN ALL. Awesome movie. I didnt get to see past elderly Steve passing the shield off to Sam... I'll have to rewatch it again when theres a better version. Especially for that fucking STUNNING end battle. Even with the shitty cam I watched it looked AMAZING and I cant wait for it in HD.

#Endgame Spoilers

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peckhampeculiar · 6 years ago

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All hands on decks

TENDAI CHAGWEDA ACHIEVED HER DREAM OF BECOMING A DJ – AND NOW SHE’S ALL ABOUT HELPING OTHERS DO THE SAME.

The inspiring Peckham resident explains why she’s passionate about working with those who might struggle to access the DJ world otherwise

WORDS: EMMA FINAMORE PHOTO: LIMA CHARLIE

Many people consider their career mission over once they reach their dream job. But Tendai Chagweda isn’t like most people. The Peckham-born and raised DJ achieved her goal – being able to play music to other people for a living – and has now turned her hand to helping others achieve their own DJ dreams too.

Her Inspiring DJs school offers a wide range of workshops and classes, to help teach an even wider range of people all sorts of skills related to DJing. Through sessions at Mountview theatre academy and Peckham Levels, as well as classes in and around south London and up in Dalston, Tendai teaches everything from the basics on the decks, to how to operate as a professional DJ. Her students range from six to 50 years old.

It seems apt that Tendai is helping people achieve their musical ambitions in Peckham, having lived here her whole life – on Sumner Road – and beginning her DJ career in south London in 2007, playing sets at places like The Cube in Camberwell, and clubs in Streatham and London Bridge, spinning her beloved South African house music under her moniker, Petite DJ.

Now she’s DJed at places like the Shard, but it was here in Peckham that her love for music began.

“I was always raving; Lazerdrome in Peckham was my first experience of that,” she recalls, of the now-closed nightclub at the top of Rye Lane. Lazerdrome was open from 1988 to 2005, playing host to drum ’n’ bass, house, garage and jungle parties, as well as regular club night Innersense and DJ sets from the likes of Kemistry & Storm – who were huge in the ’90s UK drum ’n’ bass scene.

“I used to grab the mic, basically. Me and my girls who all grew up in Peckham were the ‘Dancehall Massive’,” Tendai laughs, remembering a chant she and her friends would shout. “We’d get the mic from the famous DJs.”

When a good friend who was also from Peckham offered to teach her to man the decks herself – rather than wait for someone to do it for her – Tendai was unsure at first.

“I wanted to be front of stage. Back then it was all about the person on the mic,” she says. “I wanted to be out there.”

She eventually changed her mind though and took some DJ courses, and although she gained the technical abilities required, she says she felt completely on her own as soon as the classes were over, with no guidance on how to use her new skills: “They took my money and then said, ‘Bye’. There was no aftercare whatsoever.”

Even though Tendai went on to establish herself as a DJ for clubs and events, specialising in South African house and even being interviewed on BBC World News about the rise of African house music in London, she never forgot that feeling of being left to fend for herself.

That’s what drove her to establish Inspiring DJs in 2016, bringing on board another impressive teacher – the award-winning DJ Smasherelly, who specialises in scratch and drop classes and is the tour DJ for big names like Stefflon Don and Estelle.

The school held its first classes at the PemPeople shop on Peckham High Street in November 2017 – “Nicholas [Okwulu] was the first person to believe in me,” Tendai smiles – and one of the first enquiries that came through was from the mother of an autistic child.

“He was an absolute pleasure,” says Tendai. “These people are excluded from society, but they have super powers! I refuse to call them ‘disabilities’. I’ve been attracting loads of people with super powers ever since.”

As well as a range of ages, Inspiring DJs is opening up the DJ world to those who might struggle to access it otherwise: people with ADHD, autism and dyslexia, as well as those from pupil referral units and foster care. What many teachers might see as hurdles in their pupils, Tendai embraces as strengths.

“For them, they love the encouragement and they love the autonomy,” she says of students with autism or ADHD. “Once I’ve taught them the basics, I just let them get creative without direction, but with lots of encouragement and motivation. It’s not difficult though because they genuinely have a super power, they get it [DJing] in a completely different way and style to other people. When I try to explain things to people without those super powers, they often overthink it, bring in too much logic.

“For some of the mums it’s a breath of fresh air seeing their children use their creativity in a way that is encouraged. It’s beautiful when you gain the trust of the mums. If they leave to go do their own thing, I record classes so they can see what we’ve done – it’s great when you see the parent looking back on what their child has achieved, and they’re like, ‘That’s my child!’

“I remember one mum [during a class delivered to foster care providers] just came up and hugged me – I guess she’d never seen her child in that capacity, being so enthusiastic.”

Working with young people from pupil referral units has been equally as revelatory. “They said they’ve never seen the kids so engaged ever,” says Tendai. “One of the kids kept on stopping us to ask when we were going to be doing it in schools. To hear they’d never been that engaged before, that touched my soul.”

Tendai describes how quickly pupils can pick up DJ skills. “One of the children, I call him my little David Rodigan [a reference to the iconic reggae and dancehall DJ] – within half an hour he was mixing, he’d never touched decks before,” she says. She also talks about how DJing is becoming more popular within schools: it’s starting to be taken seriously as a career choice.

This is where the other side of Inspiring DJs comes in: offering the “soft skills” required to build a business as a working DJ. Tendai offers coaching sessions for over-16s at offices she has in Vauxhall’s impressive Tintagel House, helping them plan for the future. “I find out what their dreams are, and teach them to dream big,” she says. “I basically do life-coaching with them, asking them, ‘Who are your dream promoters?’ and ‘What’s your idea of a dream salary?’”

Tendai tells how one of her students has gone on to work with some of his dream people in different capacities – proof that her holistic approach to DJ training really works.

Arguably, her success as a teacher is also down to the fact that she loves music. When talking about South African house, that passion really shines through: “A dream set for me would be sort of ancestral house – a lot of drums and chanting. A lot of the time the music we’re listening to, we don’t have a clue what they’re saying, but the beat and the rhythm is so entrancing. It’s hard to explain, but it’s when people just become one. No one knows what they’re saying but everyone feels it.”

This passion and emotion comes through in her selections and mixes: a fan got in touch with Tendai just a few days before we meet, enthusing about a mix CD she’d given them years earlier.

It’s an enthusiasm Tendai wants to pass on to everyone: as well as one-to-one classes, Inspiring DJs offers group sessions (for example parent and child, groups of friends) as well as fun sessions for birthdays and team away-days for local businesses.

Brimming with ideas, she talks about recent Netflix series The Umbrella Academy, and how she’s creating a DJ version of this in south London, acting as a platform to help her students get bookings. Southwark Council has already booked Inspiring DJs to play at an event, and instead of Petite DJ, it’ll be her young protégés taking to the decks.

She says real-life jobs like this will help them become better DJs, completing their training in the real world: “They’ll become more engaged, knowing what to play and how to keep their audience engaged.”

All this activity hasn’t gone unnoticed. Last year Tendai was nominated for Female Personality of the Year at the Zimbabwe Achievers Awards, a celebration of talent, art, business, expression and achievement in the Zimbabwean community (Tendai’s roots are in Zimbabwe), and she was even invited to Downing Street to talk to the prime minister’s business adviser about her work in local communities.

“The bread of that conversation was all about university,” she remembers of the Downing Street meeting. “But I said, ‘Sorry I’ve just got to interject here, I’m from the inner city, I personally haven’t gone to uni.’

“It’s about getting them to understand that not everyone wants to go to uni and not everyone can afford to go to uni, but they’ve still got the ability to do whatever they want.”

Tendai is living proof of this. She has achieved her DJ dream without a degree, and also teaches social media at London South Bank University.

“I don’t have a degree or any experience in universities, but I can still do it,” she says, reflecting the can-do, sky’s-the-limit ethos of Inspiring DJs. To all aspiring DJs out there, she says: “Come on down, we’ll show you the way.”

#featuredpost

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brendancorris · 7 years ago

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The Rise of the TMNT First Thoughts

Being that Teenage Mutant Ninja Turtles has always been, what I consider, my biggest fandom, I feel it’s only natural I leave my two cents on what we know so far of their upcoming 4th animated series, Rise of the Teenage Mutant Ninja Turtles, and what everybody’s been saying about it recently.

So the official designs were finally release, and of course, everybody’s mad, freaking out, and acting as if all hope for humanity is gone. I’ll be honest, the character designs are not immediately appealing to me, but something needs to be clarified first...

The most common complaint I see is “the art style sucks”. Now, it’s fair to say that the style doesn’t appeal to you personally, but discrediting these obviously talented artists and their extremely expressive and lively style is just a lie and/or lack of any real knowledge of artistic skill. Is it an appropriate style for the TMNT? That’s up to you to decide for yourself, but saying it is bad artwork is just ignorant.

Now, just to make things clear, I myself am not super into these designs, and feel the style isn’t the best representation of what TMNT is, but I’ll never say it’s bad, and will continue to stay optimistic. Let’s not forget that most of us, myself included, were hating on the 2012 series hardcore after its initial debut. While I still don’t find the art style choice or designs to be the most appealing in the 2012 series, there’s no denying it is an amazing series - arguably the best writing the franchise has ever had. While it isn’t MY Turtles, which will always be the 87 Turtles, it’s a damn good version, and one I’m proud to see younger generations grow up with.

But when we heard April and Casey were teens, saw the Turtle designs, saw how huge Splinter was, we all wrote off the 2012 series with having never see it. Once we saw it, then we had to eat our words. Let’s not walk into the same trap over and over again. In this day and age everybody’s so quick to give a severe black and white, night and day opinion on something before even knowing much about it. You’d think we’d get sick of constantly having to apologizing for judging something based on a picture reveal when it comes out. Not saying this in particular will turn out to be great. It might suck. But we can’t possibly know that yet, so let’s stay optimistic and at least happy that our favorite franchises are being kept alive and given consistent love through the generations. The age of the self-entitled, crabby, whiny man-baby/woman-baby nerds has to end.

As for those concerned about the story changes, I get your concern. But, again, it isn’t the first time the team was completely re-worked. April and Casey Jones as teenage kids was already a crazy enough change in the 2012 series, but then take into account April was also part mutant which gave her psychic powers, and she discovered a gem she wore around her neck that brought out evil in her and strengthened her powers to be Thanos-level is a REALLY huge departure from the prior iterations, and a seemingly stupid as hell direction on paper. Hell, Irma was a teenager revealed to be a robot body for a Krang spy. They REALLY took their liberties in the 2012 series. Even one of the most popular additions, Don’s crush on April, was completely new for that series.

My inner TMNT-fanchild does get a bit ticked when he hears that now Raph will be the leader and Leo will be cool and narcissistic, but we gotta remember what this is. Not only a new retelling for a new generation, but a retelling of a franchise that has been retold and severely altered dozens of times. No two Turtles stories add up. Also, this is being targeted strongly at little kids. Raph has always been the most marketable Turtle, the most iconic and widely referenced/recognized, and most popular among children, so making him the leader isn’t too shocking too me. Hell, even Partners in Kryme didn’t know Raph was’t the leader back in 1990 in the official film.

One thing I’ve heard a lot of hate for is the fact that April O’Neil is African American in the new series. It’s a difficult topic to touch upon, but I feel there’s good and bad points to it. The good is obviously getting more diverse representation in lovable, iconic roles in media, especially those for younger audiences. The bad, however, is like Stan Lee once said in regards to race-bending characters. Getting diversity in media is wonderful, but changing a pre-existing, well-established and celebrated character’s ethnicity simply to meet the quota is sort of a cheap shot. April, in all animated forms, has been a red-headed Irish girl I(hence the last name). It’s just as iconic to her as the fact that Leonardo wears blue and wields katana. Ethnicity, while a touchy subject, is a part of somebody. If they want diversity, they should add new characters of diverse backgrounds, or at least change lesser supporting roles, or at least that’s how I feel. Again, it’s a touchy subject, so I can totally understand somebody disagreeing, and that’s fine to do so.

Ultimately I feel everybody just needs to cool their jets on this. We see this happen SO often with franchises these days. The internet has sadly contributed towards heightening the selfishness of fandoms, and exaggerated opinions on everything. Every fan likes to think that their version is the definitive version, and that they are superior for liking the version they do. Everybody’s free to like what they like, and even if something you don’t care for comes out, it doesn’t take your version away from you. Each TMNT series ran for years. Whichever version you prefer, there is more than enough to watch to feed your hunger.

So how do I feel? Hard to say. I never regularly watched episodes of any TMNT animated series outside of the 87 series, but I always give each show many viewings before judging it. While this is surely not my TMNT, nor do I predict it become a fandom of mine, I’m still hyped for it, staying optimistic, and impressed by the artwork, for the most part. This art style looks like it could really make way for some great action scenes. There are some changes I’m not sold on, like some of the altered weapons and personalities, but, again, there’s 30 years worth of TMNT content with the old weapons and personalities, and I’m still giving this show the benefit of the doubt before really seeing it. I’m actually really curious to see the villain designs. Shredder could look awesome in this style. And if they bring in Bebop and Rocksteady I’ll be pretty darrn happy. At the very least, this series is once again making me excited to see which of my childhood characters will return. Mondo Gecko? Rat King? Wyrm? Mona Lisa? Slash? The Neutrinos? I’d love to see how this unique re-imagining could put a new spin on old favorites, and breathe new life into my favorite cast of mutants since 1987.

Here’s staying positive, and let’s not make the pre-release Sonic Boom mistake twice. That cartoon turned out to be comedy GOLD (and actually my favorite Sonic cartoon to date).

And PLEASE, let’s remember there are far greater wrongs being done in the world than cartoon characters being redesigned.

#rise of the teenage mutant ninja turtles #tmnt #teenage mutant ninja turtles #Brendan Corris #BrendanCorris

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briangroth27 · 7 years ago

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Avengers Infinity War Review

I went into Avengers: Infinity War completely bored with the drawn-out Infinity Stones plot (it’s been going on for 6 or 7 years—since First Avenger or Avengers—depending on how you want to call it and Guardians of the Galaxy devalued the Stones by calling them meaningless McGuffins), uninterested in Thanos (Josh Brolin) as a villain, and not at all ready to say goodbye to original Avengers like Captain America (Chris Evans) and Black Widow (Scarlett Johansson). However, the movie definitely dispelled the vast majority of my doubts! It was very well-made, expertly wove a huge amount of characters together, and absolutely felt like an epic event movie. That said, while I didn't dislike it by any means, there also weren't any moments that really wowed me; I liked it a lot, but didn’t love it.

However, it’s obvious the creators did. It’s clear this movie isn’t a cash grab, but a celebration of the universe Kevin Feige and his numerous writers, directors, and actors have crafted over the past 10 years (which is a bit odd to say, given this movie gets dark). Infinity War never feels cynical or forgets to treat its heroes as heroes, despite their imperfections. Gone are the days of severe hero infighting; when a universe-threatening enemy shows up, everyone puts their differences aside to save the day (even if they bicker from time to time). I love that writers Christopher Markus and Stephen McFeely changed the source material (Infinity Gauntlet) to make the Avengers the main characters out to stop Thanos instead of cosmic characters we haven’t met in the movies. It would’ve been extremely disappointing to have an entirely new group of characters come out of nowhere to steal our heroes’ thunder. Script-wise, this movie feels like meeting old friends again, as the writers captured the various heroes' voices well. While less-skilled writers might have washed out nuances between characters due to the similarity of trademark MCU snark, everyone still felt distinct here and there were plenty of standout comedy moments balancing the dramatic beats perfectly. Even though I haven’t previously been invested in some of these characters, everyone came off as likable. I do wish we’d gotten more character moments out of more of the heroes: all of them (somewhat necessarily, given the scope) come in as we left them in their last adventure, even though for about half of them, two years (or more, in the case of the Guardians) have passed since we last saw them. This lack of development wouldn’t be as much a problem for me if there were more solo films coming, but given we know whose contracts are expiring, it seems several Avengers have run their course in the MCU and are leaving interesting stories on the table. I have no problem with a universe-threatening villain in a sprawling adventure, but given the choice between that and digging into the characters more, I’d prefer solo films. Still, there’s only so much screentime the acting was strong across the board; even when the script didn’t give some actors a lot to work with, they were able to play to their characters’ iconic true north really well. The writers and the Russo Brothers brought everyone together seamlessly, creating several fun new dynamics. Tony (Robert Downey, Jr.), Doctor Strange (Benedict Cumberbatch), and Star-Lord’s (Chris Pratt) similar attitudes irked each other perfectly while Thor (Chris Hemsworth), Rocket (Bradley Cooper), and Teen Groot (Vin Diesel) came together organically and Captain America’s crew mixing with the heroes of Wakanda felt totally natural.

Full Spoilers...

There are a lot of character beats I loved. Black Widow consistently being the deadliest of the Avengers was great (and I’d love to see these skills put to the test as her enemies come after her in a solo film, allowing her to finally clear her Red Ledger), and her kickass team-up with Okoye (Danai Gurira) and Scarlet Witch (Elizabeth Olsen) was a great (if brief) showcase of the MCU’s heroic women. Likewise, I loved that Shuri (Letitia Wright) was the obvious person to turn to when it came to super-science, and her reaction to Stark and Banner’s (Mark Ruffalo) construction of Vision (Paul Bettany) made it absolutely clear that her tech abilities far outstrip theirs. I’ll take any Shuri appearance I can get and I wonder if she'll get to be the Black Panther in her brother's (Chadwick Boseman) absence like in the comics. I do wish she could’ve met Peter Parker (Tom Holland) and that they could’ve become science besties. Spidey’s enthusiasm for superheroics and his drive to protect his neighborhood was a breath of fresh air, particularly when played against the more cynical characters. I do think his willingness to come up with a plan to kill a villain was a little alarming morally, but otherwise I love his youthful energy. I wish we could’ve seen the fallout of Aunt May (Marisa Tomei) discovering Peter is Spider-man at the end of Homecoming as part of Peter’s introduction here, because that certainly needs to be dealt with onscreen. Maybe he could’ve finally said “with great power comes great responsibility” and mentioned Ben in that moment, which would also fuel his decision not to leave when Tony tells him to get off the ship. I get the urgency of giving Peter the Iron Spider suit (which looks much better than in the comics), but I was kinda bummed that we’re yet again having Tony hand all these toys to Peter instead of Peter developing them himself (I prefer a self-sufficient Spidey using homemade tech). Speaking of Tony, it was great to see him come up against egos as big as his, particularly when Star-Lord threw his plan away outright and came up with a better one. His reaction to Strange’s magic was what you’d expect from Stark encountering the supernatural and I wish they’d had time to dig into a science/mysticism dichotomy between them a bit more. Tony’s arc of telling Pepper (Gwyneth Paltrow) about wanting to have kids to losing his surrogate son Peter at the end was much more emotional than the “last man standing” fear vision he had in Age of Ultron. I thought his reluctance to call Steve as the crisis started was a fine—if underwhelming—continuation of their rift from Civil War, though I think it’s worth noting that he kept the flip phone on him for use at a moment’s notice (even if he didn’t end up calling Rogers personally).

Steve's "We don't trade lives" is a great motto and, like others have noted, it’s the answer to Thanos’ argument. I just hope it's not reversed in the next installment by the original Avengers sacrificing themselves for Thanos' victims. I also liked that they dealt with the potential dissonance with Cap sacrificing himself at the end of First Avenger, though Banner's justification was essentially that Steve didn't have a choice. I worry that Cap and the others will be forced into a place where they don't have a choice in Avengers 4. It would’ve been nice to dig into Cap’s thoughts on having become a nomadic vigilante after the events of Civil War and to at least hear what he and his crew have been facing in that time. I’m glad he hasn’t lost his upstanding personality, but he, Nat, and Sam (Anthony Mackie) don’t seem very changed by their time on the run, which felt like a missed opportunity: you’d think losing the Avengers’ insulation would be the perfect time to expose Steve to how the common people’s ideals and dreams have changed, which would be a fantastic conflict for him. I really wish we were getting one more solo Cap film to deal with just that: are his ideals outdated? What kind of symbol does America want now, and does he need to remind us of what we should be aiming for? What of citizens who spout hate and call it patriotism? Maybe they can persuade Evans to come back for a Logan-scale solo film set before Infinity War to explore this kind of thing. Still, it was good to see Steve and Bucky (Sebastian Stan) reunite, but I wish we (and Rogers) had gotten an idea of Bucky's newfound peace. I like the idea of Bucky finding his place as White Wolf in Wakanda instead of taking over as Captain America, so some idea of what he's been doing beyond recovering would've been nice. I wish that Cap's other bestie, Sam, had gotten more than an extended cameo here; at the very least, both he and Rhodey (Don Cheadle) should've have something to say upon seeing Wakanda for the first time (as pointed out here). I guess the writers wanted to focus on the characters who'd be vanishing so their loss would hit harder—and the original heroes are said to get the spotlight in the next film before we say goodbye—but small moments like that would've added a lot (especially as Sam vanished). However, I was glad to hear Rhodey had turned on the Sokovia Accords in the time since Civil War; it seems all the heroes on Tony’s side have realized how bad an idea it is, which is a nice vindication for Cap (Spidey hasn't signed or commented on them at all, perhaps because he's a minor and isn't thinking about the big picture).

It would've been nice to see more of how Wakanda had begun opening itself to the world beyond staging the final battle there. Does T’Challa have a specific plan for his outreach centers? Okoye's comment about imagining Wakanda taking part in the Olympics or getting a Starbucks was funny, but I wanted more. More pointedly, how do the people view T'Challa's decision? Is there any dissension, especially when his choice immediately brings a war to their doorstep? I really would’ve liked to see T’Challa convincing the people to take on this struggle (at the very least, Black Panther 2 needs to discuss this). If nothing else, his role as King could’ve made him a starker contrast to the other heroes. It seems T’Challa and Cap’s strategy held off Thanos’ forces long enough for Shuri to copy Vision’s AI, so even though his body was destroyed he could come back though honestly I'm not sure he's necessary. I don't really get Vision, so it could just be me, but his story seems to have come to an end. I appreciate that he isn't written like a cliché robot seeking humanity (or seeking to eliminate it), but his purely analytical outlook from Age of Ultron and Civil War seems to have largely faded, he isn't protecting the world like Stark created him to at all (as a friend of mine pointed out), he seems potentially too powerful to fully use his abilities, and I don't really see what he adds to the overall universe at this point. I do buy his love for Wanda (and hers for him) as well as their connection over the mysteriousness of their origins, though. Given all she's been through and the incident that sparked the Sokovia Accords, I don't blame Wanda for wanting a normal life with Vision. However, it would've been nice to get a glimpse of her view on the world post-Civil War and how she felt about being tied to a cosmic force like the Infinity Stones that already mutated her and her brother and now threatened her love. I liked the twist that Wanda could destroy the Mind Stone since it was used to create her powers and that she was perhaps the most powerful Avenger. One of the other most powerful, Hulk, got an unexpected arc that didn't fully land for me. I'm all for Hulk having his own character development, but if his refusal to show himself really was fear after his beating from Thanos (as fans have speculated), that wasn't clear. Instead, it felt like they played Banner's inability to transform as a joke. I was also underwhelmed by the moment touching on the Bruce/Nat relationship. I'm not a fan of that relationship in general—she doesn't need to date anyone, but if she were going to, she and Cap had the best chemistry and "opposites attract" spark—but this is what we've got and they need to deal with it. The awkwardness of their reunion didn't cut it for me.

As far as reunions go, it was a bummer that Thor and Loki’s (Tom HIddleston) peace after Ragnarok was immediately cut short here. While I felt it was time for Loki’s death—too many wishy-washy alliances and betrayals over the years wore out his welcome for me and Ragnarok established that he was aiming to be a lazy king, defanging his villainy—I’m glad he finished his arc and found real peace with Thor. I thought telling Thanos to kill his brother felt a little off at first, but I suppose making it seem like he’d put up a fight to keep the Tesseract was part of his elaborate plan to try to kill Thanos (as was bringing up that he’d worked for him before). It was also a little disappointing that the Asgardians took another huge hit to their population here and are apparently just left floating in space. I certainly hope Valkyrie (Tessa Thompson) survived and can join the fight to get revenge on Thanos; losing so many of her people again has got to have an impact and I'd love to see the lessons about heroism Thor imparted to her inspire her to stand up rather than run away this time. Maybe she could become something of a queen of Asgard and lead the survivors to a new home! Even beyond losing half of his people, Thor going over all the family and friends he’d lost with Rocket was a somber moment and Rocket’s attempts at consolation were a nice gesture. I felt like Infinity War found a perfect balance of Thor’s humorous and serious sides, and I hope it sticks around. The bond Thor and Rocket developed was a highlight of the film, even if their quest to get Thor a new weapon a movie after establishing he didn’t need one was a little odd (as others have noted). I can’t wait to see how Rocket grows after losing all his family, especially now that we know Teen Groot’s last word to him was “Dad…” That’s heartbreaking! Moody Teen Groot was a very entertaining addition to the Guardians and they got a lot of mileage out of making the Guardians his “parents.” Mantis (Pom Klementieff) is another strong addition who gelled well with the rest of her crew thanks to her enthusiasm for “kicking names and taking ass!” I’m glad she stuck around after Guardians 2. I was impressed that she got to play such an important and powerful role against Thanos when they tried getting his glove off. I still prefer Drax’s (Dave Bautista) original “takes everything literally” personality from the first Guardians, but I liked his humor here a lot better than in the second film (where it seemed to settle on “states the obvious” instead). “Perfecting” invisibility by standing totally still was hilarious! I’m glad he got a chance to avenge his family, even if it didn’t work out and nearly cost them everything. If only Quill had learned a lesson from that failure! I don't think the movies should follow the comics in having Thanos see the error of his ways while Nebula (Karen Gillan) becomes the real villain. It's a cliché that a woman achieves ultimate power only to become evil, so I’d be much more interested in seeing her interact with Tony (maybe they make something of their biology-infused tech similarities?) than going off the deep end. True Thanos' torture of her was horrific, but I'd like to see her take a healthier path instead of spiraling into insanity after all the pain she's had to endure.

I was wary of Gamora (Zoe Saldana) making Quill promise to kill her if things went bad in their attempt to stop Thanos from collecting all the Stones because she knew where the Soul Stone was hidden, as it seemed like that could lead to fridging her. Ultimately, though, that request being her choice and the fact that she was killed for more than fueling Quill's angst avoided that (though she does fuel Thanos’). I don't have a problem with him getting emotional and punching Thanos when he found out about Gamora, but I wish that scene had been staged differently. I thought we got a good amount of range from Pratt in the film, from that sadness to his romance with Gamora to bickering with Stark to the comedy surrounding his confidence issues around Thor. Star-Lord copying Thor's accent was unexpectedly fun and it was great to see Stark's dismissive attitude thrown back in his face. The similarities between Stark and Strange were also fun, and I enjoyed Strange's completely different point of view from everyone else when it came to saving the day: he had no problem sacrificing anyone. That perspective is one I would've thought would belong to someone with universal experience like Thor or who’s coldly calculating like Vision, but it was nice to see a human thinking beyond their planet, even if I agree with Cap's "we don't trade lives" philosophy and not Strange's "sacrifice whoever it takes" outlook. I thought he'd given Thanos something other than the Time Stone when he traded it "to save Tony," and like a friend of mine suggested, he probably rigged it in some way to give the heroes a chance.

I thought it was incredible that, despite some iffy CGI in a couple of wide shots, Josh Brolin was able to emote so clearly as Thanos. I'm not sure I've seen a CGI villain in a live-action movie done this well technically, and it certainly helped that the writers let Thanos experience loss and remorse. I was impressed they included his emotional side and gave him an arc, but I do have an issue with that remorse: despite Brolin selling the feeling of a man who thought he was giving up what he loved most, Gamora is right and what he's framed as love is anything but. It's abuse and as others have pointed out, I'm not sure why he loved Gamora in the first place. His "adoption"/kidnapping of her felt a little random and turning her face away from the murder of half her people did nothing to convince me he was a caring parent (I'm also unclear as to why she was so transfixed by a knife he gave her that she forgot about her missing mom), nor do the facts that he turned her into an assassin and later killed her. As a friend pointed out, I wish we’d seen more focus on Gamora's view of being raised by Thanos in Guardians 2 to increase the complexity of their relationship. Even if we had (and her laughing in his face when she finds out he has to sacrifice something he loves gives us a good indication of it), I still wouldn’t sympathize with Thanos…if he really loved her, he would’ve let her live and would’ve abandoned his plan when it came down to choosing between them. The more I think about it, the more troubled I am by the implications of the Soul Stone trade. Since Thanos' task is to sacrifice something he loves and he's successful, it implies that whatever cosmic judgment holds the Stone agrees that what he felt for Gamora is love. Unless the Young Gamora (Ariana Greenblatt) in the Stone at the end is a punishment to torture him for an impure trade (which I'd be fine with)—I imagine she’s actually adult Gamora using a form that will turn the screws on Thanos harder, and her Soul enduring there will allow her to come back to life—this is a pretty messed-up message and it’s my biggest issue with the movie.

I would've preferred keeping Thanos' comic motivation of becoming the universe's greatest killer to impress the physical embodiment of Death by showing what an awesome guy he is (to which she shrugs, having done better herself); playing the galaxy's greatest scourge as a Nice Guy would've been an unexpected way to make him relatable and of the moment without really having to modernize him at all. That said, trying to kill half the universe to save it from overpopulation is a fine egomaniacal supervillain motivation (no, internet thinkpieces, he is not a hero), even if I wish the heroes had pointed out the flaws in his logic (as others have pointed out online) and how foolish this plan is. For example, unless he also makes the survivors immortal and sterile, people will still breed and kill each other, throwing his precious balance out of whack within a generation or two (and his sunset retirement at the end doesn't imply he thinks he’ll have to conduct regular cullings). He also gives no consideration to how the resources he's "saved" will be used on each planet, leading me to think that things are going to immediately descend into chaos as the survivors try to take all they can (especially if the majority of any given people's governments survived to maintain their status quo). And as I've seen elsewhere, what if a people were already using resources responsibly and he killed them without bothering to check? Better yet, why doesn't he just create an infinite set of resources with his all-powerful glove? Forcing him to confront flaws in his plan would give us more insight into his thought process, or at least the justification he's sold himself. If the Gauntlet can only destroy and not create for some reason, explaining that would've served to make Thanos seem more backed into a corner and desperate, making his thought process seem slightly more "necessary." Instead, he comes off as a lunatic (yes, he’s known as the Mad Titan) who couldn't get over his one terrible idea because he confused the mismanagement of Titan's resources with proof he was right and not crazy. I've seen comments suggesting he be seen as a conservative politician, only concerned with fawning over his ideology instead of seeing the detrimental effects it has on the people, and that's not a bad take: looking at him as an outdated fringe "visionary" who won't learn/evolve his thinking or question his way of doing things helps quite a bit. I feel like these questions and the sheer outlandishness of his plot ranks him far below the best MCU villains like Killmonger (Michael B. Jordan), Vulture (Michael Keaton), and Hela (Cate Blanchett), who all went to terrible extremes, but at least had motivations that were somewhat understandable and tethered to reality. He was still a powerful threat who truly required all the heroes working together, though.

Thanos' "children" (Terry Notary, Tom Vaughan-Lawlor, Carrie Coon, Michael James Shaw, Monique Ganderton) were fine as lackeys, which is all they needed to be. I wish X-men Apocalypse had taken a similar tack with the Horsemen instead of using famous mutants: we don't need to know characters who are essentially zealot thugs. I did appreciate how warped they were to Thanos' way of thinking, though. They also proved to be worthy matches for the heroes before facing the Mad Titan himself.

Infinity War has an incredible sense of scope, giving the impression that the Marvel cosmos are vast, but it was odd they were largely devoid of people (even on Earth). Showing more than just wreckage would've upped the stakes and impact of Thanos' climactic actions while also showing the overpopulation “problem” he seeks to solve. The pacing moves the film along really well, even with the film being as packed as it is (though it doesn’t feel overstuffed). I loved that they were willing to have imaginative fun with the Infinity Gauntlet's powers, like turning laser blasts into bubbles, throwing a moon at our heroes, literally unraveling Mantis, and turning Drax into blocks. I’m all for more weirdness like that! The action is thrilling and moves very well for the vast majority of the film, with one major exception. A pivotal battle with Thanos on Titan has Iron Man, Spidey, Strange, and several Guardians struggling to hold him long enough to steal his Gauntlet. They almost succeed, but Star-Lord messes up his own plan (when it's revealed Gamora is dead) by punching Thanos in the face, knocking Mantis (who's psychically subduing him) away and freeing Thanos. I don't have a problem with Quill reacting to the news emotionally, but the staging of the scene offers at least two ways the heroes could've won right there: Nebula does nothing when she could've been stabbing Thanos in the face, and either she or Strange could’ve cut off his arm to free the Gauntlet. I know the movie can't end there, so knock Nebula out or otherwise busy her and Strange before writing yourself into a situation that raises these questions. Or they could've let Thanos lose his arm, yet still regain the glove through brute force or cunning before the heroes could get a handle on how to use it: showing him as a scrappy underdog for a moment would make him look more dangerous (and more appealing to the audience).

Despite an ad campaign suggesting a culmination of the MCU, Infinity War feels more like a seamless continuation of it. I'm glad they hit the ground running and didn't take the time to re-introduce everyone, except when it made sense, like the Guardians and Thor meeting for the first time. This will be detrimental for anyone coming into the film having missed earlier entries, but I think it works for this series. Reveals of familiar characters and locations, like Cap and Wakanda, made me smile. It was also great to finally get an answer to a dangling question about Red Skull's (recast with Ross Marquand) whereabouts in a completely unexpected way! I understand why they ended the movie on the beat they did, but part of me wishes this hadn't been a two-parter: I'd like there to be more adventures than just Thanos Round Two. I don't have a problem with the MCU going on indefinitely, but I do want them to take the time to continually develop and change the characters, and disparate threats would be a great way to challenge them differently. Between changes, we also need to spend time in their status quos to see how they react to each new normal. That's the weakness of movies vs. shows, though, and it seems highly unlikely the MCU is willing to give that much time to its movie heroes.

Infinity War felt like a true comic book crossover and that's the direction I want the Avengers films to take: they should be the crossovers with MCU-altering events while the solo franchises are just that, exploring the worlds of each character while focusing on character development. However, like the revolving door of death in the comics, a lot of the impact of this finale is going to come down to how the fallout is handled. I feel there are three necessary components to making the ending of Infinity War matter: the survivors need to be changed by losing their friends and half the general populace, the victims need to be changed by their experience as well, and we need to see what happened to the world in the wake of Thanos' Snap. Regardless of how the Snap is undone, everyone should remember what happened to give the events weight. Since I don't think Infinity War 2 will have time to deal with (and say a final goodbye to) the original Avengers, let everyone have a moment to shine, chase down Thanos, undo what he did, and really explore the state of the post-Snap world (one scene of Cap and Co. stopping a riot or something and saying "it's gotten crazy out here" would be deeply unsatisfying IMO), the world-building should be mostly left to the MCU offerings that are coming out next. Ant-Man & the Wasp and Captain Marvel are coming out before Infinity War 2, but Ant-Man is supposedly happening concurrently with/just before Infinity War and Captain Marvel is set in the 1990s. However, Luke Cage Season 2, Cloak & Dagger, and possibly The Runaways Season 2 would all fall into this range and could explore the world from several different angles. I thought the mass vanishing would've been the perfect chance to finally let the TV characters join the Avengers in a unified universe, but I'll settle for the shows handling the fallout.

There's so much potential with this scenario that it would be a massive wasted opportunity not to do anything with it. With the world losing half its population, there are plenty of opportunities for supervillains (or just regular people) to exploit the problem. Do people stop caring about values and basic decency in a world where half the planet can vanish? Are they all hoarding resources and killing each other over them, fearing another culling? Are there others who find their inner, everyday hero and help their fellow people? Maybe superheroes are forced to take extreme measures to defend their local turf. What happens to religion? Do some people think this is the Rapture (a critic referred to it as "the Snapture," which might be perfect)? Are there new religious beliefs rising out of this; perhaps a cult that believes in what the Snap "accomplished?" Society as we know it could crumble and every nation could be in danger of falling. This is the perfect time for superheroes to step up and for SHIELD to finally reclaim its position as a global force for good. It’s a shame Agents of SHIELD isn’t coming back until the summer after Infinity War 2, since it would’ve been the ideal vehicle to explore this world. Even when Infinity War 2 undoes this, it'll only have weight if everyone remembers what happened, so SHIELD and other heroes working to save everyone from themselves wouldn't be in vain even if the Avengers are the ones who actually save the world. No matter what happens, half the population vanishing is a fascinating premise fraught with drama, and something in the MCU needs to explore it; if they gloss over all that, this will have been truly empty.

That emptiness is a problem I had with a lot of the deaths. It's not just that it's clear these heroes will be brought back—if they remember what happened and it changes them, it won't be pointless—but they didn't die for anything. They were slaughtered for nothing, which left a bad taste in my mouth; if they'd at least chosen to go out fighting or if Thanos cared about who he was killing instead of being randomly "fair" about it, I feel like I would've felt them more. I was disappointed to see a few of them go, like T'Challa, but it was Tom Holland who really got me with his "I don't wanna go." That was heartbreaking and nearly made me cry!

It would be nice if the Defenders who survived the Snap got promoted to Avengers status in the interim, but I doubt that will happen. I've seen suggestions elsewhere that the heroes who got Snapped could form a "New Avengers" within the Soul Stone to fight their way out and that could be cool, but I hope the focus of Infinity War 2 is on the original six Avengers since it will probably be their last mission. They can deal with what the Snapped heroes went through in their future solo films.

I think it'd be cool if Nick Fury's (Samuel L. Jackson) beeper actually contacted Carol Danvers (Brie Larson) in the 90s (just chalk the time zone difference up to Kree or Skrull tech). This could be why he chose to summon her for help: being in the past, she wouldn't be affected by the disintegration wave.

In terms of the longer-term plans, I don't want another long build-up to something; I hope Infinity War 2 is the end of long-form plotting in the MCU, at least for the next few phases. We don't need a years-long build-up to Secret Wars or something, and not every threat has to spring from the previous one in some manner.

Infinity War is big, fun, and action-packed with plenty of crowd-pleasing moments (and some that truly pull at your heartstrings), but it's not one of my favorite MCU films. I think it falls somewhere in the middle, but in terms of spectacle it's one of their finest outings. It's definitely worth a trip to the theater!

Check out more of my reviews, opinions, theories, and original short stories here!

#avengers #infinity war

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deadcactuswalking · 4 years ago

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REVIEWING THE CHARTS: 20/03/2021 (Central Cee, KSI/YUNGBLUD/Polo G)

On the tenth week that a song appears on the UK Singles Chart, it becomes likely that it has a cut to its streaming numbers by the Official Charts Company, particularly if it’s still in the top 10 and especially if it’s #1. So, the streaming and sales do not change, but the Official Charts Company just weighs them differently. This means that it’s often that songs reliant on streaming – read: most of the chart given that the UK doesn’t factor in radio – drop intensely on that particular week. Therefore, we switched out our Pokémon and “drivers license” by Olivia Rodrigo has been replaced at #1 after nine weeks by “Wellerman”, an 1800s sea shanty from New Zealand covered by Nathan Evans and remixed as a pop-house song by 220 KID and Billen Ted. Of course. I don’t know all of the complexities behind this rule but I do know it shakes up the chart at the cost of it being ridiculously inaccurate – I do think “drivers license” is probably still the biggest song in the country. “drivers license” is at #18 now, by the way. Yikes. Welcome back to REVIEWING THE CHARTS.

Rundown

We have a pretty interesting week, to say the least, but before all that, we can get through this brief rundown as always as we cover the UK Top 75 and all of what’s happening over there, since that’s what I cover. First of all, we do have some big drop-outs, like #1 hits “Roses” by SAINt JHN and remixed by Imanbek that seemingly had its second wind pummelled this week, and “positions” by Ariana Grande leaving somewhat prematurely. We also have “Mr. Brightside” by the Killers retreating to the other 25 slots I don’t cover because, well, of course, as well as “Midnight Sky” by Miley Cyrus and sadly, “Be the One” by Rudimental featuring MORGAN, TIKE and Digga D, but that’s all for the notable drops out of the chart. Still falling within the chart other than the aforementioned “drivers license” are... basically all of the Drake songs from last week falling behind the top 10 and even the top 20, and two of them being behind “Leave the Door Open” now – thankfully. “What’s Next” is at #20, “Lemon Pepper Freestyle” featuring Rick Ross is at #25 and “Wants and Needs” featuring Lil Baby is at #28. We also have a handful of other notable fallers like “WITHOUT YOU” by the Kid LAROI at #27, “Hold On” by Justin Bieber off of the debut at #31 (could rebound next week when the album makes its impact), “Paradise” by MEDUZA and Dermot Kennedy at #35, “Anxious” by AJ Tracey off of the debut to #45, “Anyone” by Justin Bieber at #49, “Medicine” by James Arthur at #54, “Bluuwuu” by Digga D at #57, “34+35” by Ariana Grande at #58, “Dance Monkey” by Tones and I at #60, “Toxic” by Digga D at #61, “Good Days” by SZA at #64, “Whoopty” by CJ at #65, “Prisoner” by Miley Cyrus featuring Dua Lipa at #66, “Afterglow” by Ed Sheeran at #68, “Regardless” by RAYE and Rudimental at #69, “you broke me first” by Tate McRae at #71 and finally, “Lemonade” by Internet Money and Gunna featuring Don Toliver and NAV at #75. I hope that next week is the last time I need to say “Lemonade” by Internet Money and Gunna featuring Don Toliver and NAV, not because the song is bad but that is a convoluted credit if I’ve ever seen one. In terms of gains and returning entries, it does get interesting. The only return is for “Watermelon Sugar” by Harry Styles at #67, but our gains include “Didn’t Know” by Tom Zanetti at #56, “Heartbreak Anniversary” by Given at #42 thanks to the video, “Ferrari Horses” by D-Block Europe featuring RAYE at #36 off of the debut, “We’re Good” by Dua Lipa at #32, “All You Ever Wanted” by Rag’n’Bone Man at #29, “Astronaut in the Ocean” by Masked Wolf at #24, “Let’s Go Home Together” by Ella Henderson and Tom Grennan at #21, “Little Bit of Love” also by Grennan at #13, “Streets” by Doja Cat at #12 thanks to the video and three songs making their first entry into the top 10 after picking up the pace on the charts recently: “Commitment Issues” by Central Cee at #9 thanks to his album, “BED” by Joel Corry, RAYE and David Guetta at #8 and finally, to my dismay, “Latest Trends” by A1 x J1 at #2 thanks to a remix featuring Aitch. Sigh, okay, well, we have a... curious selection of new arrivals so let’s start with that.

NEW ARRIVALS

#73 – “You’ve Done Enough” – Gorgon City and DRAMA

Produced by Gorgon City and DRAMA

Gorgon City are a British EDM duo who were particularly big back in 2014 or so when they had their top 10 hits, particularly “Ready for Your Love”, which peaked at #4, but they haven’t really had much success since in the UK or Europe in general. This time, however, they’ve clinched a spot in the top 75 by collaborating with DRAMA, another electronic duo except they’re from Chicago instead of north London and the vocalist here, Via Rosa, is actually from DRAMA and not some uncredited session vocalist or a sample, which surprised me because the vocals here are genuinely great and remind me a lot of these booming diva voices used so commonly in 90s house. In fact, I think this whole song is genuinely great, relying on a house groove that is pretty damn funky and some subtle keys making the foundation for a bouncy four-on-the-floor beat, with the shaky percussion just adding the spice on top of it. It helps that this chorus is pretty ethereal, with Rosa’s vocals booming over this angelic synth blend before a pretty ugly-sounding drop but that is absolutely on purpose, as the content here is about that struggle between trying to find someone and trying to better yourself so you feel like you’d be worthwhile to anyone you end up meeting, which is kind of a depressing cycle in many ways... not that I’ve experienced that, but it sounds like it warrants the DRAMA here. There are tons of intricacies in the productions here too that make the song a lot more complete, particularly in the vocal production and all the intrusive bass wobbles by the second chorus and drop, so, yeah, for once, the generic house tune debuting low on the chart is a pretty great one. I wish it went somewhere further so it sounded like an actual song but as is, without a real bridge, this is still a good, almost anthemic dance track.

#70 – “Rasputin” – Majestic and Boney M.

Produced by Majestic and Frank Farian

Boney M. are a pretty legendary disco group collected by producer Frank Farian of several Caribbean singers to make some of the most fun pop music of the 70s. One of the most interesting things about this band were the fact that they were immensely popular in the Soviet Union back when that existed, and some Soviet films even show their songs playing during high-ranking Soviet government meetings, which sounds like pure comedy. Funnily enough, “Rasputin” was the only song Boney M. were forbidden to play in the USSR, even though it was still a big hit there. The 1978 song, a #2 hit for the band in the UK, basically retells the story that led to infamous and fascinating Tsarist Russian mystic Grigori Rasputin being assassinated, with most claims in the song itself being true or at least as far as we know, although the song does mostly focus on how much of a womaniser he was. The original hit is equally fascinating as the guy himself, with a great typical disco sound, those iconic strings and the use of Russian instrument balalaikas in its mix just furthering that intrigue. Now, in 2021, the song became a hit on TikTok because... of course, and now this remix by a DJ and producer called Majestic, is charting on the UK Singles Chart. Why this remix and not the original song? Well, this is basically a French house remix of the song, using those house patterns not too dissimilar to Daft Punk or Stardust-type stuff, which makes perfect sense to remix a classic disco tune. I do prefer the original track about “Russia’s greatest love machine”, because it’s a lot more natural and the remix is kind of poorly done in some places if I’m being honest, but if this is how kids decide to experience this type of classic disco, I’m not going to complain. It’s a good song; I’m interested to see how this second chart run goes.

#53 – “DAYWALKER!” – Machine Gun Kelly featuring CORPSE

Produced by BaseXX, Machine Gun Kelly and SlimXX

Nope. No, no, no. I refuse. I’m completely fine with bringing pop-punk and post-hardcore stuff back, but if the ringleader is Machine Gun Kelly and he’s bringing out Corpse Husband to help him on this trap-metal garbage, I’m not even going to acknowledge it further than the fact that it exists and it’s probably not in MGK’s best interests to compare himself to Capitol Hill rioters. Otherwise, absolutely not. Nope. Not even going to give this the time of day.

#46 – “Addicted” – Jorja Smith

Produced by Compass

In stark contrast, here we have Jorja Smith’s new single to add to that confusing sophomore album roll-out that I feel has been delaying itself for two years now. This new song is about giving your all to a relationship and not having it reciprocated, but she paints this in a very odd way, painting herself as “too selfless” to leave and that her partner should be “addicted” to her, which seems like the wrong way to go about writing this entirely, especially if this instrumental is going to be the dullest blend of checked-out live percussion and a boring electric guitar loop, and Jorja Smith’s not going to sell this in a different way to how she sells her other songs, going for a subtle croon that just doesn’t make sense for a song where we’re clearly not supposed to think Jorja’s in the right for being this obsessive and somewhat hyperbolic about this relationship not going the way she planned. I could see this being done really well but the song is too weak and flimsy as is to grasp how to handle the content and I’m sorry but it just does not work for me.

#44 – “Day in the Life” – Central Cee

Produced by Frosty Beats

Central Cee released his debut mixtape, Wild West and, listen, there was a point to me not saying much about “DAYWALKER!” so I think Central Cee existing and giving me so little to work with will weaken that point even further. To be fair, I like the choir sample in this beat, even if the drop is going to be really awkwardly staggered by a loose 808 for no reason, and this drill beat never really feels like it keeps up with itself, especially because Central Cee might be the least interesting rapper in a crop of already desperate British rappers. He also says that rappers that use Auto-Tune don’t “really rap” or “really trap”, which is awkward considering some of this guy’s back catalogue, and also incredibly untrue. He also disses D-Block Europe pretty directly which, regardless of who it’s from or how famous DBE continue to get, always feels like punting down, so, yeah, this is worthless.

#43 – “On the Ground” – ROSÉ

Produced by 24, Jon Bellion, Ojivolta and Jordgen Odegard

This is the debut solo single from ROSÉ, one of the singers from K-pop group BLACKPINK, which explains my initial confusion to why this was so high. The label has enlisted Jon Bellion of all people to produce as they intend to push ROSÉ as a global hit-maker in her own right, given that this is part of a two-track EP so that if one track doesn’t do as well, fans could gravitate to another and that becomes the hit. See “Havana” or, really, how Drake releases his singles nowadays. Looking at some of her television appearances and the language surrounding that, it seems like they’ve been trying to push her as a soloist for a while, and given that she broke PSY’s record for most-viewed solo South Korean video in 24 hours with this song, I think it’s a success. Is the song itself any good? Well, to my surprise, it’s all in English. It now sits at 100 million views and really, there’s no way to distinguish that this is from Korea... which isn’t a bad thing, necessarily, because the song is great, relying on this slick electric guitar pluck and ROSÉ’s vocals which, despite being drenched in reverb, sound really great, before the whole song is abruptly plunged into this distorted, bassy electro-pop void which is just a fascinating and kind of avant-garde choice for a pop song like this. The song doesn’t really develop further than that, pretty much repeating its own structure, but that drop with all the spliced-in backing vocals, is such an interesting catharsis itself that I think it makes up for that. The final drop does a lot different as well, going for a lead synth melody on the top of the mix that again sounds really great when paired with that mix and then the rising strings. I was tempted to write this song’s quirks off as shoddy K-pop songwriting but given the credits, especially Jon Bellion, I’m confident all of this nonsense is absolutely on purpose, and I love it. Check it out, I hope this becomes a hit outside of this debut week, although I really don’t think that’ll happen given it’s (ostensibly) a K-pop song and their western success is largely dominant on sales from fans. Regardless, I’m glad it debuted here in the first place as I wouldn’t have heard it otherwise.

#16 – “6 for 6” – Central Cee

Produced by Okami202, Sevon and Young Chencs

This is Cee’s sixth song to hit the chart, and hence he’s going “six for six”, even though only two of those singles were actually poised to stick around in any shape or form. He does seem to be going somewhere with this, particularly the direction I thought “Loading” would be going, as it uses a choir sample as the background to this janky UK drill beat... but it’s soon drowned-out and Cee himself is such a non-presence that it’s not worth paying attention to the guy’s content, let alone his lyrics which seem to try and be somewhat introspective about his drug-dealing and gang violence, but end up being incredibly shallow and not really saying anything, about as shallow as this instrumental. The outro would be a pretty nice piano interlude if it didn’t stop so abruptly and I’ve only got to hope that leads into a track on the album and isn’t just a mistake, because I’m not listening to that mixtape if my life depended on it. Another snooze from Central Cee, what a surprise.

#3 – “Patience” – KSI featuring YUNGBLUD and Polo G

Produced by Matt Schwartz

Remember when I said we had three songs making their first entry into the top 10? Yeah, turns out that I’m a compulsive liar since we actually have a fourth at #3, and I’m tempted to nope my way out of this one as well. What’s with this week and whiny, wannabe pop-punk singers collaborating with obnoxious YouTubers? I feel like I’m too old to cover this stuff every other week, and that’s saying something considering KSI himself is pushing 30 at this point, but regardless, I have to check out the song and to my surprise, it’s actually kind of decent. It goes for an 80s synth-rock vibe, with massive guitar tones and obviously not live drums that kind of undercut the pretty great bass groove here, but man, Polo G sounds surprisingly good on this production. His verse is pretty infectious, even if it ends up crushed at the end by YUNGBLUD’s hook, which sounds the least insufferable this guy has ever been, probably because of how the vocal production keeps him slightly in check. KSI himself might be the weakest link as he cannot sing at all, and the Auto-Tune in his verse is not helping, but I do like his David Bowie-interpolating ad-libs on the choruses (Yes, seriously). The bridge is a pathetic excuse of a bridge and the song’s mostly chorus – I’m kind of worried about KSI as a hit-maker going forward if he’s going to consistently contribute so little to his own singles, most of which have two other people on. I mean, it works as a short, inoffensive pop-rock song and not much else. I really wish this was Polo G’s song, actually, I think he deserves a second verse here.

Conclusion

Well, that week happened, that’s for sure. I’m going to give Best of the Week to the obvious outlier here, “On the Ground” by ROSÉ, but not without an Honourable Mention to Gorgon City and DRAMA for “You’ve Done Enough”. Worst of the Week is also going to the obvious outlier, “DAYWALKER!” by Machine Gun Kelly featuring Corpse Husband. Can I give a song I literally refused to review Worst of the Week? Yes, yes, I can. For Dishonourable Mention, just pick your Central Cee-flavoured poison. Here’s this week’s top 10:

I’ll see you next week for... Justin Bieber and Lana Del Rey. Damn, maybe I won’t see you next week.

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rachelcarsoncenter · 6 years ago

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By David Munns

*Featured image: Mars Rover. Image: Idaho National Laboratory, [CC-BY 2.0], via Flicker.

We need a “hardy, soiled kind of wisdom,” Donna Haraway wrote in her recent book Staying With the Trouble, if we are to avert disaster from climate change even a little bit. Challenging and controversial, the wisdom Haraway seeks comes from string figures, nonhuman companions, and her own garden—and, she hopes, will produce a time when the Earth possesses at most 2 or 3 billion humans. Haraway’s call to “make kin, not babies” has garnered reviews disturbed by her radical positions. In confronting climate, there are difficult choices ahead, with voluntary childlessness one effective solution: If we are going to reduce our carbon emissions, why not also reduce our biological presence?

Haraway’s call for a steady, controlled, and peaceful population decline over a century or more, in fact, seems hardly confronting in contrast to the wisdom learned during the heyday of the Space Age. Haraway’s call to not make babies echoes the overriding metaphor for environmentalists in the 1960s, “Spaceship Earth.” In Spaceship Earth, all resources were finite and thus the idea broke with easy and complacent notions of unlimited bounty, resources, or growth. The Earth was likened to a closed ecological space ship, lunar base, or Mars station, wherein air, food, and water become supremely rare and precious commodities. Confrontingly, from the earliest days of the Space Race, NASA administrators knew as well as science fiction writers that no material could be discarded as waste just because it became urine and excrement, or indeed the deceased body of one’s crewmate. Time magazine’s science editor in the mid-1960s (quoted by famed science fiction author Arthur C. Clarke) even suggested that, in order to ensure complete closure of an artificial environment for long-duration space travel, “cannibalism would be compulsory among interstellar travelers.”

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The first astrobiological missions in the late-1950s launched dogs, mice, and monkeys into low-Earth orbit for just hours or a few days. By the early 1960s, large-scale experiments attempted unsuccessfully to replicate a working closed environment where material and energy moved continuously through the components and cycles of a complete ecosystem. NASA understood the gravity of the problem of creating and sustaining a closed environment in which life could be sustained. NASA’s earliest closed environments failed because toxins rapidly built up over just days and poisoned everyone in them; they were verily the forecast of Rachel Carson about the reality of living in an increasingly concentrating, rather than diffusing, toxic environment made real. Ecologists like Harold and Eugene Odum readily described new ecosystems, but it was the engineers and life scientists of Boeing, Lockheed, and General Dynamics, all contracted by NASA to build a closed environment, who actually built them. Visionary biologist Lynn Margulis said that “human voyages into deep space require ecosystems composed of many nonhuman organisms to recycle waste into food” in the 1970s,[1] but that was a decade after NASA and its contractors discovered an environment to be a complex, multilayered, cyclical, and interdependent thing (as my recent paper with Kärin Nickelsen explores). In one notable example, NASA and its contractors struggled with the realization that carbon dioxide, methane, and even water vapor could be, if sufficiently present in too large a quantity, toxins every bit as fatal as those that came from industry and flowed out to poison an environment, as Rachel Carson highlighted. Carbon dioxide (CO2) is a waste product produced by all animals from breathing, but equally CO2 is simultaneously a nutrient for respiration by plants. It is not its existence that is the problem, only its concentration and context: at six percent inside a greenhouse CO2 will help plants grow faster, but the same amount inside Apollo 13 nearly killed everyone.

In a recent RCC Perspectives volume, The Good Muck, pioneering environmental historian Donald Worster has come to the conclusion that historians have not paid enough attention to excremental histories, bowdlerizing environmental history by focusing on where food comes from and not where the waste goes. Environmental history, so impressive at illuminating how nature is understood and has been used, stops short when it confronts unsightly and odorous waste. David Soll’s Empire of Water, for example, is marvelously detailed on the evolving story of how New York City consumes nearly a billion gallons per day of water but says almost nothing about the outflow of those same billion gallons. Equally silent about waste have been histories of consumption: unrivaled consumption without thought to waste production is one of the most significant social shifts in human history since just the 1950s, with people in the United States (and elsewhere) embracing the idea that “waste” could just be thrown away.

Image: MPCA photos [CC BY-NC 2.0], via Flickr.

These days, courtesy of the work of Michelle Murphy and Naomi Klein, it seems obvious that the emergence of the “throw-away” society remains the era’s most pernicious legacy. Now horrifying to millennials, the baby boomers took pride in a time when everything was disposable: as illustrated in the iconic period drama Mad Men, when the protagonist Don Draper and his family go for a picnic to a park in Season 2, episode 7, “The Gold Violin.” At the end of the meal, his wife Betty first checks the cleanliness of her children’s hands before shaking off from the picnic blanket the unwanted containers, drink bottles and caps, paper plates, and napkins. Leaving the “trash” strewn across the grass, everybody walks unconcernedly back to the car. In the same episode, Draper’s advertising staff are trying to put together a campaign to sell Pampers diapers, which while expensive, have one key advantage: “You get to throw them away.” As Haraway has already said, environmental waste was intimately connected to human reproduction and childcare.

My coauthor, Kärin Nickelsen, and I are exploring how “waste” was reconsidered in the Space Age in the ongoing attempts to build an artificial environment to live in space. Our forthcoming book, To Live Among the Stars, offers the stories of the many inventions to let space travelers drink recycled toilet water or eat algae grown from feces. Unexpectedly, it is the Space Age—not ecologists or environmentalists—that first created equipment to regenerate useful materials from waste products. Just like NASA and its military-industrial contractors, Soviet space scientists and engineers concluded in 1971 that life support in a closed system “consists of the members of the system eating each other’s metabolites.” At NASA’s Langley Research Center, oxygen reclamation studies took place next to a million-dollar facility devoted to building a life support system capable of supporting four men for one year by recycling all water. Over at the Manned Spaceflight Center in Houston, people were working on food and waste management.

The International Space Station’s complex water recycling system reclaims wastewater from astronauts and the environment, turning it into potable water. NASA astronaut Scott Kelly tweeted this image of part of the device with the remark: “Recycle Good to the last drop! Making pee potable and turning it into coffee on @space station. #NoPlaceLikeHome.” Image credit: NASA

NASA has been obsessed by waste for decades now: in the 1990s, Wendell Mendell of NASA’s Mission Science and Technology office told an audience that “one might even consider establishing tourist facilities as long as they pay their way and leave their waste!” as a way to economically move material into space. Mendell could make such a claim because on Spaceship Earth, just as in a spaceship orbiting Earth, there is no waste. “Sewage” is not a pollutant to be eliminated or disposed of but rather a valuable and available source of unprocessed nutrients to be reused, recycled, and returned to a crew. Yet, decades after the world was made aware of the dangers of global climate change, the global glut of waste, and overpopulation, those same problems that the Space Age faced in the 1960s have barely been mentioned, let alone addressed. For all our efforts in recycling or limiting CO2 emissions, closing cyclings of waste from our bodies to make food for our bodies is invisible or unmentionable. As we all travel in Spaceship Earth, waste remains a diseased by-product to be eliminated, not a source of nutrients to be recycled back to ourselves. My claim, then, is that humans must go to Mars to demonstrate that they can correctly engineer the problem of living on Earth. The lack of substantial progress in this field has chronically delayed not only the further exploration of space but the potential for its habitation, and has lessened our hope of our own continued habitation on Earth.

[1] Our thanks to Luis Campos for this reference.

The Case to Go to Mars—And the Hope for the Earth By David Munns *Featured image: Mars Rover. Image: Idaho National Laboratory, [CC-BY 2.0], via Flicker.

#artificial environments #life support systems #space travel #technology #waste #waste management

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renaroo · 8 years ago

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Wednesday Roundup

We have a new addition to the party this week! Ghostbusters 101 -- and I’m very excited to see where all our continuing stories lead us. So let’s look into ‘em without further ado...

DC’s Batman Beyond, DC’s Detective Comics, IDW’s Ghostbusters 101, Marvel’s Moon Girl and Devil Dinosaur, DC’s Wonder Woman

DC’s Batman Beyond (2016-present) #6 Dan Jurgens, Bernard Chang, Marcelo Maiolo

Well, I will give this comic one thing: it truly understands what attracts fans like me to Batman Beyond as a franchise to begin with: everyone giving Bruce crap for his stupid, stupid ideas and the consequences he doesn’t think out all of the way in canon. And Matt and Max are easily the best parts of each issue for that reason. That and Max’s undercut. The best things.

Alright, so I was completely accurate in my assumption last issue that the fact that every batboy in the franchise got a shoutout because it’s going to turn out that Damian has now been brought into the fold of the Beyond universe. And it’s probably going to have something to do either with the AI of the new Batsuit or with the plot from the DCAU where Ra’s takes over a younger descendent’s body in order to regain his own youth -- formerly it was Talia, now it is logically Damian.

mkay.

It still makes me angry that we don’t get shoutouts to Kate, Cass, Steph, Harper -- literally any woman in the franchise while the boys get every solitary universe but whatever.

Not really whatever, but I am willing to grant that the comic is still young and there’s an opportunity that as ‘Tec works to make the extended Batfamily’s stars rise, that they will receive some due credit in the Beyond timeline as well. Batgirls: Futures End anyone? Just food for thought.

Anyway. This was an enjoyable issue, but a rather quick read compared to everything else this week. Most, if not all, of the meat was put into that last page reveal because of course it was. But here’s hoping the pace picks up next issue now that everything’s out of the way.

DC’s Detective Comics (2016-present) #957 James Tynion IV, Christopher Sebela, Carmen Carnero, Karl Story

A one-shot issue? A complete story that focuses on character development and world building with previous setup being paid off and future setup being presented? Are we sure this is the Detective Comics run I’ve criticized for its pacing and drawn out stories for the past year? Are we sure this isn’t a bizarro world issue I got a hand on somehow?

Okay, all joking aside, I have been harsh on this run in the past but I think this issue proves pretty much everything I have critiqued before because Tynion, with help from Sebela, focuses on his strengths -- character, voice, simple storytelling devices, and presenting a critical opinion of the genre while also very much showing a love for it.

This is honestly why I have been baffled by people who have said they hated Tynion’s characterization of Steph in this run. I didn’t like how he wrote her in Batman and Robin Eternal, but almost everything in this issue embodies the parts of Steph I have loved about her character over the years. Striding the line between insider and outsider, loving and protecting Gotham while questioning and being critical of the harm Batman’s crusade has don, not wanting glory but still wanting to be be better and to help. She’s confident, she’s resourceful and clever, and yet there is a loneliness and sacrifice to how she’s chosen her path. And even if she doesn’t mention it directly, because we’ve followed Steph as she got to this point we know there’s still a question about how she’s affording her equipment, where she’s living, who she’s in contact with, whether or not she’s going to school.

This issue gave me so many feelings and it really does reward me for having confidence in the creative team seeming to have a plan and direction for Steph as a character. Something, I should note, I don’t always feel the most confidence with when it comes to this run thus far.

More comics like this, Tynion. I’m begging you.

IDW’s Ghostbusters 101 (2017-present) #3 Erik Burnham, Dan Shoening, Luis Antonio Delgado

On the basis of my three-issue policy, I am happy to say that I am as excited as I can be on the direction of IDW’s Ghostbusters 101. The quality of the Ghostbusters franchise as it’s been handled by IDW for over a decade now has always been among the top tier of comics and probably one of the more under appreciated productions of the medium. I mean, I read them but how many of you read them?

Erik Burnham has become the defining crafter of what I consider “my” Ghostbusters as it comes to the original cast, and I have been very excited to see how he and Dan Shoening translated the recent 2016 cast into the multiverse and into their distinct styles of writing. And I’m more than happy to say that it translates beautifully.

The team ups we’ve all been waiting for since the very first announcements of the rebooted movie has finally come...

And by that I mean that, finally, in the third issue, after two issues of buildup, we finally have some interactions between the Original Crew, the Real Crew, the EXTREME Crew, and now the Answer the Call Crew.

... See, one of the barriers for entry into these comics is you kind of have to accept that almost all the comics are written with the Big Picture in mind. Erik Burnham has always been a slow burn of a writer, and that was very much evidenced not only with my favorite of his Ghostbusters runs -- the Ghostbusters (2013-2014) run -- but especially in the IDW crossover of Ghostbusters/Teenage Mutant Ninja Turtles. He takes his time, and the buildup will have payoff, but it might be a bit slow to wait issue-by-issue for for some fans who want the immediate excitement of the characters interacting.

I mean, I’m a fan and I waited until I could read all three of the first issues together, if that tells you anything.

It is a joy, and worth picking up for fans. Just be aware of your tastes before judging too hard.

Marvel’s Moon Girl and Devil Dinosaur (2015-present) #19 Brandon Montclare, Natacha Bustos, Tamra Bonvillain

If you care about the future of the medium and about comics attracting younger fans, or just having goo wholesome comics for all ages, I have no idea why you aren’t already reading Moon Girl and Devil Dinosaur because it is just one of the prettiest, most inventive, and most genuine all-ages books that I’ve read in a long time.

Lunella and Devil have become such an iconic pair, and the beauty of this comic is how the effort and storytelling are treated with the authenticity and effort of “adult” aimed readers, including having Lunella’s point of view be prominent but obviously still marked by immaturity and lack of experience, while still very much at its heart being the story of a child in a world of superheroes, growing and learning and becoming herself even when she doesn’t necessarily know what that means.

The at is gorgeous, specifically the coloring of this issue is just jaw dropping, and getting Lunella into space and having her so attached to Devil to bring him along in a ridiculous but wonderful dinosaur-sized space suit is just amazing.

I love everything here in this comic and really hope those of you with kids in your lives or just the love of good superhero comics with unique tones and stories are picking this up already.

DC’s Wonder Woman (2016-present) #23 Greg Rucka, Liam Sharp, HI-FI

We’re coming to the end of Rucka’s amazing run and I’m just very grateful at the moment. I’m grateful to this run and I’m grateful that the Present Day stuff finally actually caught up in quality with the Past storylines because man it was super shaky for a while there. And it really took the whole picture unifying for it to really work for me and that’s probably going to mean that on re-read, at least for me, the parts I have been critical about when it comes to this run will read better.

...

Okay the racism won’t read better. Seriously, what was the point?

But Diana won with love. Veronica will still have a reason to be antagonistic with Wondy even though she saved her daughter. Diana and Hippolyta met each other again for at least momentarily. There were so many good things -- especially good conversations. Liam Sharp’s art was pretty top notch.

Just overall this was a good Beginning of the End, so to speak, and I’m really looking forward to where we go from here.

So the books this week were very different in tone and story overall, but it has to be said, with the maybe exception of Batman Beyond which still had a pretty prominent female characters feature, this week is really the week of Superheroines. And I love that. I love that we’re at a time and place in comics where women and girls are allowed to be so many varieties of characters and still heroic, still masters of their own stories, and still geared toward so many different tastes and audiences.

It really shows, at least for me, what’s going right with the industry at the moment, and I hope it progresses that way.

But it’s time for the pick of the week, and as much as I really enjoyed all the comics this week, I’m going to give this week’s pick to Detective Comics. It was a great stand alone, it was very focused and character driven, and it’s just so wonderful seeing Stephanie’s independence and more individualized view of justice getting to be front and center of a ‘Tec comic. The times where she was treated with this amount of respect as Spoiler were few and far between in the previous continuity and it’s good as a fan to see that the current creative team can love and appreciate the 2000s comics and draw from them while still adjusting and moving past their flaws.

But that’s just my opinion on today’s pull! Do you guys agree or disagree with me on any of them? Think I missed picking up something great? I’d love to hear from you! See you next week <3

#Rena Roundups #SPOILERS #Wednesday Spoilers #Batman Beyond (2016 )#Detective Comics (2016 )#Ghostbusters 101 #Moon Girl and Devil Dinosaur (2015 )#Wonder Woman (2016 )

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rob-blog1234 · 8 years ago

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WEEKEND TV HOT FILM PICKS!

Check out my guide to the top films on TV this weekend and the best of the rest. Enjoy!

LATE FRIDAY 5th MAY

HOT PICKS!

Dave @ 2100 Kill Bill Vol 1 (2003) *****

Tarantino has pulled out all the stops with this film, a superb start to his Kill Bill Double Feature. In Volume 1 we see the amazing Uma Thurman as ‘The Bride’ who wakes up after a coma. Her unborn baby is dead and gone and she is very lucky to be alive. Here begins her story of revenge as she hunts down the team of criminals who betrayed her.

The visuals are fantastic throughout with a sensory shocking mix of styles. As expected the trademark dialogue from Tarantino is superb and the direction here has ensured this films place as a modern classic.

Drawing from a number of his personal favourites Tarantino has crafted a superb Marshal Arts Action film with an all-star cast that can be watched over and over again.

ITV4 @ 2305 The Devil's Advocate (1997) ****

Keanu Reeves is Kevin Lomax, a hot shot lawyer from a small town who has never lost a case... regardless of who the guilty party was. He is head hunted by a large and prosperous New York Law firm headed by the mysterious and charismatic John Milton played brilliantly over the top by Al Pacino. As he settles into his new home, job and this new lifestyle the cracks slowly begin to show in his relationship with his wife, Mary Ann (Charlize Theron) as she begins to lose her mind in the new, fast paced and quite peculiar new life she now leads.

It gets a lot of bad press but I love how overt and over the top this film plays out. The main reason I like this film is down to the characters. They all full of detail and wonderful quirks that paints a very rich picture throughout the film. Each of these characters are coupled with equally great actors. In fact, this is probably Keanu Reeves' most impressive roll to date. He actual shows some emotion! However it's Theron that deserves the majority of the praise as we see her character go through the biggest changes and she does it with ease showing a truly troubled character. The story is quite unusual as it’s a horror at heart with Thriller of a storyline all masquerading as a macabre court room drama. For all its sins this film always holds my complete attention. I always love an excuse to re-watch this film for Al Pacino's shouty monologues alone.

Best of the rest:

Film4 @ 2100 Bridesmaids (2011) ****

ITV1 @ 2240 American Gangster (2007) ****

W @ 2240 Goodfellas (1990) *****

Film4 @ 0120 The Evil Dead (1981) ****

Horror @ 0215 Antiviral (2012) ***

SATURDAY 6th MAY

HOT PICKS!

ITV4 @ 1310 Superman (1978) *****

The original Superman film is a classic. Everyone has seen it - it’s been a staple TV weekend and Bank Holiday film for many, many years and with all the sequels and re-imaginings, TV series, spin offs and remakes this 1979 super hero movie still remains the very best of the bunch. Even though the effects are a little old they simply add to the charm of the film. Whereas today bad CGI almost always ruins a film, in 1978 they had to rely on strength of story and this certainly has just that - it’s a consuming adventure with a lot of heart and a great vein of comedy. There’s no better way to kick off your Saturday afternoon with the iconic Superman. This is feel good film making at its very best.

BBC2 @ 2100 Nightcrawler (2014) ****

The main overwhelming thing you will take from this film is that Jake Gyllenhaal is utterly outstanding. His portrayal of Lou Bloom, a deeply obsessive sociopath whose drive and manipulative nature give rise to some of the best moments in Jake's career. Littered with dialogue so perfectly delivered you would be forgiven in believing he really is Lou Bloom. Even though this is a man with some detestable traits when he is on screen he is intoxicating.

Filmed for the most part at night on the streets of L.A. we are treated to some impressive visuals of the city. The direction is solid and as directorial debuts go this is certainly one to be proud of. The music is apt and I haven't felt the power of a city at night in such a way since Nicolas Winding Refn's Drive hit our screens.

It has a commentary and satirical pulse running through it regarding the media as we see the ruthless disregard and shifting moral stance of the local news teams, but it is Gyllenhaal that is the strong heart of this film, pumping and driving us through a character study of one of the most interesting men I have seen on film for some time. Award worthy? I certainly think so.

Film4 @ 2100 Aliens (1986) *****

This time it’s War! Aliens is one of the most successful sequels of all time. It not only continued an amazing story with one of the most impressive extra-terrestrial beings ever seen on film but also completely changed the style. Ridley Scott’s original is an amazing accomplishment and stands tall as a fantastic Horror / Sci-Fi, with this sequel James Cameron injected a dangerous dose of action and adrenalin turning it into a high powered action adventure Sci-Fi that makes this film my personal favourite of the series of films. This is mainly down to the rich characters and great performances by everyone involved. The casting and character development creates high emotional attachment which adds to great effect as they one by one encounter the almost indestructible Xenomorphs with sometimes fatal consequences. Aliens is set 57 years after the original and Ripley has been in hyper sleep all this time. We follow a crack team of Marines with Ripley in tow as adviser as they go back to LV-426 after contact is lost by the Terra-forming colony there. It has amazing special effects for its time and had to rely on physical effects as opposed to today’s CGI saturated Sci-Fi films. This is an amazing action spectacular that simply must be seen. It’s also well worth investing in the Alien Anthology on Blu ray, it’s great value for money, both the image and sound is crisp and clear and worthy of being in everyone’s collection.

Best of the rest:

Dave @ 1500 Kelly's Heroes (1970) *****

5* @ 1825 The Fifth Element (1997) *****

TCM @ 1840 Bullitt (1968) ****

C5 @ 2045 Robin Hood: Prince of Thieves (1991) *****

ITV4 @ 2330 American Gangster (2007) ****

BBC1 @ 0010 Flatliners (1990) ***

Film4 @ 0200 American Mary (2012) ***

SUNDAY 7th MAY

HOT PICKS!

TCM @ 1245 Bullitt (1968) ****

This fantastic cop thriller has been somewhat overshadowed by its fame for the glorious car chase scene, but it really shouldn’t be, Bullitt is an intelligent, focused and realistic crime drama with well-placed action and suspense. With Steve McQueen pulling out an understated but wholly credible role as Lieutenant Frank Bullitt he lifts this already great film to higher ground. As I have filled my recent film viewing with CGI heavy spectaculars full of clunky exposition and sacrificing script for mass glitzy destruction sequences, it was an absolute pleasure to return to the films I love. Films with intelligence, perfect sound tracks, with tone and mood matched perfectly to the story they are telling, realism, impressive live action scenes with no CGI… Bullitt certainly fits the bill.

Spike @ 2100 Fury (2014) ****

There are plenty of war films with the same old formula, and this film does follow a rather formulaic approach, but here we focus solely on a U.S. Sherman tank crew. Not since the amazing Kelly’s Heroes had I seen a film focus on these tanks. A history lesson in itself for the ignorant and uneducated - the Nazi Tiger tanks they are up against completely and utterly out gun them and with armour so strong - the Sherman’s found it extremely difficult to stop them. Comparatively this film is nothing like the almost light hearted, satirically barbed Kelly’s Heroes, here we have a film attempting to capture the realism of war, the death, the squalor and the sheer inhumanity. It does this very well.

It’s dark, rich colour palette and beautifully framed cinematography certainly keep your eyes glued to the screen. The poor Sherman crews did not have much hope. We are taken deep inside the belly of “Fury” the Sherman tank with crew of 5 led by Don “Wardaddy” Collier played by Brad Pitt. Never before have I seen such oddly perfect hair styling in a war zone since Clint Eastwood’s barnet in Where Eagles Dare.

The claustrophobia of the tank is captured really well but it also somehow creates space with every odd angle when we see times where this crew felt secure in their new found home. The performances are the icing on the cake here with everyone pulling out performances to be very proud of. Not a film that will survive a re-watch mainly down to its bleakness, but never the less a film I am very pleased to have seen.

ITV4 @ 2200 Unforgiven (1992) *****

Clint Eastwood’s Unforgiven is one of my favourite Westerns - It has no doubt been too long since you’ve last visited this film. Gene Hackman is Sheriff “Little Bill” who rules his town with an iron fist. He is uncompromising and heavy handed. Two strangers cut up a prostitute and, unhappy with Bills justice, the group of prostitutes put a bounty on the cowboy’s head. The bounty attracts a young gunslinger that persuades the once notorious killer - William Munny - to give up his long reformed life style to accompany him on the mission. Unforgiven is a fantastic story following Munny as he tries to become the man he once was. It’s a western with a lot of heart and shows a very gritty insight into life and death and how precious life actually is. There are no clear lines of good and bad here, everyone has their dark sides and moral stances differ across the board. This is a great Western that is so different from other films in the genre. With splendid performances from both Hackman and Eastwood, this is definitely one to watch.

Best of the rest:

C4 @ 1430 Ghostbusters II (1989) ***

Syfy @ 1830 Ladyhawke (1985) ***

C4 @ 2000 Captain America: The First Avenger (2011) ****

BBC2 @ 2200 Kajaki (2014) ****

C4 @ 2225 Prometheus (2012) ***

Horror @ 2300 The Hills Have Eyes (1977) ****

Film4 @ 2315 Magic Mike (2012) ***

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