#always wanted to become hero from all those books which depicted military heroes?

[moontheoretist]

With his witticism taken seriously, Sebastian looked a little less sure of himself and the direction of the conversation. “You don’t think that anymore?” “No,” said Joshua. “I don’t think we can. Especially now, when SHIELD’s previous faults explain so much of what’s going on. It’s time that the public knew the truth.” “Well,” said Sebastian tentatively, “please do go ahead.” Joshua leaned forward. “People keep saying Steve Rogers was unreasonable for claiming the UN wanted to turn the Avengers into a hit squad. They keep saying he’s fear mongering, or paranoid, or whatever. But what they don’t realise is, that’s exactly what the government did do with the Howling Commandos. Steve isn’t just pulling this out of thin air. He has damn good reason to think it’ll happen again, because it happened before.” Sebastian blinked. Pepper almost felt sorry for how out of his depth he was starting to look. “You would describe the Howling Commandos as a hit squad?” “Think of it this way, Sebastian,” Joshua said, his arms open and relaxed, “If you wanted to start a legitimate special operations group for a top priority task, how would you go about it? I mean, putting aside the legal and administrative challenges. You’d look for volunteers from the best veterans available, right?” Sebastian asked, “Are you saying that’s not what happened with your grandfather?” Joshua’s chin tilted up. “Not. At. All. Remember that my grandfather and a large proportion of the other Howling Commandos were captured by the Germans, tortured and experimented on. Then, instead of being discharged and provided with medical and psychiatric treatment – and even as far back as WWII, the army knew enough to do that – the SSR stuck a gun in their hands and pointed them at the enemy.” “The SSR were sort of the spiritual predecessors of SHIELD, correct?” interrupted Sebastian. “That’s right,” said Joshua. “SHIELD was formed out of the SSR and a few other minor groups, but the continuity of leadership and philosophy came entirely from the SSR.” Sebastian said, “so you are saying that the recruitment of recent POWs was exploitative.” Joshua nodded. “Exactly. That’s a good word for it. They took a bunch of traumatised, vulnerable soldiers who don’t have the support of their usual chain of command, and sent them on suicide missions under the charge of a civilian consultant who didn’t know any better.” Sebastian held up a hand. “Let me stop you right there. Civilian consultant? Surely you’re not talking about Captain America, are you?” “Sure I am,” said Joshua, as if he hadn’t said anything surprising at all. “You must know the back story, right? Steve Rogers tried to enlist fraudulently five times before being recruited by the SSR for the super-soldier experiments? The SSR might have worked with the military, but it wasn’t military itself.” “And the rank of Captain?” asked Sebastian. Joshua shrugged. “As honorary as a Kentucky Colonel. It was a rank issued by the SSR for publicity purposes. Direct commissions – that is, battlefield promotions – did happen in the real army, but that was only to Second Lieutenant and the person was expected to complete proper leadership training. No military service would jump someone without even basic training to Captain. That would just be asking for catastrophe. Even if he’d taken any oaths, he could hardly be expected to understand what he was agreeing to honour.” Sebastian said a bit faintly, “I suppose I did know that backstory, but that’s certainly not how it’s been portrayed through the years.” “Yeah,” agreed Joshua. “We always found it irritating that Steve was the one who got all the credit for everything, you know? I mean we loved Steve, of course we did, but the stuff put out there for public consumption was just so extreme. The Howling Commandos contained people like Lord Falsworth, who was a very highly decorated maroon beret. It contained my grandfather, Captain Sawyers, who was an army ranger with years of specialised training. If you think about it that way, both outranked even the honorary title Steve was given. The Howling Commandos contained a bunch of trained, experienced and knowledgeable soldiers and civilian freedom fighters, but they were always dismissed as little more than sidekicks. We played along because we were told it was necessary, but there were always rumblings about how insulting their PR people were being. It was like they were saying my grandfather’s job was so easy, that anyone off the street—or off the stage—could have done it.” Rhodey snorted. “Steve always did say the success was a result of the team. Perhaps we should have taken him more literally.” “Do you think—“ started Pepper, and the screen froze to allow her to finish without missing the interview, “Do you think the team could have been doing all the actual work and just let Steve think he was the one in charge?” “Yes, I do.” said Rhodey. “I’ve seen teams successfully work around a problem commander before, and that’s with all the rules and conventions in place that try to prevent that type of thing. People simply looked to someone else for orders without troubling the official leader with the situation. If the leader was naïve enough – or lazy enough – he wouldn’t realise those orders were being given at all. It actually explains a lot about why Steve tended to act like his job ended the second he stepped off the battlefield.” “Huh,” said Tony. “So Steve is the military version of the ‘ideas guy’.” [...] The idea that Steve was on the wrong side of the Dunning-Kruger effect – so unskilled that he lacked the knowledge to even be aware that he was unskilled – was currently quite comforting. FRIDAY gave them a moment, but when they didn’t continue, resumed the show.   “That’s an interesting point of view,” said Sebastian. “But let’s go back to your description of it as a ‘hit squad’. Even if how they were constructed was wrong, they were sent to attack HYDRA bases. Surely you’re not arguing that was wrong.” Joshua grimaced. “They fought against people they believed to be the enemy of the whole human race, and I’m the last person who would want to diminish either their personal bravery or their accomplishments. But the SSR were the people who determined who exactly that ‘enemy’ was. It’s only a difference in wording to call something an attack on a suspected HYDRA base – or an illegal raid a civilian research facility to steal their technology. Knowing what we do now about the prevalence of HYDRA influence on the SHIELD, you have to wonder whether it was all just an exercise in transferring vital information and equipment from their old facilities to their new ones when they realised that the war was not going to end in Germany’s favour.” “That will sting for Steve,” said Rhodey, sounding like he could feel the blow himself. “All those sacrifices, and it could have been for the enemy? I can’t imagine worse.” “A chilling thought,” said Sebastian at the same time, but rather more inanely. The image cut back to the original hosts. There were three of them around a glass table, perched on fashionable bar stools – the type that proved they were fashionable by being so uncomfortable that no one sane would by them for any other reason. One host shifted, and the microphones were not quite good enough to conceal the squeak of plastic against plastic. The host in the middle, a tanned blond woman Pepper thought was named Anna, looked appropriately grave. “A chilling thought, indeed. What do you make of that, Jim?” Jim’s teeth were less precisely perfect than his fellow hosts, indicating he was more likely their designated expert than a usual member of the team. His hands were rigidly held in place, folded in front of him. “I think Joshua raises a very strong point about Steve Rogers lack of military expertise, Anna. We all grew up with the comic books, but those of us in the service also grew up to see just how flawed they were. Rogers simply wasn’t proper military material. This was a man who should have been serving jail time, not one who should have been trusted with the lives of others.” “Isn’t that a bit of a strong reaction?” asked Anna. “Speaking as a civilian here, but I would have thought someone wanting to enlist despite their limitations would be admirable.” Jim’s hands twitched, like he was stopping himself from making a gesture. “What you’re forgetting is that it isn’t just their own lives they’re risking. It is one thing if it’s a limitation the army knows about and knows to compensate for, like bad eyesight. It’s quite another when they’re lying through their teeth and might suddenly be unfit for combat without warning. The army has guidelines for a reason, Anna, but I can assure you every teenager who gets rejected thinks they know better than the trained professionals. That kid who tells himself his occasional asthma doesn’t count, and then gets triggered by the stress and the dust and the smoke? He’s just as responsible as the enemy for any damage his unit takes when they are forced to rescue his stupid ass instead of being able to rely on him to rescue theirs. And every single one of those liars getting people killed wanted to be just like Captain America.” “Okay,” said Anna, not particularly sincerely. “I can grant you that. But that isn’t quite the case here, is it? By the time Steve Rogers entered combat, he had been cured of his medical condition. Why couldn’t he have been enlisted than?” “I obviously wasn’t in the army at the time,” said Jim with a fake laugh, “but if I had been, I would have raised concerns. Curing his physical condition didn’t change his personality. He was still the person who was willing to lie, cheat, and put others in danger. It might not his health anymore, but there’s plenty of other ways to screw over your buddies.” “What about his rescue of all those POWs? Didn’t that prove anything?” “Only that he got lucky, Anna,” said Jim, in a tone of someone who was finally being vindicated in a long held belief. “Another part of the backstory we prefer to gloss over was that his extraction plan was a pick up by Howard Stark. Stark flew a plane that seated no more than six, including the pilot. Rogers was as surprised as the Germans when his actions resulted in the freedom of all the POWs. He could equally well have gotten them all killed. And we were all fortunate that it did turn out to be a HYDRA installation, because otherwise his actions could have endangered every other POW held in any Axis POW camp. He was a loose cannon that just happened to be pointed in the right direction that once. Frankly, the success of the Howling Commandos makes a lot more sense if Rogers was just the colourful distraction while the experts did the real work.” [...] Anna’s expression was by that time a little fixed. “Well, that’s certainly a very strong position. Any thoughts, Vance?” The shark grin on Vance’s face didn’t suggest he’d be providing her with any rescue either. “Something that Joshua Sawyer was careful not to mention, but stands out like a pimple at the tip of the nose to anyone who is looking for it. He spoke of Rogers being put in command, despite his lack of rank. Do you happen to know who took over the unit after Rogers was lost?” “Um… Dum Dum Dugan, wasn’t it?” said Anna. “Yes,” agreed Vance. “Not any of the people Mister Sawyer mentioned as having obviously more command experience than Rogers, but Sergeant Dugan, the next ranking white American male.” “That does seem like an unfortunate move, but we have to bear in mind that it was the forties—“ Vance spoke over her. “—and when the Avengers was re-formed after the actions of Sokovia, the leadership was changed to Steven Rogers and Natasha Romanoff. Not either of the people with actual military experience -  the two tour veteran Master Sergeant Wilson, or the active duty Colonel Rhodes. Romanoff was an ex-member of not one but two terrorist organisations, with no command experience whatsoever. But hey, she’s the whitest person after Rogers, so she must be a good pick.” “Now that’s unfair,” said Tony, the display freezing again. “I mean yes, they totally screwed you over, Rhodey, but SHIELD and the SSR were never racist. Or at least, substantially less so than their cohorts. They just very strongly preferred an incompetent insider to a competent outsider. The most you could probably say was that they have a history of being dismissive of military experience.” Rhodey snorted. “I think you mean the least you can say. Joshua was right about an actual serving military person having too much training on actual accepted practices, and too much of a framework to complain. The number of times I had to bite my tongue and remind myself that Steve was the one in charge, and if he chose to let things slide like that, then it was none of my business… I feel like a complete idiot now for having missed all the signs. I was convinced I wasn’t treating him like some sort of wide-eyed fan, but I sure as hell wasn’t treating him just like another team member, either.” Tony awkwardly patted his arm with the back of his hand. “Steve is good at tactics in straightforward situations, and very good at motivating others. In a way, I left the team without all the support it needed for Steve to be able to operate successfully.” Rhodey said, “You mean you did all the hard work to make him look good. A good leader deserves that kind of support, but a good person repays the favour. Steve’s the kind of person who thinks that loyalty is something he should be shown, not something he should show others. I completely ignored his history of contempt for the people who helped him. I shouldn’t have. In future I—“ Rhodey looked down at his legs and grimaced. Between his natural recovery and Tony’s assistance, no one knew yet whether he’d be able to return as a full member of the Avengers, even if there was an Avengers to return to.

Enough Rope (chapter 6) by Amber_and_Ash

I find it funny that we most of the time do not even talk about what MCU did to change Steve Rogers and Howling Commandos. I do not know much about the comic commandos, because I didn't read the comics, but the ones I know from Earth's Mightiest Heroes painted a completely different picture. Steve in them wasn't a leader or a field commander, he was part of the squad which had an experienced leader to which Steve was always looking for orders and I believe it was also the case in the comics, because animated shows usually tend to be more fair to them and don’t change as much. So Steve was never put in charge of the squad, but in MCU he is, and it creates a lot of problems in the presented storyline of The First Avenger which this fanfiction deconstructs pretty well. How weird and dangerous it was to put someone so inexperienced in the role of a leader of the squad and how exploitative it was that Steve even could recruit people which were captured and tortured without anybody saying anything about it being not a good idea. Basically after Steve rescued all of them, going against his orders in order to save Bucky (the others were add-ons to his glorious military hero stunt) he was suddenly treated by everybody as the best military leader in existence and given voice, which he didn't have before he did that. He was ignored and dismissed before he saved all those people, but after he was always listened to, always kept in the loop of planning and even given a right to create his own squad to make Red Skull's face even more red from rage.

Steve wanted to be a hero regardless of his limitations and what lying can inflict upon others with whom he would serve. He wanted to be like those heroes from books he read (he has them in the movie in his trunk) and a soldier like his father. The problem is that he never wanted to be a hero for the people. He wanted to be one for himself alone, because he couldn't stand the idea that he is too weak to do "his men duty" to the world, but also because he didn't want to see himself as weak and useless. And to Steve being useless meant not being able to be a soldier. He saw a kid in the propaganda piece helping and saw it as something below himself to do, because he was destined to do something better than that, or so he believed he was, even though his body disagreed. He didn't want to be like women and children who stayed behind. He wanted to be a strong man and do what was supposedly his job as a man. Toxic masculinity literally comes out in spades from him, but well, I would expect that kind of mindset from a guy from that era. He doesn't intentionally disrespect women and people who cannot be soldiers, but he just doesn't see himself as someone who should do other tasks which can help during war, because after reading all those stories about soldier heroes and hearing about his dad, he cannot imagine himself to not be a soldier hero just like them and everything different than that hurts his feelings as a son of a soldier and as a man with a dream to become one, so he presses forward, lies and tricks to become one.

[merrysithmas]

Obviously the Falcon show should've shown Bucky coming terms with the fact that he should write his OWN name in his book of victims.

It should have been made visually clear by the end of the series that he doesnt have to apologize for heinous crimes committed by Hydra hijacking his body and obliterating his bodily autonomy to incomprehensible levels, easentially using him like a criminal pump n dump. Every new assignment, new agonizing training, new puppetry, another violent rape of his body and mind.

Bucky is not at all even akin to say Tony Stark, who suffered immense guilt during the entire Infinity Saga regarding his former life as a weapons dealer. Tony's (valid) guilt resulted in a compulsive desire to protect the earth, ultimately ending in his voluntary death. Tony is time and again shown as a tortured hero despite his initial complacency in his morally bereft actions. Bucky gets no such luck- even though Bucky, in his former life, committed no such atrocities and in fact was likely one of the most heroic pre-superhero normals in the MCU.

Bucky was a well-liked, smart, athletic, happy boy who cast aside any manner of social expectation to throw in his lot, time, and energy, again and again, with chronically ill, disabled, social menace Steve Rogers. Bucky canonically nursed Steve's injuries, was his stalwart companion through all life's difficulties (his illnesses, his mother's death, Steve's psychological inferiority complex and mental anguish resulting from his social standing) and the Crash, and mostly importantly, Bucky did not want to go to war.

He was drafted (something that seemingly would have been key to bring up in Falcon re: his lifetime as an unwilling soldier). And, emotionally, Bucky ardently tried to dissuade Steve from joining the army, for fear he'd lose him. Despite not wanting to fight and being tortured, Bucky stayed in the military post-rescue from Azzano because he could not fathom leaving Steve. He planted his feet in a burning building shouting "No! not without you!" refusing to leave without Steve even after his rescue from months of torture. Til the end of the line, regardless of what happened to him.

For the next three entire films we see the frankly epic level of value Steve places on Bucky's devoted companionship. How desperately Steve valued Bucky's goodness and innocence (even above his own life, reputation, and safety).

Bucky doesn't have to cross out names he feels guilty about as if atoning for his own sins - and while the thought behind this narrative choice may have been to depict some semblance of retribution, this notion would have been much better expressed in another way. Such as: members of the public or others who were vicitmized in some horrible manner (domestic abuse, sexual abuse, scapegoats, other victims of Hydra etc) coming to Bucky instead to comfort him, welcoming him into a group designed to alieviate this solitary mental burden, or at least comiserate in some manner. Showing him he was not alone and who, exactly, he could be fighting for should he ever choose to fight again. The voiceless and disregarded, who only have Bucky who understands.

Also (though it seems to have engendered some faction of fandom vitriol), the removal of Bucky's arm during battle deserves consideration. This visual act was obviously narratively intended to show the unmatched prowess of the Dora Milaje and the justifiable premeditated cautiousness of Wakanda re: the generous rehabilitation of a dangerous mass weapon.

Though, it has the double-edged effect of showing how Bucky is still not an agent of his own bodily autonomy. His mental and physical freedom, his very ability to do his job and make his own choices therein, is still under the jurisdiction of someone else. His disability is his opposition's advantage (whether well-intentioned or not). Essentially, he is mistrusted. And it doesn't matter how much therapy he goes to, how much he atones for his "sins", his mind is still considered not to be fully and truly his. This is one of the most injurious of all things Bucky suffers - even those who rehabilitate him doubt the complete success of his healing. Therefore, his entire arc in the series is at best questionable simply with that alone.

His entire arc should clearly have been reframed to display his victimhood, and how the fact that he is mistrusted is also another burden and misfortune that he can work through and call others out for, instead of absorbing the guilt for that too.

Falcon does a poor job of showing how this "Bucky can't be trusted" mindset is highly injurious to his status as a victim, while mostly asserting it is a byproduct of his (alleged) villainy. It does not separate "alleged villainy" and "propensity for villainous actions as result of the abuse his suffered for 70 years". Instead of clarification on this for the viewers and Bucky himself we are, among other things, posed with the question - is the Winter Soldier still in Bucky?

Right there, you know the show was not intended to show much closure for the character, but rather wring-out, refresh, and even retroactively assert his alleged villainy over his victimhood in anticipation of perhaps his own solo series (where the Soldat is reactivated). Yet, we are also oddly simutaneously expected to accept that Bucky is "healing" somehow, although we never witness anything truly happen him, internally, to suggest this.

Bucky plays an almost angry motherly role to Sam at the start of the series, initially chastising him for not accepting responsibility. Bucky sees himself as the protector of Steve's legacy, and is disappointed in Sam's (later he learns, complicated) reluctance to wield the shield.

In the end, Bucky is approving of Sam and proud of his rise to the Cpt America mantle in that same manner - bookended with approval from a distance where he almost, again, stands off to the side as a proud mother. He seems to see himself as a mentor in Sam's journey towards self-actualization. Why is he so happy Sam has become the hero he always was inside?

His newfound friendship and respect for Sam as his own hero, of course. However, it is also his love of Steve which is the next obvious answer, his deep pride in who Steve was and what he accomplished, but this is inferred and never said - thus taking away again, from an oppotunity for Bucky's emotional growth and healing. The writers didn't even know where Steve was (or if Bucky knows his whereabouts) but they could have indicated something to that effect.

Once Sam has embraced Cap, the series ends. However, despite the jubilant setting of the finale, Bucky is still narrartively unmoored. We are left with the image of him lighthearted and hopeful, but without much substance towards its sustainability and so there is not much satisfaction in it despite the sweetness of its visual impact. But its depth? We are unsure. This is because Sam's ultimate advice to him, that he "serve" others rather than enact vengeance, strips away another truth about Bucky's situation.

That Bucky's desire for retribution and vengeance against those that abused and tormented him is valid and a real victim response. Bucky's perspective is seen as "wrong" instead of a well-documented step stone on the path to solid mental survivorship. Bucky could eventually want to serve -- but serve who?

Again, obviously the answer is: other victims like himself. But the show won't call him a victim at all, and thus Sam's advice feels hollow (serve... the vague and faceless Greater Good?) and Bucky's emotional security at the end of the show feels as if it lacks substance and permanance for the audience.

The payoff for Bucky's healing is almost nonexistent because no one will ever say why he was hurt in the first place (a victim).

Could go on and on about how this is because of Disney's terror of Bucky's perceived compromised masculinity (victimhood, captured, mentally damaged in WWII and present day), visual femininity (hair, slapped by men for insubordination, physically touched and moved against his will, soft spokeness, powerlessness in the narrarive), queer subtext (Steve, his origin as Arnold Roth Steve's gay jewish best friend, perceived jealousy of Peggy, intense affection for Steve), his juxtaposition to Steve and role in Steve's narrative, and their desire to wipe his slate clean with a new Masc Bucky.

Hint: it doesn't work.

[urmomsstuntdouble]

Can you do one for america

Since I received this about an hour or two after posting my lithuania analysis, I assume you’re asking for an america character analysis. I was debating whether or not to go through with writing this or not for a while, but i’ve decided that I’ll try. I hope you enjoy it!

Idealism

The first thing that sticks out to me when thinking about america is that he’s super idealistic, and I think this has its roots in his birth. Everything in his life has been about hope and being better than others, even down to the decision to colonise north america. England needs to be the most powerful country in europe. Better set up a colony in america so that it can save us. It’s that sort of logic that i think gives america the idea that he needs to be perfect, or that he can be the ideal person. And though a lot of what we consider to be the “american” identity (intense patriotism, nativism, idealism, etc) took recognizable shape in the 19th century, i think this way of thinking was nothing new to alfred. He’d been raised on it, with the desire to please arthur sort of in his blood? Anyway i feel like the idea that the colonies would be so so prosperous really put the idea into america’s head early on that he was perfect and that he was destined to be such a great person, even if that wasn't true. I often see his daddy issues presented as solely abandonment issues, but my interpretation of america is more of a combination of abandonment issues and the pressure, some of it self inflicted, to be a perfect country. Basically, his idealism is deeply rooted in unhealthy places. 

Also, a religion headcanon i have is that while he was more raised to be a puritan, freddie prefers quakerism. Though he’s not the most compatible with quakerism, as it rejects violence and quakers often refer to themselves as the society of friends, and are very welcoming, i think it gives him some hope. One of freddie’s biggest problems is that he wants people to be better than they are, and quakerism helps a little with that, because it’s a way that he can help himself become better than he currently is. I feel like he’s been a quaker for a very long time, so he’s not a very good quaker, but this is still something that’s very important to him. 

Hero complex and other mental bullshit

America having a hero complex and also being physically 19 is something i think really highly of. First of all, it very much fits with the mythology of america being a sort of world savior. Secondly, a lot of american media focuses on heroism, whether its on the behalf of average people, like the hunger games, or on the behalf of superheroes, like the mcu- especially over the past 20 years. Though i think it’s a good thing to promote heroism, the hero-martyr complex that gen z has is. Oof. And i think alfred fits very well into that toxic sort of “heroism” that most gen z kids have. He thinks he’s somehow able to fix everything wrong with the world, just because he really wants to. Though that desire is genuine, it’s not always something that’s his place to fix or something that even needed fixing. There’s also a selfish component to that- He needs to prove himself, and heroism is the only way he thinks he can do that. It’s why he works out constantly and cares so much, on a personal rather than country-avatar-thing level, about being #1 at everything. He has to be better than everyone else because he has to be the perfect hero. 

I also think it’s interesting how america seems to have more pronounced daddy issues than canada, and i think this is something that harkens back to the 13 colonies (side note i hate the term ‘colonial times’ when referring to the time before the revolutionary war or canadian independence. These are settler states, its always colonial times.) and american independence. Canada sort of only exists because of british loyalists, as they made up the majority of the population around the turn of the 19th century. They saw themselves as being The Better Colonists. Real daddy’s boy types, and I think this is something that contributes to the hero complex. Because matthew refused to rebel so openly, that made arthur favor him as a son, so alfred felt the need to be even better than matthew- even though, of course, alfred was a bit more favored. 

Fighting Style

Freddie is very good at violence, but not in the same way that a lot of other nations are. Where they tend to be more well trained in specific styles of fighting, freddie just sort of has all of them? His mind is very crowded, i think. Also, the way that he would have learned to fight is different from the other super powerful countries by virtue of his youth, and by virtue of the different regional fighting styles in america. One that’s haunted me is a trend in the ability to rip off ears and noses- Particularly by white gangs in the antebellum south, this was seen as being like. A real badass. I think alfred was something of a feral child. If you know the saying “it takes a village to raise a child,” i think it really did with him. He had so many parents, just like a lot of the western hemisphere countries. But anyway because of all his many many parents, there was never any strong parental force in his life, so it’s more like he didn’t have any at all, and because of that, alfred was a very strange child. And because violence is so ingrained in american society, alfred is very good at fighting, both in order to be fun and flashy and for his own self defense. Though he doesn't really like to fight unless he feels like he has to (and other people are very good at convincing him that he does have to)

Sports

Though america is definitely super athletic and could probably naturally be good at most sports, i think there’s a few that he’d more gravitate towards. Those are basketball, track and field, and olympic lifting. I would include american football but it’s a stupid sport that doesn’t make any sense, so it will not be included for spite reasons. In basketball I think he’s sort of an every-man. I think he’s around six feet tall, so he really could play any position on offense, and as for defense, I think he’d play his best defense against the point guard, bc i feel like Alfred is really fast and good at getting up in your face. He’d have a ton of steals whenever defending against the point guard. I think he’d be a good center on offense, because he’s a bit aggressive and that would be useful for getting rebounds and put-backs, though i wouldn’t discount point-guard freddie, because he does like to be very inspiring. He’s pretty energetic as well, and a point guard can really carry the entire team in terms of energy and spirit. As for track and field, he’d also be an every man- I feel like he’d gravitate more towards sprinting events by personality, but his coach would stick him in wherever. Where olympic lifts are concerned, he’s absolutely a snatch specialist. 

Empire and contradictions

America is an empire. No way of getting around that. I think imperialism in hetalia is an interesting subject, especially where america is concerned. @mysticalmusicwhispers did a good job running that down here, but basically my thoughts on the matter are that alfred doesn't really like being an empire. There’s many angles to that. It’s lonely at the top, for one. There’s no one who relates to being a 21st century empire in quite the same way as him. Then you have the fact that a lot of people living in america have suffered under imperialism as well. Because of that, there’s a lot of self hatred and anxiety and a not knowing if he can fully trust himself. Theres also the obsession that many americans have with people from other cultures being able to assimilate to american wasp culture. Because of all the people who live in the states who are very much not wasps and who can never be, it’s really hard on alfred, though he refuses to admit that things are anything but fine. 

Extras/Fun stuff

A book that reminds me of him is The Things They Carried by Tim O’Brien. It’s a collection of short stories about O’Brien’s time serving in the military during the Vietnam War. It’s a very haunting book and I think about it at least once a week, but it is very violent and there’s a lot of fucked up stuff in it.

giveme chubby alfred or give me death

i feel like this shouldn’t have to be said, but sometimes there’s people who depict him as being pro-trump or pro-right wing bullshit, which. absolutely not. just because of all the political turmoil that exists within alfred, and because of all the pain he goes through because of all the hate that exists within his borders- hate that the entire world is forced to pay attention to. even though he might not have all the best sympathies or motivations, he’s just so tired of all the pain he personally goes through because of domestic political unrest, and would like it to end in the way that’s the least painful for him as a person. 

Bi king of my heart 

not a natural blond

I hc him as being mixed, though i’m not sure what exactly he’d look like? But i do enjoy alfred but not white, as poc are the driving force behind a lot of american life, right down to the languages we speak. Like. something like half the states names are the words of their indigenous peoples, and even more toponyms are indigenous across the country. Then of course i feel he’s very protective of aave and will always pronounce words in Not English correctly. (if u want to hear more about my language thoughts they’re linked below. Not gonna rehash it here cause those posts are Long™) 

My playlist for him!

Other analyses (age, linguistics) 

writing requests

[igotswag77]

Courtly Love In Thrawnbine - My Review

This Tumblr inspired me to try again on the concept of COURTLY LOVE -- thanks for the nice art.

This is long... No tl;dr. I have been writing my THRAWNBINE fanfiction since 2014-2015. The initial transcripts were lost because my computer and the external hard drive crashed. Therefore, the research, development, key ideas, metas, etc. are gone. I have to start from scratch, hope some of them are in the cloud, and rely on my memory, which is another discussion. This piece here is not about the validity of the THRAWNBINE ship. It is a discussion of story elements I wanted to include as I write this fanfiction. It is not about me forcing any fan to accept my proposal. As a Star Wars fan, I like creativity and this piece is an example of what I think about when I develop my creative writing for fanfiction. It is what I want to do with my life right now because I can do it now.

However, a while back in one of the SWAG77 blogs here, my group discusses the idea of COURTLY LOVE: As I understand it as a beginner creative writer, it is how the COURT of the kings, queens, princes, princess, (on down) and knights in the Middle Ages and Medieval times expressed their love to each other. (x)

From my interpretation on my reading, not just Wikipedia but others, when noble single men, who were knights, often fought "religious wars" returned home to the court and would appeal to royalty to marry a certain young woman. They planned to "woo" these women with sayings, phrases, poems, etc. as an expression of their commitment and love. The issue is, most young women at a certain age (late teens, early 20s in the 13th -15th centuries) were considered "old maids" (spinsters) and they were made to marry whoever their families could get who were often older men 10+ their senior. Once married couples could not divorce, because of Church, and if caught cheating on their husband, women could be thrown away or killed. Many marriages turned loveless. When the knights returned home, they discovered the love of their lives was married, and therefore, they could not marry her because it was against the Church. Of course, back then, there were not a lot of sexual infidelities, because women could be killed for that, and any resulting child was forced into servitude, enslaved, or killed.

What couples did that time to express their love, devoid of sex to relieve that tension, the nobles created "courtly love" where the knight would serve his lady in any command and he would in turn be chivalrous along with his poems and sayings of love.

"The Lady and the Unicorn" (x), (x) tapestry art from finished in 1500 in France, is an allegory for "courtly love" by its subjects in the art, and symbols. The art comprises six tapestries that depict individual senses in each of them:

In the sixth tapestry, the words display, "À mon seul dési," while obscure in meaning it says roughly:

"To my only sole desire" "According to my desire alone" "By my will alone" "Love desires only beauty of soul" "To calm passion"

In my literature review to build the THRAWNBINE ship, I weaved the idea of "courtly love" as a plot element, in case my story hypotheses were inaccurate. That no matter what, Grand Admiral Thrawn knew he would have to serve under Countess Sabine Wren due to her royal status. By the time Thrawn meets Sabine face to face, she might be royalty with the rank of a countess, or she might be a rank higher than one because she has a direct right to Darksaber, as explained.

Sabine Wren might be a Marquise because she has an exemplary war record. I believe that Sabine Wren is the rightful heir to the Darksaber over Din Djarin because when Djarin defeated Moff Gideon, the Moff is NOT Mandalorian. All Djarin did is confiscate the Darksaber FROM Moff Gideon to give to the rightful heir. Lady Bo-Katan Kryze is not the rightful heir. She was given the Darksaber because Sabine believed in her. But the Darksaber is magical, like the Excalibur sword, and this saber did not choose Bo-Katan, and Bo-Katan never won it by ritual combat. The last Mandalorian who fought against another Mandalorian in ritual combat was Sabine Wren. Why Sabine gave it to Bo-Katan? Maybe the Sabine Wren character is like Nimue, the Lady of the Lake who gives worthy people the Excalibur, and in this case, it would be Sabine. But the Darksaber is ENTRUSTED to one that is worthy to wield it and NEVER lose it to scurrilous powers or persons. If Filoni et al. is using parts of the Arthurian Tales to explain why Sabine gave the Darksaber to Bo-Katan, then it was Bo-Katan's job not to lose the Darksaber. But she did and somehow, Moff Gideon "acquired" it -- he is definitely unworthy of it.

Maul, while he fought in ritual combat to obtain the Darksaber and killed for it, CHEATED during the fight with Pre Vizsla. Ritual Combat is a test of pure fighting skill, will, and strength. In the book, "Darth Maul: The Shadow Conspiracy", Maul has the fighting skill, a will, and the strength to fight Pre Vizsla, but there is the Force, and Maul used it to defeat Vizsla with his Force abilities in precognition. Maul knew all the moves that Vizsla would take before he made them. In my opinion, that is cheating.

While the Darksaber will work in a non-Mandalorian's hands who can wield a saber, the crystal used for plasma that Tarre Vizsla built, is responsive to the worthiness, nobleness, and chivalry of the wielder. Most stories written about enchanted swords say they do not work optimally in the wrong hands. Did it fail Maul, probably not, because Maul was so Dark Sided that he could "bleed" a lightsaber crystal for his uses. But I can imagine that a Mandalorian who uses weapons for his religion, like Tarre Vizsla who has the Force, would build his lightsaber in a way that his crystal, while it can be bled by a Dark Side user, still holds its resilience hoping for a worthy, noble and chivalrous Mandalorian to bring together the people and raise an army.

Another caveat to this story I think is Sabine Wren wielded the Darksaber while she was possessed by the Nightsisters trying to relive as Maul wanted. She almost kills Ezra Bridger, but Bridger was strong enough to pull the ghosts out of Sabine (and Kanan) in the Star Wars Rebels Episode 11, "Vision and Voices". Anyone who understands possession by spirits knows that not ALL of the spirits leave the body. Moreover, one possessed by spirits is not always evil. It is an ancient practice by those who are a part of the Vodoun culture in Western Africa, the Caribbean, Louisiana, and Gullah -- my culture (which I have some practice in it). Part of Sabine's ability to wield the Darksaber and other lightsabers come from the memories of the spirits that entered her body on Dathomir and the touch of the Daughter, which I have repeatedly written about on the Sabine Wren site (x), (x), (x).

The point is since the spirits entered Sabine Wren and not all of them left her in that SWR episode, and she picked up the Darksaber once clear of the complete possession, the Darksaber, especially the power of the crystal and the "spirit of Tarre Vizsla" encased in it, wanted Sabine to become the Mandalorian to rally all other Mandalorians together as one.

In SWR Trials of the Darksaber episodes, after Sabine defeats the Imperial Mandalorian, Gar Saxon, only to be killed by Sabine's mother, Ursa Wren, it shows that the Darksaber is rightfully hers. Why Sabine gave it away? The writers of SWR do not add scenes or dialogue meaninglessly, every piece of scenery with lighting, etc. and dialogue is added into each episode carefully to tell the story that these creatives want you to see. Sabine felt she did not have enough political skill to command Mandalorians, or better yet, military leadership to command Mandalorian -- for "you don’t tell Mandalorians what to do. You suggest it and they either heed your advice or not. (forgotten reference)"

Thrawn had to have learned that Gar Saxon died well before Season 4 Episode, "Heroes of Mandalore" part 2. Also, Thrawn knew a lot about Mandalorian culture through its history, philosophy, and art. What he did not count on is that he would find an artist -- Sabine Wren. I don't know when Thrawn discovered Sabine was an artist that painted the graffiti on the retaining wall. Through his studies, he deduced it was her by the armor she wears, the changes in her armor, and how important the armor is to the Mandalorian culture. This is why he was able to figure out that Sabine built the weapon. Her method of creating art reflects on how she builds weapons whether she knows this fact or not. But then, the Darksaber, which he has not seen, and would not really know its lore because it seems that story that Fenn Rau told Kanan is an "oral tradition" than a written one, and the fact that it was "liberated" from the Jedi seems like an embellished story -- liberated? More like "stolen" maybe? Thrawn had not heard that story. But Sabine knows it. I am not sure if Thrawn knew that Sabine is the rightful owner of the Darksaber. But during the battle sequences, he must have gotten glimpses of it and piecemealed what exactly it is as his job as a strategist to know what he is going up against. However, the Duchess Arc Reactor was not reconstructed to blast through Mandalorian Armor as the new leader of Mandalore, Tiber Saxon desired. It was a test and a chance for Thrawn to see the strength of the fight of Mandalorians (who fight each other all the time), and a chance to meet Sabine Wren in person. He had not met her. He met everyone except, her.

____________

I think that Sabine Wren would be a higher royalty if Filoni et al. were to write that Sabine is a rightful heir with a title. Therefore, she would be a Marquise who protects the frontier. In this fanfic, Thrawn would have to marry Sabine to obtain the title of Marquis to protect the border of the galaxy from the Yuuzhan Vong (lite = Grysks), and his military background fits in this fanfic story. Therefore, he will do whatever it takes to keep Sabine alive, protected under the symbol of the Darksaber and her people with his military (army). He would have to show "Courtly Love" with the addition of sex, to serve as her advisor, confidante, and supreme commander of her militaries. While he could keep his titles, they are not royal, but political, such as "Ranking Distant" or "Syndic" or "Patriarch" -- but that's the Chiss Ascendancy and he has been exiled from it (on paper: meaning officially he is exiled, unofficially he is in a black operation for an intelligence-gathering mission.)

As a separate story, he knows he really can't return under his current position back into the Chiss Ascendancy. But he can annihilate threats in the Unknown Regions using Galatic Empire resources -- of course, the Emperor nor Darth Vader like that idea. When the Deus Ex Machina scene occurred, wherever the space whales took Thrawn and Ezra, the end result should be, IMO, someone in the Chiss Ascendancy rescues them. And it can't be just two people, it has to be a group of them, mostly Imperials. And they take them to a planet, apparently under snow and ice in the Dave Filoni art.

Before I knew anything about SWR in my first fanfic, Thrawn met Sabine at an art auction.

After the Ezra Bridger Deus Ex Machina with space whales, it seems based on Dave Filoni's art of Sabine Wren and Ahsoka Tano, Thrawn officially meets Sabine. For many headcanons, metas, and short drabbles I can't get into atm, they kick off their relationship, and for Sabine, it is unexpected. And while Thrawn might strategically want Sabine to stay (to seal the deal), they have to have legacies. With legacies, Sabine would not want to leave unless she had to.

In this fanfic, any acts like these are about consent. I strive to write consent in my stories.

The conflict in this story becomes how the HAYLE did Sabine agree to all of this? She IS strong-willed like most Mandalorian women are. For Sabine to consent to this life path is:

Sabine DESIRES it; she WANTS to do a pair bond. She figures out that she is getting old and her biological clock is ticking, and perhaps she is tired of constant war and needs a break. But whoops, she did not think that her desire would overtake her and create many legacies. That does happen in real life. Therefore settles that now, this is her life. (This fanfic is the easiest one to write, but slightly dull).

From the LADY AND THE UNICORN held in Paris. Each tapestry depicts the physical senses: (1) Sight, (2) Hearing, (3) Taste, (4) Smell, (5) Touch, (6) Desire. There are allegories and symbols for each tapestry and element. The major symbols are a Lady, a young woman virgin, with a Unicorn, loyal to only her.

There is more information from this youtube: https://youtu.be/5hCWZNm3qpc. My issue about this video, while most of the information seems accurate, the poets are interpreting the tapestries with their modern experiences. In my opinion, it is difficult to understand these tapestries without historical context. To think the woman is in pain is a modern interpretation. Back then, people LIVED in real physical pain because there were no "doctors' like we have now; it is very judgy to make that assertion. Thus, the comments in the video are opinions, and the producers did not announce that opinions were going to be shared. It's kind of like the point of the tapestries was missed without the historical basis.

History for the THRAWNBINE ship is an important part of the fanfic. I am not a great writer, but I work hard to write it. I have reviewed the literature, not think up this ship out of my ass as some fans would assume. I have put a lot of work into it. Also, I am well-read on many Star Wars Legends books and the new Thrawn canon books. Therefore, it is not like I do not know much about Star Wars when I do. I have REAMS of information that I like to share with fans who ask me about it. A few fans do. Moreover, I am not so vain to think that my ideas are the ONLY point of view available. I like trying to write fanfics as close to the Star Wars canon because it is fun, and that is my thing. But there are other ideas out there. It would be wrong to say my way or the highway. Also, I am not young, and those who are asinine toward me, well, I know you're younger than me because I'm old, and I want to do this with my life, I like to do it, and I'm having fun. Some young people do not GET that idea until they fall flat HARD on their face with a lost future. But don't give up your bright-eyed and bushy-tailed aspirations -- you never know where life will take you, and you might be the one. Congrats. Believe me, life can get shitty when you're out there in the real world, like me. And when you can grab your chance at something you find fun, I say do it. Money isn't everything -- but it keeps the kids in touch. I bring up these issues because some young people take huge umbrage against the THRAWNBINE ship due to the perceived huge age difference. Okay, I can see why some young people are freaked out by that. Because someone taught them to be freaked out by the age difference. Moreover, I come from GenX, and most of us, aren't freaked out by that at all. Some of us are in that situation now. So it's no big deal to us. And any generation before ours -- THAT WAS THE WAY... I would not BE if not for huge age differences between my grandparents, great-grands, and great-great grands. Of course, for my greats- yeah, there wasn't much consent. But for my grandparents, at that time and age, there actually was consent. My grandmother was 18 years old when she married my grandfather at 26 years old. By 21, she had 3 babies. One is my father. So, I grew up not caring about age differences in relationships. But for some Millenials (not all) and GenZ (not all) and afterward (not all) -- IDK?

I guess the equivalence for some of the younger generation to understand why I am doing an age-difference story is that the younger generation demands older generation acceptance of relationships that were not allowed to exist in public because one could be killed. It was not until 1967 that people of different races could marry legally in all states. Shid, one couldn't divorce over irreconcilable differences (at will) until the 1970s. Women could not have their own bank accounts until the late 1970s, and LGBTQIA+ RECENTLY were allowed to marry legally in all states, although assholes are stopping them. Then... some of the younger generations are from IVF-assisted pregnancy situations. Some are surrogates. SHID.......... That was not allowed until the 1980s... Both 1970s and 1980s were when I grew up, when I hear younger generations wracking my brain over CONSENSUAL LEGAL age-difference, I think folks don't know the history and therefore are doomed to repeat it. It is NOT a suggestion to return back to that time where women had no choice. My fanfic is about a man falling in love from afar with a woman who actually has no clue, and he knows he is a lot older than her. Somehow, he has to tell her, and he is afraid because of rejection. Look, some Star Wars fans come from parents who have an age difference between 10+ years. If they grew up fine, and their parents are okay with their relationship, who would we judge? I am not talking about a child with a much older adult; that's not legal. I am not talking about nonconsensual (the age of consent in some states is 16-17 years old). I'm not talking about child marriage. My fanfic is about two adults making a choice to be together in an adult relationship. To say someone older can take advantage of someone younger due to experiences, well, that is a false analogy, and the opposite can be true, too. It isn't the age difference that causes bad relationships. It is the power and control, and all generations have individuals who use power and control manipulation to force and abuse another person.

Matthew Perry on that super expensive dating site was matched up with a young woman profile and wanted someone to talk to and have fun with. Not do unsavory things as the woman painted that picture. She lied about it too.

Matthew Gaetz is an asshole, and he deserves everything that the law can throw at him. I actually do not think he knew better. And as far as the young women, including the underage young lady, he manipulated them because he leveraged his power and control. This isn't because of age differences; it's about power and control by manipulation. "Oh, wow, I'm a big shot congressman; worship me." Bith, puh-leeze. You ain't shit. Look, fans teased me when I first discussed "Courtly Love," and I abandoned the idea because I could not justify it. Which is my choice; I made that choice, I chose to do it. But, some in the younger generation and nascent Star Wars fans must understand that you have no right to say who can fall in love with whom just because there a legal and consensual age difference. It is not fair. You cannot ask the older generations to accept your relationships and choose to have them if you can't accept, assuming that they are legal with consent. Because a long time ago, they were not... And when you have a longtime Star Wars fan who is older that is okay with your desires for legal and consensual relationships, killing us is not going to get these hateful toxic fans off your backs. You need longtime fans to be in your corner fighting for your cause because a lot of us have seriously fought for real shit, too. Not just protesting, but having rocks and police beatdowns and water canons, too. Blame by authorities for throwing in prison all the time. Shid...you should have seen us Spelman women rip a new asshole to fight Apartheid in South Africa against Amnesty International. We fought hard for that.

But you need to be cool with our stuff too. Just ask me. I'll tell you.

[kuroopaisen]

@kacchand (i couldn't tag your main but i wanted to make sure you saw this fdlkjfdlkj) 

hello dear! i’m sorry it took me so long to respond to this dflskjfdlkfdj i decided to answer your ask in a text post so i can link my thoughts to yours more easily! also, i know i'm going to Ramble, so i wanted to be able to keep it under a cut sdlkfjd

Hi rowan!! I've just finished the final chapter of aot and I just wanted to ask your opinion on it!

(SPOILERS THAT DEPICT MY UNDERSTANDING OF THE STORY'S MEANING AHEAD. READ ONLY IF YOU'VE FINISHED THE CHAPTER)

(FR )

(THERE'S STILL TIME TO BACK OUT)

(DO IT NOW. SPOILER ALERT)

I'd also like to ask a follow up question about it, because it seems that I've come to a different concl. from many of my friends and I'm feeling dumb abt how i feel w it.

first of all (and i say this as sincerely as possible, and if i'm coming off as condesending please let me know hh), please don't feel dumb because you've come to a different conclusion :(

we all read media at different levels (i’ve been told it’s ‘not that deep’ before fdljkfsdlkj) and identify different aspects in it, so the fact that you've had a different experience to some of your friends is absolutely not a reflection on your intelligence. and if anyone's making you feel that way, drop their @. i just want to talk :) furthermore, you’re not wrong for responding to something emotionally, especially if it really... makes you uncomfortable, you know? 

i'm from the PH & I've put off determining whether i'm comfy w the manga til the last chap,,,, but is it wrong that I can't shake the feeling that it's a justification of japanese expansionism and genocide? ik this manga has always been in the grey area, and that's what I love abt it! It often shows that no choice they make is absolutely good or bad, and does such a good job at showing you how each complex character came to that understanding (role of environment, etc...) but this last chapter felt too positive abt the rumbling? Like it was justified because paradis was able to advance and there wasn't much choice? idk.

that's totally valid! some of the best think pieces on the show i read mentioned that the concern with the narrative is less "is isayama a nazi sympathiser?" (he most likely isn't), but if he's a imperial japan apologist. and...

well, let's just say that my father is british, and when i was trying to say that colonisation was bad, using british india as an example, he said "well, we gave them railroads." it's... it's uncomfortable and gross and i think it encapsulates how countries with imperial pasts tend to talk about them; even if they don't officially endorse it, there's often a lot of talk about how "well colonialism was good for this country, actually--"

and if the manga felt like it was justifying japanese expansionism, then chances are it had elements that very much did point towards that. i've had a lot of trouble grappling with reiner, annie and bertolt, because they've existed in this grey area of 'victim of oppression' and 'war criminal'; and their existence raises the question of "do people who commit war crimes simply do what needs to be done?" and by victimising them it... it plays into the whole nuremberg defense of "i was just following orders". it's making you feel bad for the people committing said war crimes (and similarly with eren, and all the awful things he's done). but i'll get more into this point later dsfkjfd

i haven't read the last chapter yet (and don't worry about spoilers! i've been approaching aot from a very... specific perspective anyway, so i actually don't mind spoilers -- i read a bunch of analyses of the series before i'd even watched it hh), but... i think if it came off as too positive about, you know... an awful thing that happened, then it absolutely makes sense that you'd feel uncomfortable?

the modernisation narrative in general is one that always skeeves me out. it's one japanese imperialists use to justify the invasion of korea (and even those infamous tweets from the one account purported to be isayama talk about how the population of korea boomed under japanese imperial occupation, which... stop.)

it's also commonly invoked in cases of development. certain members of society (usually the poor), just 'had' to die for the good of the future. who gives a damn if they consent to that? they have to.

similarly, the 'we had no choice' narrative. that's... a concerning one that crops up time and again with history apologists, the argument that "oh if x country hadn't done y, then someone else would've!" or that acts of aggression were done as pre-emptive self-defence, which is so... ugh. i just. i just hate it.

It also feels really weird w the ymir and the whole loving fritz thing. i wish we got to see more of her thought process and what conclusion she came to that led her to destroying the power of the titans.

i... hate this so much. i get that abuse is complicated and victims often have multifaceted feelings towards their abusers, but... most people would focus on that in their story? the story would be about that? but instead, it's just... a thing in the history of the world and that's... icky.

also having the genesis of the titans come from a slave girl in love with her captor... there's many levels of ick to it and i highly doubt it was handled with the appropriate level of grace and sensitivity.

honestly, this might be one of the things that pissed me off the most because of how... contradictory her backstory was with That One Chapter (you know, instead of ymir crying because she wants to be free or because she’s been trapped she........ wants to see mikasa kiss eren’s decapitated head? i guess? what the fuck?) 

idk...I just think that context is sometimes everything. and i understand that media can portray incorrect things,,,, and that isayama likely didn't intend for it to become a global sensation, but i guess i'm just uncomfortable w the right wing nazis getting a comfort book ahaha.

i totally get that! even if attack on titan is meant to be anti-fascists, the fact of the matter is... a lot of fascists love it. and relate to it. which is... alarming. especially given just how popular aot is worldwide.

it’s hard because before the ending, attack on titan did feel like it was more grey; i remember saying that i wouldn’t know how to feel about it until the ending because the story was either saying “the military is corrupt and war is hell”, or it was saying “the military is corrupt and war is hell, but it is necessary.” 

still sorting out my thoughts, but yeah. I think i'm having a hard time understanding what they really accomplished with the rumbling and how they gave eren a sudden lelouch role and a lot of how they made it out to be a happy thing? perhaps I'm too biased to see it fully but to me it gives a "woah. eren was a hero. he saved us from destruction. those people needed to die for us to achieve this temporary peace and new start". i suppose the rumbling gave them a levelled playing ground?

OH MY GOOOOOD okay. i haven't finished code geass. but i really don't like lelouch. i mean... i think i just don't like characters that sacrifice other people for a purported 'greater good' (i could write an Essay about how much i hate erwin smith looking at him is enough to send me into an unhinged rage), but where i'm up to in the anime, i don't like the direction they're going with eren? i mean, i've never liked eren, but... that whole "martyr for the eldians" is just. ew. especially when you see several eldian characters disagree and resist him. 

why does this one guy get to make choices for everyone else? because he’s sPeCiAL? fuck off 

sorry for not being coherent. maybe i'm basing this too much on feelings ahaha. trust aot to finish it's scandalous run with a scandalous end.

no omg you're being perfectly coherent :( also, if anyone's making you feel bad or stupid for how you experience media, they’re... definitely not as smart as they think they are fdslskjfdlk. 

i'm of that mind that, while media consumption is in part an intellectual exercise, it is inherently very emotional; narrative media tries to make us feel as much as it makes us think. that’s what stories are for, you know? intellectual analysis is well and good but what’s the point of a story if it doesn’t make you feel anything?

that's to say, i don't believe there's such thing as basing your opinion too much on feelings :') especially since it's your personal experience with a piece of media; you don't owe anyone 'objectivity' (which is always a farce when it comes to this sort of thing) or 'logical analysis', because nobody's got any right to criticise you for engaging with media the 'wrong way'.

tl;dr I feel like the mood was too celebratory abt the rumbling, and didn't entail enough on the tragedy so much that it felt like a justification for genocide and expansionism. how do you feel abt it's ending and the message it leaves? is isayama responsible to give a morally correct answer to the cycle of hatred? you're not obligated to answer! and sorry for the rambling.

hhh yeah i guess that’s the thing at the end of the day... is isayama responsible for giving a “morally correct” answer? no, but the way the ending plays out is very telling. 

like armin thanking eren? mikasa’s e n t i r e character boiling down to being in love with a mass murderer no matter how poorly he’s treated her? and one could argue that kind of ending is supposed to be unsettling, supposed to hint that the cycle will just continue, but...

framing is everything. and it’s framed like a Good, Emotional Thing, Aren’t We So Grateful Eren Did All Those Awful Things 

YI think I would've been fine if we got to see more of Eren's or Yif you have a different perspective on how eren is being portrayed please do share! I just felt really yucky watching armin say "thanks for murdering all those people for us" with love,,, I suppose he was trying to make eren feel better. ach maybe I'm just overreacting. idk. im dumb ahaha . i'll send this in anyway cuz I'd love to hear your take!

HHHHHHH i just hate eren and i never got him. i felt bad for him in the beginning, but he's always been too... violent for me. there was a very short period of time in season 2 where i felt bad for him, but otherwise it’s just been... ugh. the main three have always been the weakest part of the series imo, so it’s really not surprising they’re part of the reason the ending was so. bad. 

and... well, that one infamous quote pretty much sums up my issue with armin. he's supposed to be the 'intelligent' one, but he's hopelessly devoted to a homicidal maniac with whom he has a very artificial, unbelievable bond with.

at the end of the day, the "thank you for becoming our monster" thing just makes it seem like attack on titan's core message is "war is horrible, but it is necessary." it feels like it's justifying massacre. and while fiction is fiction, and sometimes it's as simple as that, i think something as politically loaded as attack on titan needs to be looked at with a critical lens when discussing what it’s trying to say or what it means. 

do i think it makes someone a Bad Person for liking aot or being attached to it in some way? no, because that’s dumb, and what media someone likes =/= their Moral Goodness TM. ofc trends are a thing and certain pieces of media appeal to certain types of people, but it’s a false equivalency that misses the point. 

but by that same breath, nobody is wrong or stupid or has Less Valid Opinions just because what they took away from it makes them uncomfortable. 

i’m sorry this is So Long i have so many thoughts about this dskljfslkj 

but at the end of the day, 

levi sexy

[richincolor]

Last week someone asked if I knew of any good lists of memoirs and coming-of-age novels. We do have a list of memoirs, but that was created four years ago and several more have been published since then that we’d recommend. I couldn’t recall or find a list like she was describing for coming-of-age books either, so the librarian in me felt the need to make one. Here’s an updated collection of memoirs along with a few coming-of-age novels. If you know of others written by BIPOC authors that you would recommend, please share the titles.

Memoirs

All Boys Aren’t Blue: A Memoir-Manifesto by George M. Johnson Farrar, Straus and Giroux (Byr)

In a series of personal essays, prominent journalist and LGBTQIA+ activist George M. Johnson explores his childhood, adolescence, and college years in New Jersey and Virginia. From the memories of getting his teeth kicked out by bullies at age five, to flea marketing with his loving grandmother, to his first sexual relationships, this young-adult memoir weaves together the trials and triumphs faced by Black queer boys.

Both a primer for teens eager to be allies as well as a reassuring testimony for young queer men of color, All Boys Aren’t Blue covers topics such as gender identity, toxic masculinity, brotherhood, family, structural marginalization, consent, and Black joy. Johnson’s emotionally frank style of writing will appeal directly to young adults.

Almost American Girl: An Illustrated Memoir by Robin Ha Balzer & Bray/Harperteen

For as long as she can remember, it’s been Robin and her mom against the world. Growing up as the only child of a single mother in Seoul, Korea, wasn’t always easy, but it has bonded them fiercely together.

So when a vacation to visit friends in Huntsville, Alabama, unexpectedly becomes a permanent relocation–following her mother’s announcement that she’s getting married–Robin is devastated.

Overnight, her life changes. She is dropped into a new school where she doesn’t understand the language and struggles to keep up. She is completely cut off from her friends in Seoul and has no access to her beloved comics. At home, she doesn’t fit in with her new stepfamily, and worst of all, she is furious with the one person she is closest to–her mother.

Then one day Robin’s mother enrolls her in a local comic drawing class, which opens the window to a future Robin could never have imagined.

Banned Book Club by Kim Hyun Sook, Ryan Estrada, Hyung-Ju Ko (Illustrator) Iron Circus Comics [Crystal’s Review] [Q&A with Authors – in a Comic]

When Kim Hyun Sook started college in 1983 she was ready for her world to open up. After acing her exams and sort-of convincing her traditional mother that it was a good idea for a woman to go to college, she looked forward to soaking up the ideas of Western Literature far from the drudgery she was promised at her family’s restaurant. But literature class would prove to be just the start of a massive turning point, still focused on reading but with life-or-death stakes she never could have imagined.

This was during South Korea’s Fifth Republic, a military regime that entrenched its power through censorship, torture, and the murder of protestors. In this charged political climate, with Molotov cocktails flying and fellow students disappearing for hours and returning with bruises, Hyun Sook sought refuge in the comfort of books. When the handsome young editor of the school newspaper invited her to his reading group, she expected to pop into the cafeteria to talk about Moby Dick, Hamlet, and The Scarlet Letter. Instead she found herself hiding in a basement as the youngest member of an underground banned book club. And as Hyun Sook soon discovered, in a totalitarian regime, the delights of discovering great works of illicit literature are quickly overshadowed by fear and violence as the walls close in.

It’s Trevor Noah: Born a Crime Stories from a South African Childhood by Trevor Noah Delacorte Press

Trevor Noah, the funny guy who hosts The Daily Show on Comedy Central, shares his remarkable story of growing up in South Africa with a black South African mother and a white European father at a time when it was against the law for a mixed-race child to exist. But he did exist–and from the beginning, the often-misbehaved Trevor used his keen smarts and humor to navigate a harsh life under a racist government. This fascinating memoir blends drama, comedy, and tragedy to depict the day-to-day trials that turned a boy into a young man. In a country where racism barred blacks from social, educational, and economic opportunity, Trevor surmounted staggering obstacles and created a promising future for himself, thanks to his mom’s unwavering love and indomitable will.

Infinite Hope: A Black Artist’s Journey from WWII to Peace by Ashley Bryan Atheneum Books

In May of 1942, at the age of eighteen, Ashley Bryan was drafted to fight in World War II. For the next three years, he would face the horrors of war as a black soldier in a segregated army.

He endured the terrible lies white officers told about the black soldiers to isolate them from anyone who showed kindness–including each other. He received worse treatment than even Nazi POWs. He was assigned the grimmest, most horrific tasks, like burying fallen soldiers…but was told to remove the black soldiers first because the media didn’t want them in their newsreels. And he waited and wanted so desperately to go home, watching every white soldier get safe passage back to the United States before black soldiers were even a thought.

For the next forty years, Ashley would keep his time in the war a secret. But now, he tells his story. The story of the kind people who supported him. The story of the bright moments that guided him through the dark. And the story of his passion for art that would save him time and time again.

Ordinary Hazards: A Memoir by Nikki Grimes Wordsong

In her own voice, acclaimed author and poet Nikki Grimes explores the truth of a harrowing childhood in a compelling and moving memoir in verse. Growing up with a mother suffering from paranoid schizophrenia and a mostly absent father, Nikki Grimes found herself terrorized by babysitters, shunted from foster family to foster family, and preyed upon by those she trusted. At the age of six, she poured her pain onto a piece of paper late one night – and discovered the magic and impact of writing. For many years, Nikki’s notebooks were her most enduing companions. In this accessible and inspiring memoir that will resonate with young readers and adults alike, Nikki shows how the power of those words helped her conquer the hazards – ordinary and extraordinary – of her life.

They Called Us Enemy by George Takei, Justin Eisinger, Steven Scott, Harmony Becker (Illustrator)Top Shelf Productions

They Called Us Enemy is Takei’s firsthand account of those years behind barbed wire, the joys and terrors of growing up under legalized racism, his mother’s hard choices, his father’s faith in democracy, and the way those experiences planted the seeds for his astonishing future. What does it mean to be American? Who gets to decide? When the world is against you, what can one person do? To answer these questions, George Takei joins co-writers Justin Eisinger & Steven Scott and artist Harmony Becker for the journey of a lifetime.

Coming-of-Age

Clap When You Land by Ellizabeth Acevedo Quill Tree Books [Crystal’s Review]

Camino Rios lives for the summers when her father visits her in the Dominican Republic. But this time, on the day when his plane is supposed to land, Camino arrives at the airport to see crowds of crying people…

In New York City, Yahaira Rios is called to the principal’s office, where her mother is waiting to tell her that her father, her hero, has died in a plane crash.

Separated by distance–and Papi’s secrets–the two girls are forced to face a new reality in which their father is dead and their lives are forever altered.

And then, when it seems like they’ve lost everything of their father, they learn of each other.

Darius the Great is Not Okay by Adib Khorram Penguin Books [Interview with Adib Khorram]

Darius Kellner speaks better Klingon than Farsi, and he knows more about Hobbit social cues than Persian ones. He’s a Fractional Persian–half, his mom’s side–and his first-ever trip to Iran is about to change his life.

Darius has never really fit in at home, and he’s sure things are going to be the same in Iran. His clinical depression doesn’t exactly help matters, and trying to explain his medication to his grandparents only makes things harder. Then Darius meets Sohrab, the boy next door, and everything changes. Soon, they’re spending their days together, playing soccer, eating faludeh, and talking for hours on a secret rooftop overlooking the city’s skyline. Sohrab calls him Darioush–the original Persian version of his name–and Darius has never felt more like himself than he does now that he’s Darioush to Sohrab.

Forward Me Back to You by Mitali Perkins Farrar, Straus and Giroux (Byr)

Katina King is the reigning teen jujitsu champion of Northern California, but she’s having trouble fighting off the secrets in her past.

Robin Thornton was adopted from an orphanage in India and is reluctant to take on his future. If he can’t find his roots, how can he possibly plan ahead?

Robin and Kat meet in the most unlikely of places–a summer service trip to Kolkata to work with survivors of human trafficking. As bonds build between the travelmates, Robin and Kat discover that justice and healing are tangled, like the pain of their pasts and the hope for their futures. You can’t rewind life; sometimes you just have to push play.

In turns heart wrenching, beautiful, and buoyant, Mitali Perkins’s Forward Me Back to You focuses its lens on the ripple effects of violence��across borders and generations–and how small acts of heroism can break the cycle.

Hearts Unbroken by Cynthia Leitich Smith Candlewick Press

When Louise Wolfe’s first real boyfriend mocks and disrespects Native people in front of her, she breaks things off and dumps him over e-mail. It’s her senior year, anyway, and she’d rather spend her time with her family and friends and working on the school newspaper. The editors pair her up with Joey Kairouz, the ambitious new photojournalist, and in no time the paper’s staff find themselves with a major story to cover: the school musical director’s inclusive approach to casting The Wizard of Oz has been provoking backlash in their mostly white, middle-class Kansas town. From the newly formed Parents Against Revisionist Theater to anonymous threats, long-held prejudices are being laid bare and hostilities are spreading against teachers, parents, and students — especially the cast members at the center of the controversy, including Lou’s little brother, who’s playing the Tin Man. As tensions mount at school, so does a romance between Lou and Joey — but as she’s learned, “dating while Native” can be difficult. In trying to protect her own heart, will Lou break Joey’s?

Loveboat, Taipei by Abigail Hing Wen Harperteen [Jessica’s Review]

And just like that, Ever Wong’s summer takes an unexpected turn. Gone is Chien Tan, the strict educational program in Taiwan that Ever was expecting. In its place, she finds Loveboat: a summer-long free-for-all where hookups abound, adults turn a blind eye, snake-blood sake flows abundantly, and the nightlife runs nonstop.

But not every student is quite what they seem:

Ever is working toward becoming a doctor but nurses a secret passion for dance.

Rick Woo is the Yale-bound child prodigy bane of Ever’s existence whose perfection hides a secret.

Boy-crazy, fashion-obsessed Sophie Ha turns out to have more to her than meets the eye.

And under sexy Xavier Yeh’s shell is buried a shameful truth he’ll never admit.

When these students’ lives collide, it’s guaranteed to be a summer Ever will never forget.

Parachutes by Kelly Yang Katherine Tegen Books

They’re called parachutes: teenagers dropped off to live in private homes and study in the United States while their wealthy parents remain in Asia. Claire Wang never thought she’d be one of them, until her parents pluck her from her privileged life in Shanghai and enroll her at a high school in California.

Suddenly she finds herself living in a stranger’s house, with no one to tell her what to do for the first time in her life. She soon embraces her newfound freedom, especially when the hottest and most eligible parachute, Jay, asks her out.

Dani De La Cruz, Claire’s new host sister, couldn’t be less thrilled that her mom rented out a room to Claire. An academic and debate team star, Dani is determined to earn her way into Yale, even if it means competing with privileged kids who are buying their way to the top. But Dani’s game plan veers unexpectedly off course when her debate coach starts working with her privately.

As they steer their own distinct paths, Dani and Claire keep crashing into one another, setting a course that will change their lives forever.

Yes No Maybe So by Aisha Saeed & Becky Albertalli Balzer & Bray/Harperteen [Group Discussion]

YES

Jamie Goldberg is cool with volunteering for his local state senate candidate–as long as he’s behind the scenes. When it comes to speaking to strangers (or, let’s face it, speaking at all to almost anyone) Jamie’s a choke artist. There’s no way he’d ever knock on doors to ask people for their votes…until he meets Maya.

NO

Maya Rehman’s having the worst Ramadan ever. Her best friend is too busy to hang out, her summer trip is canceled, and now her parents are separating. Why her mother thinks the solution to her problems is political canvassing–with some awkward dude she hardly knows–is beyond her.

MAYBE SO

Going door to door isn’t exactly glamorous, but maybe it’s not the worst thing in the world. After all, the polls are getting closer–and so are Maya and Jamie. Mastering local activism is one thing. Navigating the cross-cultural crush of the century is another thing entirely.

[theheavymetalmama]

And now, some Unpopular Opinions!

Because at this point, why the hell not?

Iron Man was better than The Dark Knight

I am in no way, shape, or form suggesting that The Dark Knight is a bad movie. Far from it, in fact. It’s a damn good movie with some fantastic performances, a gripping story, and some of the best written characters and dialogue in the history of movie making. So is Iron Man the better movie? For one, it’s not so stuck up its’ own ass about its’ message. The Dark Knight is a lot of things and one of them is pretentious as fuck, come off as less of a love letter to Batman and more of a method of the director Chris Nolan showing how much he has nothing but contempt for superheroes and comic books in general. Iron Man, in contrast, embraces it and has fun with the idea of a guy who builds a mech suit and fights bad guys. There’s also the question of influence, and that right there is no contest. The Dark Knight influenced Batman; Iron Man influenced the entire movie industry.

Final Fantasy XV was a massive disappointment

I kind of feel bad for dunking on this game considering they just cancelled the last of the DLC. Then again the last of the DLC was going to expand on Lady “Show Up and Blow Up” Lunafreya and Aranea “I’m here and now I’m not” Highwind’s stories and now we’re not getting them and I’m still bitter as fuck for the director’s pathetic excuse for why a girl couldn’t attend the coming of age road trip, so all bet’s are off! Okay, the ladies getting shafted aside, there is a lot to like about Final Fantasy XV, but was it worth the tedious development time? No way in hell. The game looks good but like many open world games feels mostly lifeless and empty, and of the four main characters only one of them is likable and isn’t even playable in the game’s vanilla form. The story is a broken mess that requires other forms of media to fully grasp (dick fucking move there, Squeenix) and the summons coming at random times serves as more of an annoyance than anything, especially since they always seem to show up except during times when and where they’d be useful. It also doesn’t say good things about a company’s management when a game can sell millions of copies in record time as well as do gangbusters on downloadable content and then still manage to lose over 30 million dollars.

And for the record, let it be known that Noctis is far and away the whiniest and most emo protagonist in Final Fantasy history, which is saying something considering this is a series where one such protagonist’s entire character is being so jaded and world weary to the point that his name is the sound a crying baby makes, and he doesn’t whine and complain as much as Noctis does.

Just because you’re a cop or a soldier, that doesn’t automatically make you a good person

I’m in favor of police and law enforcement and even though I believe our military budget makes Caligula himself look frugal in comparison I do support our troops. Having said that, being a cop or a trooper doesn’t mean jack shit if the person under the uniform is a complete and utter scumbag, which happens more often than many care to admit. In fact some people, many people, become cops and soldiers not to protect and serve or out of a sense of honor and duty, but simply because they like making others miserable and want to do it for a living. There’s a reason songs about fighting the law and unflattering depictions of authority figures date back as far as authority figures have been a thing. Respect is earned, not given.

‘White Nationalist’ and ‘Nazi’ are the same things

Calling a Nazi a white nationalist is like calling somebody who abuses their spouse a rough lover. Stop beating around the bush and tell it like it is. Also, don’t debate Nazis, punch them. Punch them as hard as you fucking can. If they punch you back, punch them again, and again, and again until they either run away (which most of them do) or stop moving. Trust me, nobody is going to miss them. That goes double for the alt right. Oh, and speaking of which...

Far Cry 5 chickened out

As somebody who grew up in a dead gold mining community that was mostly Catholic, when the first trailer for Far Cry 5 came out I was stoked as hell for the chance to gun down religious fanatics and skinheads in a place in rural America that didn’t look all that different. Then the game came out and it was abundantly clear to anybody that something somewhere in the game was changed at the last minute. Some have argued that it was their intention from the get go, others claimed they didn’t want to alienate their core demographic. It doesn’t say nice things about your core demographic if you’re worried about depictions of white supremacist cultists scaring them away, but okay, fine. Then make a game that takes place during the decline of the Ku Klux Klan, or in a post World War II Europe where you hunt Nazi war criminals, or failing that make something akin to Black Dynamite or a wacky 70′s Kung Fu movie where everything is purposefully over the top and exaggerated, I don’t care! All your other games have you gunning down hordes of brown people, let people like me and my husband kill some skinheads god damn it!

If you still support Donald Trump after all the vile and abhorrent things he’s done, you’re a bad person

There’s no beating around the bush on this one. I don’t blame people who were swooned by this conman thinking he’d genuinely make a good president and have since regretted their decision. I have nothing but sympathy for them. No, I’m talking about the people who STILL trip over themselves to defend this vile, homophobic, delusions, misogynist, narcissistic bigot. Like when he called Nazis “very fine people,” or is still pushing for a stupid wall along our border that will be bested by two extension ladders and a pair of tin snips. The travel ban, the rollback on regulations that kept food insecure people fed, kids dying in his fucking concentration camps, yeah, no. He’s a treasonous scumbag who deserves to be locked in an 8x8 cell until he rots, and if you still support him then you can claim the top bunk.

Climate change is real and coal can fuck off

Coal is dead. Let it lay down and rot. What, coal is your only source of income in the area you live in? Then move somewhere else! You think I would have left my hometown if there were any opportunities other than timber, fishing, and tourist traps? Sorry, but the longer we stay in the past with coal the lesser we can look forward to a future where a planet can sustain human life. If we want our planet to live then coal needs to die.

No, the left isn’t “just as bad” as the right

This is a fucking gas lighting farce that immediately falls apart when put under scrutiny. Are there extremists and crazies on the left? Of course there are, but they’re entirely different beasts as those found on the right. The left is more of a “eat enough kale and you can talk to dolphins” or “sleep with crystals under your bed and you can see the future” kinds of crazy, whereas the right is more of the “kill all the queers and let the brown babies starve” kind of crazy. Oh, and to each and every single person who said “Clinton is just as bad as Trump,” y’all can cover your reproductive organs in honey and stick them in a mason jar filled with live bullet ants and tarantula hawks, you ignorant scare mongering shitheels!

“Captain Marvel doesn’t smile!”

So what? She’s a space Navy Seal, not a boy scout like Captain America or Superman; she’s not supposed to smile.

No, the ‘alt left’ doesn’t exist and Antifa aren’t the same as Nazis

Are Antifa breaking the law? Yes. Should they be held accountable for their actions? Yes. Are people who want to kill Nazis exactly the same as people who want to exterminate the Jews and subjugate anybody who isn’t white while wiping other people’s culture off the face of the Earth under an authoritarian rule? Hell to the no and “Antifa is just as bad as the Nazis” is right up there with “Vaccinations cause autism” and “the Earth is flat” on the scale of “If you believe this, you are STUPID.” If Nazis and white supremacists went unopposed they’d go around raping and murdering Jews and non whites until there were absolutely none of them left. You know Antifa would be doing if there weren’t any Nazis around? Sitting in their crappy apartments smoking weed, sipping craft beer, eating pizza, and laughing their asses off at 20 year old Saturday Night Live skits. Ooooooh, scary! Yes, Antifa are assaulting people and destroying public property and yes they should be held accountable for their actions. But I’m not going to pretend, even hypothetically, that Nazi apologist scumbags like Tucker Carlson having his door banged on or actual Nazis like Richard Spencer getting punched in the face is on the same playing field as babies being put in cages, innocent black people being murdered by cops, or Jews being put into ovens, you fucks!

New She Ra is better than Old She Ra and 80′s cartoons in general

If you don’t like the new She Ra and prefer the old one, fine, you do you, but don’t act like the original is “So much better” because it isn’t at all. The villains were jokes, the animation was beyond cheap, the characters all looked the same, there were stupid talking animal sidekicks, and the story went nowhere really fucking fast outside of “Bad guys are doing bad guy stuff, our heroes must stop them” because they were commercials to sell toys. Nothing more, nothing less. If the new She Ra isn’t your bag then that’s all well and good, but don’t be a stupid asshole about it, talking about how it wasn’t featured at PowerCon like it’s a big fucking deal when only sad dorks like us give a shit about conventions, or whine about how you’re being oppressed and censored because a 16 year old isn’t rocking 44DD’s, or talk about “CalArts style” like that’s a real goddamn thing. Oh yeah, and speaking of which...

“CalArts style” is not a thing

Shut the fuck up, no it isn’t. It’s a stupid, meaningless buzzword hurled at people who never fucking went to CalArts in the first place. If you’re perplexed as to why modern cartoons all look like Steven Universe, the simple fact is that cartoons are made predominantly for children and shows are made to be aesthetically pleasing to them. With shows like Adventure Time, Regular Show, Steven Universe, Star vs the Forces of Evil, and Gravity Falls being soaring success stories while shows like Young Justice, new GI Joe, and 2011 Thundercats ambitious failures, it’s obvious that formal abstractionist non angularity is in while aspirational human physical fitness is out, and a big reason the latter was even a thing in the first place is because they were toy commercials first and there were only so many variations on plastic molds to form the fucking action figures and because it was the 80′s and Arnold was the biggest star at the time.

“Star Wars: the Last Jedi” is a good movie and fanboys can eat bantha poodoo

I’ve heard all the reasons for why The Last Jedi is a bad movie and they’re all either stupid nitpicky bullshit or meaningless fanboy gripes. I could write an entire essay debunking those reasons point for point, like how the reason Holdo didn’t tell Poe a damn thing because no admiral would ever a tell a lowly grunt anything about their plan, especially after being demoted for being a hotheaded little fuckup. Or that Rey being related to Obi Wan or any previous Star Wars character didn’t happen because that would have been stupid and the definition of predictable. Or that the reason Akbar didn’t do the suicide run is because he’s a meme that the general audience doesn’t give a shit about and that there’s no way in Hell that the Mouse would allow a character named “Akbar” to do a suicide run. Or that Kylo Ren not being an intimidating villain is the whole point and that you’re supposed to hate him because he’s a petulant Darth Vader wannabe and a snake to boot. Or that the effectiveness of said suicide run, where Snoke came from, or the state of the Resistance by the end of the movie, or that any other so called ‘plot hole’ doesn’t matter because this is a movie about space wizards for children and paying obsessive attention to meaningless and pedantic details is exactly how we end up with stupid subplots in the Beauty and the Beast remake and Metropolis and Gotham City being across the river from each other! But the biggest one is Luke wasn’t portrayed as some Jedi Clint Eastwood (why fanboys want that eludes me; the EU did that a few times and they were all terrible) and that him exiling himself doesn’t make any sense.

Sorry, but no, Luke running off to a far and unreachable island makes perfect sense. For one, it’s kind of a thing that disgraced Jedi do, and for two, Star Wars is a fairy tale in space. All of the characters draw inspiration from characters and archetypes from fairy tales and fables of old, and the one Luke Skywalker resembles most (largely by design) is King Arthur. Think about it. Common boy who doesn’t know who his real parents are, meets an old wizard, gets a legendary sword, discovers he’s of noble lineage, tags along with a few colorful characters, goes on a quest that’s bigger than him and the life he knew, hits a few bumps down the road, and then eventually he saves the kingdom by overthrowing his father who once was a great man and a hero but gave in to power and corruption and became a dark reflection of his former self.

You will never unsee that. 

Oh yeah, and remember how things turned out for King Arthur in the end? He started a whole new kingdom, he had a few good years, he grew arrogant, things started to fall apart, and suddenly he and everything he worked to build up were undone overnight by a younger, more vindictive relative. Disgraced, Arthur was whisked away to an unreachable island deep rooted in his own legend and mythology where he remained until Britain had fallen to darkness and needed him again. Now of course Britain as we know it has yet to see such a thing (we’ll see how Brexit turns out) but Luke did exactly that. And no, sorry fanboys, but The Last Jedi wasn’t a failure in any sense of the word. It grossed over a billion dollars, received critical praise, the DVDs and BluRays sold like hotcakes, and was adored by kids, teenagers, and young adults, the primary audience that Star Wars is for in the first place. And I don’t give a shit what the audience score on RT says, because for one aggregate sites are a blight on film criticism and we went from this;

“Batman v Superman and Suicide Squad are AMAZING, Rotten Tomatoes is biased and paid off by Disney!”

To this...

“Star Wars: the Last Jedi is TERRIBLE, Rotten Tomatoes says so!”

In just over a year. To say nothing of the fact that what you’re currently saying about The Last Jedi was also said about The Empire Strikes, and like ‘Empire’ twenty years from now people will look back on the fanboy outrage and say “Wow, what a bunch of babies.” And before the inevitable response...

“But Solo bombed because of The Last Jedi!” 

Nooooo, Solo bombed because it came out right between Infinity War and Deadpool 2, was rife with development issues since day one of production, it was aimed overwhelmingly at fanboys obsessed with Star Wars deep lore answering questions that the general audience doesn’t give a shit about, nobody was even interested in the thing until the Lego Movie guys were signed on for a hot second, moviegoers aren’t currently hurting for cocky space cowboys...

...and because of the simple fact that it’s a solo movie about Han Solo...and it’s not 1995 and Harrison Ford isn’t in it. See, fanboys don’t realize that just because nerd and geek bullshit is mainstream now doesn’t mean that everyone is now a fanboy deep rooted in everything from where the characters are from to where they’re going, because when people say “I love Star Wars and Han Solo is my favorite character” what the vast majority of them mean is “Those movies with the space wizards and the laser swords are a lot of fun and Harrison Ford is a great movie star.” That’s it. That’s extent of why people like Han Solo. Sad dorks like us may care about stuff like where and when he got the Falcon, how he met Chewie, where the dice came from and all of that and more, but the general audience just wants to see Harrison Ford do cool shit in space. That’s it. To say nothing of the fact that nobody was even interested in the spinoffs in the first place. When Disney announced that they were making episodes 7,8, and 9 everyone went “Oh Hell yes, sign me up!” Then when they followed up with that they were also making spinoff movies about stuff that happened off screen or between movies the same audience was like “Oh...well that’s neat, I guess.”

And no, that stupid fanboy boycott had nothing to do with. Even the dude who started that petition to strike TLJ from canon admitted that he was in a bad place and that he was being stupid and angry, and I can promise you that all the shrieking dorks on Youtube are the buzzing of flies to Disney. If that crowd had any box office and movie making decision influence whatsoever, the next spinoff we’d see a trailer for would be “My Twi’lek Waifu: a Star Wars Story.”

PewDiePie is the worst thing to happen to video games this side of the gaming crash of 83 and he needs to fuck off

Yes, you read that right, and I don’t say that lightly. All sorts of terrible things have happened in the gaming industry since the gaming crash of 83. The console wars, the Atari Jaguar, the Philips CDi, Jack Thompson, the death of the Dreamcast, WoW, an entire console generation packed to the gills with homogenous gray and brown shooters with protagonists who all looked the fucking same, GamerGate, microtransactions, DLC abuse, the death of Maxis, an increasingly toxic fandom, “women are too hard to animate,” the degradation of E3 from a showcase of the biggest and bestest in gaming to a corporately sponsored circlejerk of self congratulatory backslapping and so much, much more.

I don’t care how much PewDiePie gives to charity, or how many fans he has, or how many people think he’s just the greatest, because he’s not. He’s an embarrassing, stupid asshole who constantly gets busted for making stupid racist jokes and by extension making his fans and everyone who has even the vaguest ties to the word ‘gamer’ look like stupid, racist assholes. He’s a corporate ass sucking apologist who gives exposure to anti Semites and racist wastes of space to his audience of mostly 10 to 15 year old boys, and he’s more terminally obnoxious than an Adderall addicted Pomeranian. 

The day he posted his first video of him overreacting to a jump scare while making loud screeching noises on top of edgy rape jokes was the day the progress of “gaming as an art form” was shot between the eyes, placed in a box that was then filled with concrete, and thrown into the ocean. He’s a dumbass man child that’s making all of us look bad and he needs to take his millions worth of corporate sponsorships and fuck off forever into some dark, lonely corner of the Internet where he’ll never be seen or heard from again until an inevitable meltdown that lands him on an episode of Down the Rabbit Hole.

And that concludes this post. I’ll give my final thoughts tomorrow, and on Saturday I’m closing this account forever.

[moiraineswife]

Okay so I could definitely do with some more queer rep from Sanderson but I will say that I love the richness and complexity of his characters and the fuck that they almost all say ‘fuck you’ to writing gender roles. 

‘Strong women’ doesn’t mean ‘woman punches loads of things and is badass’ it means a rich variety, of complex women who are each strong in their own way.

 Vin, the street-urchin and constant survivor, whose strength comes as she grows and actually learns, in so many ways, to outgrow that ‘strong woman’ archetype. She learns to be soft. She learns to embrace her feminine side. She learns vulnerability, and love, and trust, and she grows into a better, stronger person for it. 

Marasi who finds her strength in knowledge, and in loving herself for the things she can do, instead of loving the idolised version of herself who has all the things she wishes she could do. Who learns to stop revering and living in a man’s shadow, and steps out to cast her own. 

Steris who is a canonly autistic woman who is never forced to be ‘normal’, in any sense of the word. The characters around her learn to read her, to understand her, and they fall in love with the woman that she is because of her quirks, because of her differences, because of her autism, and not in spite of it. 

Shallan who was a sheltered, naive young abuse victim, with very obvious PTSD and anxiety who has undergone an incredible, uneven recovery journey. She has found herself, her voice, her independence, and her agency. But she is also learning how to accept what has happened to her instead of hiding from it, to heal and grow while retaining her wit, her drawing, and her smile. 

Jasnah who, frankly, couldn’t care less about people’s expectations when it comes to her. Her mind is her own, and her strength comes from knowing herself, and refusing to compromise that self even when it goes against her entire culture and society. A woman who presents a composed, cold, blunt face to the world and is allowed to, and is never undermined or ‘thawed’. She is who she is, and that’s final. 

Navani as a mother, a wife, a lover, in many ways the embodiment of traditional roles for a female character over a certain age. But she’s also a scholar, an engineer, an inventor, a visionary. A woman who knows what she wants, and inevitably finds a way of getting it. A woman who has deep loves and passions, and pursues them, but never loses sight of the merit of logic and order. 

Vivenna, who grew up with the knowledge that she was to be a sacrifice for her people, that her pain and happiness were as nothing compared to her duty. A woman who grew up with deeply rooted prejudices, and a naive, ignorant view of the world. She grew up, she learned her own mind, and followed it to the ends of her earth and into another, where she came to lead men in battle in a notoriously misogynistic/gender-role based society. 

Siri the dreamer, the free spirit, who learned that she didn’t have to be like her sister, and didn’t have to ascribe to the things expected of her to have value, and worth, and power. Who becomes a queen in her own right, and matures into a powerful woman who refuses to accept life on any but her own terms. 

It’s a common enough critique that female characters get stuffed into one mould that’s described as ‘strong’ and that’s it. Which is almost as limiting and stifling as the traditional expectations of female characters. But tbh I love what he does with his male characters and the complexity and rejection of typical masculinity there, too. 

Elend who grew up under the thumb of an abusive father and an oppressive system, but still had the softness, and the hope to dream of building something better. Who was more than comfortable having his wife protect him, and having everyone know that, who took pride in Vin, without ever once having it be hinted as some sort of slight to his masculinity. Who was able to accept the correction and guidance of another woman everyone else scorned and ignored who helped shape him into a better king, and a better man. 

Sazed who was portrayed both as the gentle, reserved scholar, but also a rebel and an instigator, who went against his people to build a better world. Someone who was presented as rational, and calm, and arguably nonbinary, and mostly shuns pretty every typically ‘masculine’ trope in the book. 

Kelsier who had the fairly typical ‘dead wife, revenge plot’ story, but that was explored in a thoroughly atypical way tbh. A man full of darkness who insisted upon fighting with a smile, and encouraged others to do the same. Cocky, and arrogant, and selfish was balanced by a little flash of sentiment, the hope for a new world, and the picture of a flower he carried with him to remind him what they fought for. 

Adolin who’s regarded as one of the best swordsmen in the world, but who talks to his weapon before battle and thanks it for serving him. He wears his mother’s necklace as a good luck charm in battle, and goes against cultural expectations by being physically affectionate with the people he loves. Also has a keen interest in fashion he refuses to be ashamed of, and while his actions characterise him as a womaniser, his thoughts/behaviours display his dissatisfaction with that, and his desire for stability. Also very emotionally aware of those around him, and takes care to look after them when he reads them being in trouble. 

Dalinar’s honestly fascinating journey from a bloodthirsty, violent soldier, to a depressed, traumatised alcoholic, to a struggling general, a hero of mankind, and then again struggling with PTSD is honestly so well-written. This man is literally a military legend, renowned for his prowess in war and we see him, in the course of the series: give away a legendary blade that is literally more valuable than kingdoms for the lives of a group of slaves, and consider it a genuinely good deal as he’s learned that all lives are precious. Struggle with very obvious flashbacks and panic attacks as a result of war trauma. Meekly align himself with distinctly feminine things to quietly support his son and stop him feeling awkward. 

Renarin, who is a canon autistic character, who cannot be a soldier in a distinctly war-driven society, and is allowed to explore that, to feel bitterness and frustration with his condition. But who is also slowly starting to learn, with the support of his family, that there are different kinds of strength, and that they love him and are proud of him even if he can’t march into battle at the head of their armies. Who is allowed to stim openly, who is largely accepted for his differences, and is defended fiercely on the occasion that he’s not. Who is a goddamn super hero in this world, and is a massively progressive piece of honest autistic representation, in which he is not a character with autism, but an autistic character. 

Kaladin who is honestly one of the most visceral, honest portrayals of depression I’ve seen in a fictional character. Who still, three books on, suffers from depressive episodes, who acknowledges that this kind of thing sometimes doesn’t just go away, or get better, that it’s always there, somewhere, and he fights it, and keeps fighting it, with the help and acceptance of those around him. Who is also a goddamn super hero who is warned by his surgeon-father that he’ll have to grow calluses, that he can’t care so deeply about his patients. Who becomes a soldier to support his younger brother, and tries to strike the balance between killing and protection, and to deal with his soft heart that has never truly hardened. 

Male characters that have genuine, honestly explored mental illnesses, insecurities, and who are frequently depicted crying, and otherwise being allowed to freely show and explore their emotions and honestly, i could say a hell of a lot more but this is quite long enough so that’s enough of that.  

[sciencespies]

Atomic Bomb Scientists Wanted To Make A Cautionary Movie About Nuclear Weaponry. An Interview With Greg Mitchell About How Hollywood Destroyed Those Hopes

https://sciencespies.com/news/atomic-bomb-scientists-wanted-to-make-a-cautionary-movie-about-nuclear-weaponry-an-interview-with-greg-mitchell-about-how-hollywood-destroyed-those-hopes/

Atomic Bomb Scientists Wanted To Make A Cautionary Movie About Nuclear Weaponry. An Interview With Greg Mitchell About How Hollywood Destroyed Those Hopes

Greg Mitchell’s “The Beginning or the End.” Published in July 2020 by The New Press

Photo credit: The New Press

Better late than never, right? In July of 2020 The New Press published Greg Mitchell’s The Beginning or the End, which was about a 1947 Hollywood docudrama that portrayed the development of the world’s first atomic bomb. A little more than a year later, this week provides a stellar opportunity to talk with Mitchell about his book. That’s because August 6 is the anniversary of the day when the United States detonated the world’s first atomic bomb over Hiroshima, a Japanese city with a population of about 300,000 people. Three days later on August 9, 1945, an even more powerful bomb was detonated over the city of Nagasaki, which had a population of about 200,000. As acknowledged by the United States government, the number of civilian deaths in Hiroshima (immediate event + radiation sickness) was about 100,000. About 70,000 died in Nagasaki. Appalled nuclear scientists reached out to Hollywood for help informing Americans about the needless deaths their atomic bombs had caused. The movie that Hollywood produced merely fanned patriotic flames and elevated nuclear madness.

Welcome to Los Alamos

The Manhattan Project was the name of the effort sited in Los Alamos, New Mexico, through which atomic bomb technology was developed. Well before the bombs were dropped, seventy scientists from the Project had become aghast at creation. They signed a petition asking asked President Truman not to drop atomic bombs on Japan. Ultimately, of course, Truman disregarded their plea.

In 1945, shorty after the end of the war, some of those same scientists reached out to Metro Goldwyn Mayer’s Louis B. Mayer in hopes that we would make a movie that depicted the horrors that their weaponry had produced and that warned the world about the dangers of a nuclear arms race. They offered to serve as advisors to the movie.

Mayer thrilled at the idea. He imagined a potential blockbuster. The scientists were overjoyed.

Then they weren’t.

Circa 1935: Russian-born American film mogul Louis Burt Mayer (1885 – 1957), head of production at … [+] MGM. (Photo by General Photographic Agency/Getty Images)

Getty Images

Atomic Bombs Are So Conveniently Top Secret, Aren’t They?

Because the scientists who would advise the movie had top-secret information, Mayer gave Truman and General Leslie R. Groves (who led the Manhattan Project for the Army) script approval rights. Unfortunately, Groves’ and Truman’s vanity took over. They didn’t just edit sensitive information out of the script. They used the opportunity of concern about national security to put the script through meat grinders designed to make them sound good and look handsome. Meanwhile, MGM scriptwriters added romances and subplots. What eventually emerged was a hackneyed, over-hyped docudrama that glorified the president and the military and that created astonishing myths about why the use of the bombs had been the right choice for the United States of America and the world.

Author Greg Mitchell is a journalist who knows military history and United States politics well. He is the author of The Tunnels: Escapes Under the Berlin Wall and the Historic Films the JFK White House Tried to Kill; Tricky Dick and the Pink Lady (a New York Times Notable Book); The Campaign of the Century: Upton Sinclair’s Race for Governor of California and The Birth of Media Politics (winner of the Goldsmith Book Prize and finalist for the Los Angeles Times Book Prize). He also co-authored with Robert Jay Lifton, Hiroshima in America. Mitchell is the former editor of Nuclear Times magazine and the writer/director of the 2021 documentary, Atomic Coverup.

 For Forbes.com, I talked to Mitchell about his nonfiction examination of the scientists’ motivations in reaching out to Hollywood and about Hollywood’s distortion of their intentions and message. Mitchell’s book is called The Beginning or The End — and that, by the way, is also the title of the MGM movie that so sorely disappointed the scientists involved. I have edited the conversation for length and clarity

The Conversation with Greg Mitchell

Rebecca Coffey: Your book tells the story of scientists who were sickened at the deaths caused by their work at the Manhattan Project. They wanted Hollywood to help them create a movie that would be a cautionary tale. What they got instead from Hollywood was a movie designed to help Americans feel good about the appalling Hiroshima and Nagasaki news. The movie didn’t raise moral questions about scientific matters. It celebrated nuclear weaponry and its “heroes.” Am I right about that?

Journalist and author Greg Mitchell

Photo credit: Barbara Bedway

Greg Mitchell: I think that’s a fair assessment. The country had mixed feelings about how the bomb had been used. The scientists had mixed feelings about what they’d created. Truman and Groves had script approval. A movie filled with distortions and outright lies was the result.

RC: I’m surprised at how good a job the movie did in creating lasting distortions. I mentioned to a well-educated, well-read, peace-loving friend the other day that I would be interviewing you and I also said that you had spent a significant portion of your professional life examining moral questions about the use of the bomb. He said, well, what is there to talk about really? Using the bomb was necessary. If we hadn’t done it the Soviets were about to do it. I responded that, no, Russia had spies at the Manhattan Project. That’s because they had no bomb. Japan and Germany didn’t have a bomb, either. Apparently, the wool that the government and this movie pulled over the eyes of even educated, peace-loving Americans has held up over the years. It still controls the narrative.

GM: That’s why I wrote this book. It’s what has motivated me for 38 years now. Last year was the 75th anniversary of the bombings of Hiroshima and Nagasaki. It was an opportunity for reassessment. That didn’t happen, perhaps because of COVID-19 headlines and the election. There was a best-selling book by Chris Wallace [and Mitch Weiss] defending the use of the bomb, but it included all sorts of errors. And there was Wallace’s Fox special about the bomb. But there was no impartial assessment 75 years after the fact. I’ve always wanted to promote an honest debate about what happened. I want all of the facts out there. I want Americans to have conversations and examine moral issues.

American actress Donna Reed (1921 – 1986), circa 1945. (Photo by Silver Screen Collection/Getty … [+] Images)

Getty Images

RC: If I remember correctly, one of the Manhattan Project scientists who had misgivings about the future of nuclear weaponry reached out to a former high school student. She was the actress Donna Reed. She brought her agent husband into the conversation and he sold Louis B. Mayer and MGM on the scientists’ idea about a movie that would warn audiences about the dangers and moral complexities of atomic bombs. Mayer was excited enough to call the movie the “most important story” he’d ever get the chance to tell. But the movie that MGM ended up making was not at all a cautionary tale. Do you know whether Mayer had a personal sense of loss about how the project turned out?

GM: I couldn’t find any testimony about that. I think he kind of bowed out. So many MGM movies needed his attention. This one didn’t seem to be a high priority, after all.

RC: The movie is a docudrama, though it’s hard for me to understand how any audience member accepted the supposedly nonfiction aspect of it given how predictable and corny the dialog is. Even so, they did. As a documentary-plus-drama, it was a “cross-genre” movie. And in some ways, your book is a cross-genre narrative because it’s about such serious matters but it incorporates lots of dark comedy. The photo on the book jacket’s speaks to gallows humor even more than it does to the book’s important historical information. Do you have any response to that?

The Beginning or the End (1947) Directed by Norman Taurog. MGM promotional photo. Shown: Tom Drake … [+] and his wife.

MGM/Photofrest

GM: I think there is a lot of unintentional comedy in it. There was the absurdity of trying to make a romantic, Hollywood blockbuster about the creation of a horrible, potentially world-destroying weapon. MGM went through all the usual promo processes, and they were oddly out of place. You know, “Here’s a beautiful actress getting her ID checked!” “Here are cool signs that say ‘Top Secret!’” Everything MGM said about the movie was inadvertently tone deaf. A nearly final version of the script had the Japanese receiving instructions on how to build an atomic bomb from Germans who arrived, as Germans apparently often do, by submarine. Having received the instructions, the Japanese took them to their secret atomic bomb factory … which was supposedly in Hiroshima! There was no factory in Hiroshima. No Germans were crawling out of submarines and bearing instructions for Japanese scientists. The script, the casting, the promotion, and the filmmaking process all were absurd.

Scientists and army personnel discuss nuclear science in MGM promotional shot.

Courtesy Greg Mitchell

RC: In general, Hollywood movies have clear heroes and villains. Your book doesn’t, but let’s just talk about its cast of characters. In the whole mess that was the creation and use of the bomb, is there a character who disgusted you most? Is there somebody whom you consider to be the true villain of the atomic bomb story?

 GM: I suppose I’d have to say General Groves. He had his finger in everything. He got the bomb built. He covered up radiation accidents at the Manhattan Project. He helped pick Hiroshima and Nagasaki as targets. He moved up the schedule so the bomb would get used earlier. After the cities were bombed, he covered up the effects of the radiation on the civilian population and later he pushed for building more and bigger weapons. He capped it off by getting a massive amount of money from MGM to advise on the movie. By the way, no one else got paid, even though the scientists were promised money. Then, when questioned, Groves denied taking the money. He ruined the movie that had the potential to bring some truth to millions of Americans. Because he had his finger in everything, he would have to be the villain

(Original Caption) 9/11/1945-Alamogordo, NM: Maj. Gen. Leslie R. Groves (r), and Dr. J. R. … [+] Oppenheimer.

Bettmann Archive

RC: What about J. Robert Oppenheimer, the chief scientist at the Manhattan Project? I’ve read several books that portray him as an unreliable, weird, and perhaps overly self-involved figure. He had to give his approval to the movie for MGM to use his name, and his name was so well-known that MGM really had to use it. Why did he give his approval to the script?

GM: One of the subplots of the book is the continual engagement between MGM and the scientists including Oppenheimer, Albert Einstein, and Leo Szilard. [Before the Manhattan Project, Szilard had conceived the nuclear chain reaction upon which atomic bomb technology relied. He’d also patented a nuclear fission reactor design and he’d convinced Einstein to join the Manhattan Project. In 1945 Szilard drafted the petition to Truman asking him not to use the bomb against Japan.] Some of the scientists were very famous and were hesitant about cooperating. Whenever they dragged their feet, MGM got nervous and came up with pseudonyms for them. Even Oppenheimer had a provisional pseudonym. It was “Whittier” — funny because it was WASP-y and he was anything but. I’m not sure why ultimately he gave permission and let the MGM screenwriters use his real name. He was being surveilled by the FBI, but there’s no evidence that he cooperated just to get J. Edgar Hoover off his back. He had gotten some changes made in the script. Maybe that was enough for him. Maybe he knew that he couldn’t stop the movie altogether or solve all of its problems. Maybe he liked the idea of being a character on the big screen. Even Einstein and Szilard approved the script eventually.

RC: Why do you think Einstein and Szilard approved it?

Albert Einstein (1879-1955), American theoretical physicist and winner of the 1921 Nobel Prize for … [+] Physics.

Bettmann Archive

GM: MGM brought Szilard out to the lot for a week or two. That might have been flattering and fun. And Szilard didn’t have a lot to protect. The movie just showed him in the lab early on doing some of the groundbreaking work on nuclear science. He got some changes made to the script. The movie may not have deeply upset him because it doesn’t portray or distort his attempt to stop the use of the bomb.

Einstein, on the other hand, was a little different. In the book, there’s an exchange of letters between Mayer and Einstein. Mayer tried to twist Einstein’s arm. Einstein held firm. Then, a couple of months later, Szilard seems to have told Einstein, “Look, I got some changes made. I think you should sign. No big deal.” Einstein may have thrown up his hands and signed. It seems that, in the end, when scientists believed they were being treated fairly on screen they signed. Maybe they’d just been worn down.

Leo Szilard. (Photo by © CORBIS/Corbis via Getty Images)

Corbis via Getty Images

RC: Did the scientists get anything for all of their trouble?

GM: MGM didn’t pay the scientists even though they’d promised to. With their dithering, though, the scientists did succeed in delaying production. By the time the movie was released, the bomb had disappeared from the headlines.

RC: Poetic justice?

GM: Well, if you’re bothered at the idea that the movie that was supposed to be a cautionary tale ended up having a pro-atomic-bomb message, at least you can take some comfort. The scientists succeeded in ruining the audience for the movie. They delayed so long that America had lost interest. Mayer’s “most important story” was a box office flop.

RC: What are your favorite darkly comic moments about the development of the movie?

(Original Caption) 1949: Official portrait of Harry S. Truman (1884-1972), 33rd president of the … [+] United States.

Bettmann Archive

GM: I like Donna Reed’s involvement because it’s so unexpected and strange. Another favorite of mine is the fact that Truman got the actor playing him fired for not having a sufficiently “military bearing.” The actor then wrote a letter to Truman that appeared to be respectful but, between the lines, was deeply sarcastic. He suggested that Truman should play himself. He said something like, “No doubt you would love to be the person who takes credit for this historic use of the bomb.” Truman wrote a polite letter back, evidently not having caught onto the actor’s mockery.

By and large, I found reams of jaw-dropping stuff in the Motion Picture Academy Library. For example, Groves, who was overweight and not happy about it, ordered MGM to remove from the script a second reference to him liking chocolate. He and Truman allowed incredibly large falsehoods about science to stay in the script but disallowed details that they didn’t make them look good. 

RC: Because for thirty-eight years you have researched this part of history, let me see if I can get you to opine about certain matters. In Einstein’s interview with the New York Times Magazine, he said that he believed we didn’t have to use the bomb. Do you agree with him about that?

GM: When I started writing about this in the 1980s and went to Hiroshima and Nagasaki for a month, I didn’t have an opinion. I just wanted to delve deeper into the story. Over the many years in which I’ve read more, I’ve become convinced that it was not necessary to use the bomb in that time period to produce a surrender in very short order. That’s what General Eisenhower and others believed. They could see there were other ways to end the war.

RC: Do you think President Franklin D. Roosevelt would have approved of using the bomb on Japanese cities?

GM: I’ve thought about it but I don’t have a firm opinion. The evidence is not crystal clear. I’m satisfied that I’ve raised some conversation about it. Could he have been bullied the way Truman was by Groves? Maybe not. But, like Truman, he wanted to end the war as soon as possible. He’d ordered the creation of the bomb.

RC: What about impersonating scientists on film? Do you think that getting B-grade actors to fiddle with flashing gadgets while pretending to be world-class scientists does a disservice to science — especially on matters as grave as this?

GM: The scientists who were impersonated in the MGM movie were disturbed by the screenings. Szilard ran out and kind of cowered in a waiting car. It wasn’t just that the movie celebrated the bomb. It was the hokey way scientists were portrayed.

The producers tried to placate the scientists. They pointed out that one major character functioned as a representation of the qualms of some of scientists. It was the character of Tom Drake. He appeared in much of the movie. He was a sympathetic-looking guy. He gave voice to their concerns about civilian casualties and the future of nuclear weaponry. But, of course, in the movie he was a tragic figure and he died, and in the very last scene his ghost came down and talked to his wife and said that the bomb is a great thing. It’s our salvation. God gave it to us.

This gets back to my motivation for writing the book. So many Americans remain ignorant about the history of nuclear weaponry in our country and the ongoing possibility of its use. Unlike many of our allies, we have a “First Use” policy! We reserve the right to use nuclear weapons first. Many Americans don’t know about the First Use policy. That fact is enough to keep me talking about the dangers of the nuclear arms race and inspiring me to write books like The Beginning or the End.

RC: Thank you so much for talking.

Greg Mitchell’s The Beginning or the End: How Hollywood — And America — Learned to Stop Worrying and Love the Bomb is gripping, surprisingly well-researched and fun storytelling about a devastating topic. Mitchell’s Twitter handle is @gregmitch. His news and politics newsletter is Between a Rock and a Hard Place.

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[aion-rsa]

Age of Samurai: Battle for Japan Is a Netflix Docu-Drama Written in Blood and Ink

https://ift.tt/3qRbgjj

Age of Samurai: Battle for Japan, a new historical documentary series on Netflix, is being billed as a “real-life Game of Thrones” but it’s much more than that. This is actual history, which is far more compelling than fantasy because it really transpired. “It is like something out of a movie,” says showrunner Matt Booi. “If you wrote this down, no one would believe it. And if you saw it, I think you’d say, ‘Nah.’ But it happened.” 

According to Booi, the show covers one of the most violent periods in Japanese history. The six-part series begins in 1551 with the death of feudal lord Oda Nobuhide and follows the rise of three of Japan’s most influential warriors: Nobuhide’s son, Oda Nobunaga (Masayoshi Haneda), Tokugawa Ieyasu (Hayate Masao), and Toyotomi Hideyoshi (Masami Kosaka). Japanese historians, as well as dedicated fans of Samurai movies, will be all too familiar with these three Samurai because their impact on Japan, and their consequential representation in Japanese media, is enormous. 

“It’s something that a lot of people outside Japan don’t know a lot about,” Booi says. “They know the iconic sort of figure of the Samurais, but a lot of the minutiae was missing. Netflix understood, and so did we, that this was a great story that is going to resonate with a lot of people.”

Nobunaga, Ieyasu, and Hideyoshi lived during Japan’s sanguineous Sengoku period (1467-1615). Sengoku means “warring states.” It was a time when the country was ravaged by civil war, political intrigue, and upheaval. This period is the setting of almost every Samurai story. It was when these noble and brutal swordsmen were beginning to become eclipsed by firearms. “That’s what makes this era so poignant,” Booi explains, “We’re seeing the end of an era. It’s like the same way that guns ended the mounted knight in Europe.”

Booi understands why Age of Samurai: Battle for Japan is being compared to one of the biggest TV series of the last decade, too. “The Game of Thrones reference is a nod to the political maneuvering that is happening on the political landscape at this time. It’s a chessboard that these certain players are moving key pieces to try and control it all. It really is about an attempt by a handful of people to gain control over a fractured nation.” Like Game of Thrones, the Sengoku period is an epic saga, full of tales of honor, ruthlessness, and betrayal. It is one of the most colorful eras of Japanese history. 

And that color is red – blood red.

Lessons from Akira Kurosawa and Manga

When it comes to Samurai films, the undisputed master was Japanese auteur Akira Kurosawa. One of the world’s most celebrated directors, Kurosawa made classic films like Hidden Fortress (the inspiration for Star Wars), Seven Samurai (the inspiration for The Magnificent Seven, Battle Beyond the Stars, and many more) and the psychologically relevant Rashomon. The Samurai genre owes a tremendous debt to his work. 

“I’m such a Kurosawa fan,” Booi says. “In terms of cinema, he rules over everyone almost in my mind. His ability to tell a story visually, I don’t think you can touch it. He’s just so astonishing. He’s the greatest. He’s the master. In terms of movement and shots, of how nature was, it was always something that we were aspiring to try and walk a little bit in his shadow.”

Additionally, Age of Samurai: Battle for Japan stole some pages from another leading Japanese media. According to Booi, graphic novels were a major source of inspiration. “If you look at the composition of shots, look at the color, at the color correct, it’s very dark. It’s a very gritty world punctuated by blasts of color, the reds of the blood, the red of the armor sometimes. So we thought a lot about graphic novels because, obviously, that’s such a big part of the world of contemporary Samurai lovers. We wanted that to inform it.” 

Furthermore, many of the re-enactment scenes are framed through doorways and such to resemble a graphic novel panel. This was a very conscious effort from the filmmakers. “There are two motifs that are heavily used, and one is blood and one is ink,” Booi explains. “The history of Japan in this period really seemed like it was written in blood and ink. Graphically, we were trying to make a world that nodded its head towards graphic novels and comics in general.”

Several battle scenes are shot in shadowy darker tones, contrasted by brilliant splashes of digital blood. “We might’ve got a little carried away with that,” Booi confesses, “but it’s hard not to when you’re in that world…It’s pretty shocking though when you get into some of the accounts of Nobunaga literally putting swords through just unfathomable amounts of people who stood in his way.”

Getting the Battles Right

Age of Samurai: Battle for Japan balances these ferocious battle reenactments with explanations from some of the world’s leading scholars and authors. They put the violence into historical perspective. 

“We leaned on what we thought were some of the best storytellers, not just best academics,” Booi says, “people who can not only download the information but do it in a way that was comprehensible but also entertaining, because for so many of our viewers, a lot of these ideas and these concepts and even names are going to be very foreign. To have people like we had to unpack this for us was really incredible.”

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For any period project, historical accuracy is key. Authenticity was paramount for the production. Booi’s team sourced armor and weaponry from some leading companies that make them for other Japanese historical activities. “Some we had to make,” Booi admits. “Obviously, authenticity is really difficult when you’re dealing with such intricate designs and such incredible craftsmanship.” The filmmakers made sure objects like the family crests were accurate and were careful not to have them pop up in the wrong places. “It was incredibly challenging to try and portray any of it accurately.”

Another critical detail was to shoot all the reenactments in Japanese. Age of Samurai: Battle for Japan is produced by the Toronto-based production company Cream so Japanese dialogue presented a unique challenge, both during production and for editing. “It was an essential obstacle. We all felt that trying to tell this story, if we did not have Japanese-speaking actors representing these people, there would be no credibility. There would be no authenticity.” The Cream team felt that the whole thing would fall apart the minute one of the Samurai spoke in English. Japanese dialogue is translated with subtitles, including for the featured Japanese-speaking experts. However, the subtitling never gets obtrusive because the bulk of the story is in English. “We just felt that was non-negotiable, that it had to be there. And it was something that Netflix really backed us on too.” 

A Blood-soaked History Lesson

Booi has made other military history documentaries. Among them are award-winning and Emmy-nominated productions such as Breathing Fire: The Secret Weapon of the Somme (Channel 4), The Weapon Hunter (Smithsonian Channel), and Blood and Fury: America’s Civil War (AHC). War stories are his specialty. 

“There’s so many things that draw me to the genre. There’s the sweeping sort of historical stuff, but also as somebody who is really interested in stories, I think you can get some of the most gripping and entertaining stuff when people are forced with sort of life-and-death decisions like that.” Booi feels that telling the big picture stuff through personal stories is particularly compelling, which is why he focused his lens upon Nobunaga, Ieyasu, and Hideyoshi. As Booi says, “Looking at what happens with those three guys, you get an incredible window into how the period ends ultimately and how the next period begins.” 

Nobunaga alone is a fascinating figure. He has been portrayed repeatedly in movies, books, manga, anime, and even video games, usually as the villain, but not always. Kurosawa’s award-winning film Kagamusha depicted Nobunaga as a strong and respectful leader. Booi can’t categorize him as a villain or a hero. “It’s hard not to stand back and be sort of knocked out by his ambition, his genius. But on the other hand, it’s tough not to be revolted by his violence and cruelty. He would do anything for power.”

“It’s not by accident that one of our contributors constantly refers to him as sort of an Alexander the Great of Japan in that he was just so innovative. He was raised with so much tradition, but he wasn’t bound by it. That’s what’s so fascinating about him. He’s constantly doing the unexpected.”

In many ways, Age of Samurai: Battle for Japan is an exploration of how power corrupts. “It’s really interesting to watch what happened to Nobunaga and how the decisions that he makes later on in the show come back to haunt him.” 

Without dropping any spoilers (although anyone can just look up the Sengoku period online to find out what happens), Age of Samurai: Battle for Japan examines the consequences of what power does to a person and how it can cause devastating blind spots. It’s a time-honored tale, still so relevant for our time. 

“There’s always an appetite for some stories about the Samurai,” Booi says. “It was such a lovely period because it’s such a violent world, but it’s also a world that is so bound by honor and duty.” Booi enjoyed exploring both sides of the same coin. “It’s just such a remarkable world.” 

cnx.cmd.push(function() { cnx({ playerId: "106e33c0-3911-473c-b599-b1426db57530", }).render("0270c398a82f44f49c23c16122516796"); });

For Booi, the Game of Thrones reference is an easy comparison to make. “But I think that’s where it ends. There’s lots more than the fantasy element of that.” Being reality based, Age of Samurai: Battle for Japan doesn’t include sorcery or White Walkers. “We have a one-eyed dragon,” Booi teases with a grin. But to learn who that was, you’ll just have to watch it.

Age of Samurai: Battle for Japan is a six-part series that premieres on Netflix on February 24, 2021.

The post Age of Samurai: Battle for Japan Is a Netflix Docu-Drama Written in Blood and Ink appeared first on Den of Geek.

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[reactingtosomething]

Reacting to The Old Guard

She Is Not In Any Way Playing

The Setup: It’s our first Reaction to a comic book! And it’s not from the Big Two! Written by Greg Rucka (Wonder Woman, Gotham Central, Black Magick) and drawn by Leandro Fernandez (Punisher MAX, The Incredible Hulk, Deadpool & Cable) -- a duo who previously collaborated on Wolverine and Queen & Country -- The Old Guard is about (mostly) immortal warriors who can trace their lives back through Napoleon’s attempted invasion of Russia, the Crusades, and the conquests of Alexander the Great. They’re led by Andromache of Scythia, but you can call her Andy.

Andy’s fought and fucked, loved and loathed her way across thousands of years and at least six continents, and she is tired. So when a seemingly routine rescue mission goes way off the rails, and just a few hours later her team learns that -- contrary to what they’ve believed for a century or two -- they’re not the last immortals left after all, Andy has to find out if she can still surprise a world that she didn’t realize could still surprise her.

Kris, who briefly studied ancient military history in college, really liked Rucka’s Batwoman: Elegy and his webcomic Lady Sabre & The Pirates of the Ineffable Aether, so when he learned about The Old Guard he asked Marchae -- a BIG fan of Rucka’s Lazarus -- if she’d want to react to it.

Two spoiler notices below, but until the jump it’s just first-issue stuff.

KRIS: So we’ve both read some Greg Rucka before

I don’t think I’m an expert, but I’m fairly aware of at least the range of his work

MARCHAE: I am a HUGE fan of at least one of his comics!!!

KRIS: And he seems to be One of the Good Ones re: male feminist writers

MARCHAE: YES I absolutely agree and spent even more time thinking about that as I read The Old Guard

and this notion that I have about “super heros”

but also I like some of the things he examines in his works, at least what I’ve read

KRIS: Oh good I think we’ve all wanted to hear more from you about your theory of superheroes, so definitely feel free to get into that when it’s relevant

MARCHAE: LOL

I definitely will talk more that’s for sure - and especially since I’m reading Jessica Jones at the moment

KRIS: Also I really like how distinctive most of the faces in this are, just wanted to say that upfront although I am not super qualified to discuss the art

MARCHAE: So I’ve spent some time making connections between what I’m currently reading , a traditional comic, versus the indie books

Neither am I - but the art is gorgeous

KRIS: OH and for our readers who may not be super into comics (yet), maybe we should say how we’re reading

I’m using the Comixology reader on their website, in Guided View mode

MARCHAE: And I use an app from my public library called Hoopla

I also use  a guided view mode - however I definitely prefer hardcopies

KRIS: I like Guided View a lot, although occasionally you lose some of the impact of splash pages, and there are very rarely (but especially with older comics) sequencing errors

ANYWAY sorry tangent

MARCHAE: I am reading newer ones mostly, it definitely feels more cinematic to me reading it electronically.

I like it a lot especially for fast paced ones like The Old Guard

like an action film

KRIS: But I wanted to just get it out there that there are good accessible digital ways to read comics, which is often more affordable, and also for some reason Amazon is selling a bunch of Marvel comics at massive discounts

Yes! Thank you for getting us back on track -- the action layouts here are great

MARCHAE: Affordable and FREE!

and you’re welcome!

I am a newbie to comics- I’ve only been reading them for a year maybe less - and I am obsessed with how much I can relate to them from a screenwriting perspective in terms of sequencing and layout. In this weird abstract way. This was one of the best one’s I’ve read in a while in terms of the pacing with layout - and I love it. I actually started re-reading the book just to gawk at the art etc

KRIS: Oh you should check out Rucka’s web comic Lady Sabre and the Pirates of the Ineffable Aether [see above] -- it was like the equivalent of a page or so twice a week, and Rucka’s script for each entry was included

MARCHAE: **GASPS**

KRIS: I always mean to really break down and study a comic book or two but just like with studying TV, I end up being too lazy, and just hoping I’ll absorb lessons through sheer osmosis

MARCHAE: LOL -

I have studied the dialogue

I think more closely than anything

although I really need to study their structure

KRIS: That’s interesting

I would not guess that most comics writers do dialogue as well as Rucka

MARCHAE: It’s something about these short bursts of dialogue that kind of flow with the quick images we get that makes sense to me… I’ve read a couple that I really prefer

KRIS: I’m interested in how comics people obviously think in “shots”

MARCHAE: Revival is good and so is Alex and Ada … it shouldn’t come as a surprise that they are super character driven

KRIS: and I think a lot of screenwriters don’t

MARCHAE: YEAH

KRIS: or aren’t necessarily really well trained to

MARCHAE: It is fascinating when you think about because there are SO MANY correlations between the two

because as screenwriters and movie makers we end up having to think like comic writers when we get to the storyboarding portion of the work

which i guess is more of a production function

but

KRIS: Right, it should be super obvious, and we do get TOLD to think in shots but there’s still such a division (at least in our film school experience) between learning to write and learning to tell stories visually

MARCHAE: I feel like with comics the action - even  in some of the not as good ones I’ve read is all about taking you to that next shot

EXACTLY!!!

KRIS: Honestly this is one of my very favorite parts in the whole book, just as a visual storytelling beat:

MARCHAE: I was grateful that I had the experience of reading comics at least near the end of my time in school… i did take a lot of lessons from the comics

OHHH

tell me why

KRIS: I think a lot of the impact for me was in the guided view

The panel before this is Booker trying to talk Andy into the mission: “He says there are kids involved, Andy. Kids.”

Then in GV you get everyone looking at Booker, and you can linger on that panel

MARCHAE: The guided view makes a tremendous difference!

it feels like a moving image

KRIS: Then the next panel makes you sort of realize that it’s not really “everyone” looking at one person, but Joe and Nico looking back and forth between the new guy and the boss

although I guess you don’t get the “new guy” information until later

MARCHAE: Exactly

KRIS: Yes! The movement is there, and can have this weird interaction with how long you can linger in a single shot

But I guess what I like about this page is how the visuals help establish the relationships even without Andy’s exposition

MARCHAE: And i feel like you should be able to tell the story without the words

some of my favorites were the panels without words period

I especially love the first few pages

KRIS: Yeah, and in a nutshell that’s what comics writers are trained to do and what a lot of screenwriters (including me!) are often too precious about their own dialogue to internalize

MARCHAE: its just a few bits of inner dialogue

(side note your dialogue is beautiful!!!)

KRIS: Yeah but I didn’t become a playwright

MARCHAE: YESSSSSS

KRIS: ^That spread is so amazing and efficient

MARCHAE: YESSS  and YESSS

those were my favorites

oh my word and its just pretty

KRIS: It’s not even a really dense two-page spread by any means and there are only like 30 words on it

But it tells us so much about Andy

MARCHAE: I’m looking at it now on my device and its in guided view - so it shows up as each individual panel

YES!

KRIS: Right

MARCHAE: and I’m hooked from the beginning and that’s what I think makes this story effective and invests you in it

Rucka does this with my favorite comic - Lazarus

also

KRIS: She’s a warrior, she’s been around forever, she’s bi, she’s tired, she doesn’t have a lot of meaningful human connection in her life

MARCHAE: And we get that quickly

and efficiently

KRIS: and obviously the sense of repetition

in her day-to-day (century-to-century)

MARCHAE: thats been going on for centuries

[SPOILERS throughout below]

KRIS: Oh sorry did you want to say more about Lazarus

MARCHAE: It’s okay -

I was just going to say that there are some definite similarties between the two books

Specifically just the idea of strong female protagonists who are capable and leaders

and also the notion of these women dodging death

All. the. time!

I thought it was interesting to have read and to be a HUGE fan of both books now

and think critically about what he means to demonstrate and also why i consider the woman he portrays more heroic than other “heroes”

that was a long rant LOL

sorry

KRIS: And there’s a quietly great line in chapter 2 about how everyone just defaulted to Andy being the leader because she was the oldest, so it was obvious

MARCHAE: Yes I remember that

KRIS: And I haven’t really thought about this, but it’s interesting and I’m assuming very deliberate that the oldest and the youngest leads are the women

But so matter-of-factly

MARCHAE: Yes - I did note that and remember being worried for Andy and what it meant later on in the series

and also the conflicts that we could expect to see in the future books

I think it’s smart  honestly and kind of this mentorship that also gets to happen between the two women

we know that historically women have a difficult time finding mentors so I guess it is great to see it demonstrated in this medium

I think we’ll eventually see some bickering between the two , but ultimately a respect which is also not often depicted in other medium as much as I feel like it should be

KRIS: I’ll save it for a little later but I did screenshot that great (affectionate) bickering toward the end

MARCHAE: YES!

KRIS: We often write these in a way that sort of assumes the reader knows at least generally what we’re talking about but maybe we should try explaining a little about at least the main character relationships here

MARCHAE: That’s true - especially considering this is our first time reacting to a comic book

KRIS: Oh my god wait I just want to show this page transition I didn’t pick up on in Guided View

MARCHAE: I was trying to find a good article that listed the main concept with characters (mostly because I need to know how to spell andy’s real name)

KRIS: The color palette!

MARCHAE: It’s beautiful I liked these panels

KRIS: They only say Andy’s whole name twice but it’s not the same both times!

MARCHAE: I have this weird way that I read them… 1. for story. 2. art with story 3. only with art

KRIS: Oh interesting

MARCHAE: even the layout is nice

KRIS: I’m not much of a re-reader (or re-watcher) but I should be

MARCHAE: I don’t generally - but because I am so used to reading “regular books” I have to almost get the story then go back so I can appreciate the art with the story

then just the art cause #pretty

KRIS: Oh man I sidetracked us again

OK so

Andy!

MARCHAE: its okay really theres is a lot here to talk about actually!!!

Yes, Andy short for Andromeda?

I think

KRIS: I THINK Andromache is what her name is supposed to be, since that’s what the Comixology store “logline” uses

MARCHAE: YES

KRIS: and that’s what Booker calls her

MARCHAE: I was all off LOL

KRIS: but when she tells Nile an issue or two earlier, she says Andronika

which I’m assuming is just a continuity mistake on someone’s part

MARCHAE: I am now curious if it changes with the time

KRIS: and maybe a reprint will correct it

MARCHAE: like each century she modifies it?

yes but she’s centuries old

and most important

KRIS: But I got the sense that we were given everyone’s “true” name at least once

MARCHAE: Immortal - she can’t die - at least she’s not able to right now

KRIS: So “Andy” is her modern day shorthand and maybe in the 1800s it was something else, but Andromache is her birth name

MARCHAE: yeah! that’s my deduction at least

KRIS: So Andromache means “battle of a man”

(I think Andronika would mean something like victory of a man?)

MARCHAE: I love your to the minute, on the spot research!

KRIS: Well Andromache I knew because I briefly studied Greek in undergrad and have always been a little bit of an Ancient Greek Stuff nerd

What I’m not sure of is in what sense “battle” is being used

MARCHAE: are the names from the same era?

I guess it could be two fold

KRIS: Like, is it a battle as in an event, or is it in the sense of “she’s got fight like a man”

MARCHAE: Oh i was going in a different direction!!!

wow

yours is probably more appropriate LOL

KRIS: Andromache is at least as old as the Odyssey

MARCHAE: I was thinking more of “battle of a man” - as in battle against one’s self

KRIS: Oh interesting

MARCHAE: like man against man conflict which i suppose is fitting considering that she’s somewhat immortal

KRIS: oh I meant the Iliad -- Andromache is the wife of Hektor

MARCHAE: OH YEAH

Also thinking of “battle of a man” to mean battle of time and life

we always want to live longer, better, never die

KRIS: I don’t know much at all about Arabic so I don’t know how old Joe’s real name is, etymologically speaking

MARCHAE: and here Andy is wanting to be done

I loved that scene where introducing himself

KRIS: Yeah, that’s pretty classic

MARCHAE: and we get to Joe!

So I am checking an article and [the Newsarama interviewer] says Andy’s real name is Andronika

https://www.newsarama.com/33272-rucka-joins-the-old-guard-with-queen-country-artist-fernandez.html

(also side note I feel redeemed and a bit smart that he mentions some of the themes I pointed out and made similar comparisons! )

KRIS: OK skimming now

“John Wick meets Highlander”

That’s pretty great

MARCHAE: Truth!!

KRIS: Oh Black Magick I should link to that [see above]

MARCHAE: I haven’t read that one

KRIS: Anyway where were we?

MARCHAE: Ok we have digressed again! I guess a brief synopsis of the main characters

KRIS: Right right

So we have this 4-person mercenary team

MARCHAE: Right and they’ve been connected FOREVER it seems like

KRIS: Led by [Andronika/Andromache?] Andy, who is literally biblically old

MARCHAE: Well it doesn’t seem like - they have been together for ever

KRIS: Then Nico and Joe (Nicolo and Yusuf) who met during the First Crusade, so 1090s

And presumably they linked up with Andy sometime between the Crusades and the Napoleonic Wars, when we get Booker

MARCHAE: There is a lot of history here

KRIS: And there’s this stuff about how when a new immortal dies for the first time, other immortals (maybe within a certain range?) start having dreams about them

MARCHAE: and that’s how they are introduced or at least made aware that they will be meeting someone new? did I read that correctly

KRIS: Yeah

MARCHAE: HA - I misread your text LOL

I literally rephrased what you said LOL

KRIS: Andy had to figure it out the first time it happened, like the dream doesn’t spell anything out for them

MARCHAE: They are often killed or incredibly injured during their battles and they heal themselves which is how they discover ultimately that they are immortal

for a spell at least

KRIS: Oh there are some GREAT “match cuts” in this

There’s a really good one in the Nico/Joe origin story

MARCHAE: OH YEAHHHHHH

KRIS: 

But that whole sequence is great

MARCHAE: I loved the twist there

KRIS: So yeah sorry for our readers my mental leap isn’t obvious, but this is preceded by a couple pages of Joe and Nico during the Crusades repeatedly killing each other

MARCHAE: I sent over a few screen shots hopefully they will come through…

The book definitely has a distinct aesthetic that’s for sure

KRIS: It’s mostly serious but lightly comic, like they just don’t question it, like okay yeah I guess I’ll just kill you again

Oh getting your screenshots now

Yes the faces (again)! You can see the modern Nico and Joe even under all the facial hair

MARCHAE: you mentioned my idea of hero

KRIS: Yes

MARCHAE: and your point “it’s mostly serious but lightly comic”

that’s the thing… saving lives/the world is a serious thing

these people have real problems that are connected usually to slightly dystopia ideas of our current world

I feel like with more mainstream comics we are in some alternate reality all together and the people are trying to be funny and trying to save the world and trying to be cool…

I feel like in Rucka’s books (and also a few other’s I read) it’s rooted in something that i can grasp and their problems are real

so in this text it’s when does my suffering end

in a book like lazarus it’s why won’t my family love me

and it’s not in this over the top let me fly all over the place and shoot missiles out of my hands kind of way

it’s serious

it’s business

KRIS: But I think tonal variation is a good thing

for the genre and the industry

Like a lot of the recent DC movies are SUPER SERIOUS on a surface level, but they’re not necessarily handling ideas in an intellectually rigorous way

MARCHAE: I absolutely agree I guess in a world I could see myself being saved by someone who is more similar to Andy than say Captain America

I think that’s the thing I like is that it is this exploration of more complex ideas in these types of comics and I feel more connected to the work

it’s more accessible

KRIS: And even though the Marvel movies are lighter, and not SUPER thematically driven, they’re relatively smart about the thematics they do include

See I think most people would say Marvel’s tone is more accessible

But I think you might mean accessible in a different way

MARCHAE: LOL hence the mega fafillion dollar industry

KRIS: Like you’re looking for something concrete to latch onto

MARCHAE: I think I agree with you there - I want a take-away

KRIS: And I think the Iron Man tone is more “here is a world that speaks the language you speak with your friends” in a generalized sense

MARCHAE: I can give you that…

the more mainstream comics make the business of saving the world seem less serious

I also am a lover of drama and heavy topics so I think there is also the attraction - these people don’t always feel like they have be “on” to me

they are trying to make it

and that I can relate to!

KRIS: I think that’s because “saving the world” isn’t REALLY what they’re about, though, to the extent that they’re about something

I think at some point, maybe with all four of us, I do want to talk more about the difficulty you have with comedy

MARCHAE: It’s like an intervention LOL

KRIS: No! Well maybe a little. But it’s so ingrained for you that I think I also just want to understand

Maybe when we eventually return to Sweet/Vicious, which I still really want to do

MARCHAE: comedy is truly a challenge for me with the exception of a few - but even those make a larger statement in my opinion!

we do need to finish S/V

KRIS: I’d also like to see you and Keely talk about comedy

ANYWAY

We should talk about Nile

MARCHAE: that might be fun - Keely and I have talked about why I like her brand of comedy best…

OK NILE

KRIS: So Nile is an American Marine

in a Female Engagement Team in Afghanistan

MARCHAE: I absolutely adore her

she’s the “youngest” immortal

KRIS: So at first I didn’t realize she didn’t know she was immortal

For some reason I assumed she had abandoned the team at some point

MARCHAE: OHHHH

KRIS: But then she becomes our (great) audience surrogate

MARCHAE: Which is why I like her - she’s new- but it’s clear she’s competent

and is legit just trying to understand “what the heck is going on here”

KRIS: Yeah, and she gets to push back a lot when Andy is like “don’t worry about it”

But never in a way that sells out either of their characters

I feel like so often the “new one” is obnoxious

or the “old one” is a tired “Asshole with a Heart of Gold” trope

MARCHAE: Agreed! it is very organic and you can believe in them… but also it establishes what the relationship can be

I also think that because we know that eventually these people run out of “changes” to live - I almost felt like we are operating on a clock

ticking clock*

it ramped up the tension for me when reading  - my mind was legit going a mile a min.

KRIS: And it’s this female friendship that never really leans on “the women! they are alike and get along because they are women!” but also doesn’t completely pretend gender doesn’t matter

Oh man that freaked me out when Andy shot herself to convince Nile

I was like “WHAT IF THIS IS THE ONE, ANDY WHAT ARE YOU DOING”

MARCHAE: YESSS

Because she doesn’t know when the one will be

that’s what makes me nervous about this entire series …

KRIS: The moment when they find Booker [temporarily] dead was amazing to me

MARCHAE: like antsy and I like the characters so it’s worse LOL

KRIS: Andy’s narration is like “he’s the youngest, if he’s really dead it would be so unfair”

And we’re trained to THINK that means “unfair because he was so young”

But then there’s the reversal of “unfair to ME (Andy)”

MARCHAE: Right! But he isn’t young at all - none of them are except for Nile

it kind of plays with your mind when you put into context that one of them is 5000 years old? did I read that or am I making that up - either way it’s insane

But there is also this entertainment of how in real life we all want to live forever, Andy is ready to kick the can

KRIS: Yeah in the last issue Andy says she’s over 6000

so the others are ALL babies compared to her

MARCHAE: yet they don’t ACTUALLY live forever at all

geesh i was off by 1000 years

good googley-moogley

KRIS: haha

So we get what becomes, by a little bit, our central relationship between the oldest woman in the world and the youngest woman on the team

MARCHAE: I love that! LOVE LOVE LOVE IT!!!

KRIS: although the book really does manage to make all the relationships pretty robust

Nico and Joe are our romance, and where a lot of our humor comes from

MARCHAE: The majority of it actually… and they are some deep relationships

KRIS: Andy and Booker obviously have a lot going on because of her dependence on his tech savvy and then The Twist

MARCHAE: (but this isn’t unusual for Rucka which is why I’m #obsessed and why he was my entrance into comics)

KRIS: I loved how the running joke of Andy’s inability to learn new tech ends up becoming a totally serious, really important story detail

MARCHAE: It actually does and it runs through the entire story

it’s smart and well thought out and incredibly problematic in our current world

KRIS: Only tangentially related but I really like how well the body language is rendered in this panel:

MARCHAE: and intentional on the writers part and what I’d imagine- if I were a 6000 years old hero - a real real problem

KRIS: Here’s a better one for the “joke” aspect

MARCHAE: LOL

KRIS: If you had that panel out of context it would be totally relatable for a lot of people

MARCHAE: she is so clueless - and it’s funny

KRIS: Although maybe with relatives who don’t look as young as Andy does

MARCHAE: Oh god I know all too well!!!

It’s also funny because she’s so on top of it in every other area of the job

I want more of her backstory too - I am so curious - I’ve already downloaded the other book

KRIS: which other book?

I love her

MARCHAE: I misread - I just looked and it doesn’t exist LOL

😟 sad face

I was curious about what your thought were about the exploration of being immortal

or mostly immortal

KRIS: I mean personally I still find the idea of death terrifying, maybe because I’ve never really dealt with it yet

So I’m kind of in the “yes we should try to become immortal” camp most days

And I tend to feel that the idea that immortality would ultimately be boring or soul-crushing is kind of a self-serving one, to make us feel better about mortality

BUT

I think this is a really good exploration of it

MARCHAE: interesting!

KRIS: The speech Booker gives to Nile about why she shouldn’t contact her family is really really good

MARCHAE: and kind of sad I loved it (not because it was sad, but because it was good)

KRIS: And Andy’s ultimate epiphany -- she doesn’t want to die, she wants something to live for again -- is really simple in the best way

And it’s also really sad, and I think mostly unremarked upon, that it takes Booker betraying the team for Andy to realize that the team is what she has to live for

MARCHAE: yeah…. she’s incredibly melancholy to me and I like that she’s wanting to push again

they are her family

KRIS: And it’s great that part of how Nile pushes the change in Andy’s mindset is very specifically “millennial” -- she’s always hustled, she’s worked a bunch of jobs briefly and picked up a bunch of random skills

in a way that’s convenient to the plot but doesn’t feel TOO Convenient

MARCHAE: Exactly - I could believe and buy into each and every single character

KRIS: Everything about Nile is like, That’s So Real

MARCHAE: I wanted to be on the team by the end of it

even the emotions that Andy experiences

there is a lot of hurt …maybe that imitates from the page

A lot of it is in her inner dialogue, the panel placement and the colors

but you feel for her

and you want her to win and win hard

KRIS: So hard

It was amazing to me that they actually fit a Booker redemption arc into this

and it works because of Andy’s feelings

MARCHAE: they do! A lot rides on the protagonist here - And what I think is amazing is that she carries so much of the tone for what we experience over the story - because of her we are able to buy the rest of them

I think if we had been led by anyone else it might not have been as effective

KRIS: It’s very successful at being clearly led by one character but still having a really strong “ensemble” feel

And that first issue and a half have to do so much heavy lifting to establish the team relationships so we buy the motivations when they spend most of the rest of the story separated

MARCHAE: It really is amazing from a storytelling standpoint

I could see the movie adaptation as I was reading it

Its so well crafted

KRIS: I think this arc could actually work as a feature

MARCHAE: (have you read lazarus?)

KRIS: and not lose much detail

Not yet

MARCHAE: (KRIS!!!!!! THAT IS A FEATURE WAITING TO BE MADE)

(BUT KRIS READ IT STAT!!!)

And it would be beautiful to shoot those period scenes

KRIS: It would

(I just love the face drawing so much in this book)

MARCHAE: they are much more expressive than others  - I feel like other books Ive read are more sketch like

?

KRIS: This sequence was VERY cinematic too

Not in a spectacle way but just in a general visual storytelling way

with the elevator door

I feel like a lot of superhero books don’t bother making faces distinctive

MARCHAE: That bugs me too - I think it’s why i started reading them three times

KRIS: It can get especially ridiculous when people don’t bother drawing Clark Kent and Bruce Wayne differently from each other

The one issue I can think of in The Old Guard is that in the first issue, it wasn’t super clear to me that Joe was a man of color

And I feel like Andy’s skin tone was also a little variable, but it’s more or less obvious that she’s supposed to be from Somewhere In the Mediterranean

MARCHAE: I  didn’t entirely register that either until he said his name

I can agree with that too

I also get the impression that Nile is also likely a POC as well

KRIS: Nile for sure read to me as a black (or possibly multiracial) woman, I guess the color was just off in the first chapter

MARCHAE: it was refreshing to see a more diverse group of characters that’s for sure

KRIS: Oh shit my mistake I guess the Scythians (Andy) are of Iranian/Central Asian descent

Yes! Which was why I was so glad Joe turned out not to be white -- at first I was like “hmmm this is an oddly white book for someone as woke as Greg Rucka”

MARCHAE: OH NO WAY!! (Re Andy)

KRIS: I really should have known that from like freshman year classics courses

MARCHAE: You are much more well versed than I am in historical references  and I definitely don’t have a tremendous breath of the classics

KRIS: I guess we should talk about the action

It’s almost funny that we haven’t, much

This is very much an action story

MARCHAE: There is so much action that’s for certain and I LOVE IT

KRIS: And all of the set pieces are distinct

MARCHAE: I love seeing it on the page, the pacing of it, how the panels are set up and YES the set pieces!!!!

KRIS: Which is definitely something superhero comics struggle with

Guided View is GREAT for these layouts

MARCHAE: It works beautifully and makes the work fly

KRIS: There have to be some good interviews out there with comic artists about how that’s influenced their approach in the last several years

MARCHAE: like the action legitimately in this comic soared off the page in my opinion I wanted to be in it

that’s really interesting I’ll have to take a gander

KRIS: I do have to say, I wished Andy’s axe had come back

MARCHAE: YES! She’s fierce!

theres a cover where she’s flailing that axe

She’s powerful

the look on her face

even and her posture

I LOVE THIS IMAGE

KRIS: For our readers, that variant cover is by Nicola Scott, Greg Rucka’s collaborator on Wonder Woman: Year One

Yeah even though I’ll tag this as a spoiler post I won’t include the axe sequence, everyone should have to go read the book to see it

It’s short but awesome

MARCHAE: Its so unapologetic and that makes me happy as a woman!

(re the axe photo)

but to talk about action

I really liked this and how it looked!

KRIS: so good

The other standout for me was the Crusade battle -- the use of silhouettes in the night scene

MARCHAE: it reminded me of the old school batman TV show but also has this frantic feel to it like if you are in the room - the images move almost

KRIS: And the use of the BANGs in the background instead of within most of the panels is really interesting

MARCHAE: OHHHHH that’s a great one too

KRIS: literal background noise

MARCHAE: it reminds me of sound

AHHHH YESSSS!!!!

visual cacaphony

which i suppose is a bizarre pairing of words but the best i could come up with

KRIS: It conveys the chaos but also leaves the actual action layouts clear

MARCHAE: nothing is left to confuse the reader - which when I was a newer reader of comics was always confusing

KRIS: Oh here’s that great banter scene:

MARCHAE: these comics are new user friendly

KRIS: Definitely an advantage of indie books

MARCHAE: I like that one - laughed a few time reading this book like legit noise came out which doesn’t happen terribly often

KRIS: I mean I get it, if you’re writing Big Two characters, you want to reference the stuff you grew up with, it can’t be an easy balance to make it accessible to new readers and rich for longtime readers, but still, you can’t blame people for having trouble getting into most recent Marvel or DC stuff

Yeah I guess a way to describe how humor works best for you is that in a scene like this it’s like, cathartic?

Or it’s a release valve

You like it as punctuation, not as the baseline

MARCHAE: I can read it now but I tried starting with Hellboy and was like ABSOLUTELY NOT!

KRIS: Oh that’s interesting because isn’t Hellboy indie? Was it that you jumped into a late story arc?

MARCHAE: I am not sure… if it is… All i know is that it was a challenged to follow on the page

I think I started at the beginning?

Also YES! in regards to humor!!! It’s kind of like a sigh 😊

KRIS: I only know the movies but I’d believe it’s just a weird-ass book as a first comic

MARCHAE: I do not love humor as a baseline - ever generally

LOLOl

it was not a good first jaunt I didn’t finish it and sold it back and the comic book store owner was like what do you like - we chatted and he handled me Lazarus

and I’ve been hooked on the comics since and they all have the same tone save one that I like called Alex and Ada

We’ve digressed again

KRIS: yep

I’m just grabbing a link for Alex and Ada to put into the post [see above]

MARCHAE: yeah its drastically different in tone from what I generally read - but the characters and story were pretty good!

Also an Image comic if I’m not mistaking

KRIS: Yes

MARCHAE: Yup!

KRIS: (For readers: Image is a publishing house like DC and Marvel, but all of its books are creator-owned and independent of each other, rather than company-owned characters in a shared universe)

MARCHAE: Correct! The ones I’ve read seem incredibly character driven to me and tend to be more focused on themes and ideas

What else are we missing - I feel like we’ve covered so much with this one trade!

?

KRIS: I was just gonna ask you that

We haven’t really talked about the villain but I think that’s okay

Don’t want to spoil everything

We really want you to read it yourselves, everyone!

MARCHAE: I really hope people read this one!

Along with the others we’ve recommended!

KRIS: It’s very accessible if you’re new to comics, the art is clean and you won’t have trouble following it, and Greg Rucka is arguably one of the most acclaimed writers in comics right now so I promise it’s not a risky buy

although MM did you get it from the library, you said?

MARCHAE: I did using the Hoopla App but I will probably eventually buy it for my collection (I do have a comic collection and I keep them in plastic!)

KRIS: Should we talk about the ending? I can add another FOR REAL MAJOR SPOILERS warning around here

[the VERY END is briefly discussed below]

MARCHAE: Can i just say I was absolutely sad when it ended

I was mad indeed

but yes let’s

KRIS: I really liked it

MARCHAE: I think I just wanted the book to keep going LOL

KRIS: Oh for sure

But there’s just a lot of great storytelling in those few pages

Even just that first page in Malta

MARCHAE: And it really is a hero saves the day type deal and shows Nile and Andy working collaboratively

again the art is beautiful (I just sent another image let me know if you get it)

KRIS: Just got it

Yeah it’s such a hero shot

MARCHAE: The entire team really comes together!

KRIS: And the use of light is great

MARCHAE: (sent over another one)

KRIS: Yeah I don’t think I’ll include that in the post for spoilers’ sake but it’s a great page

I think the “zoom out” makes it

MARCHAE: but even the quote at the end is amazing: “ Soldiers live and wonder why”

and it perfectly encapsulates what this story is about thematically

why do they - survivors guilt

the desire to move forward and be better

the desire to end something peacefully and in your own time

KRIS: Glen Cook is a fantasy author you might like -- maybe check out The Black Company

MARCHAE: but you do want this story to keep going and be with these characters for much longer than the trade allows

I WILL!!!

KRIS: Someone’s adapting that series for TV, I forget who but I think for one of the premium cable channels

More great body language:

MARCHAE: http://deadline.com/2017/04/eliza-dushku-star-the-black-company-series-adaptation-david-goyer-im-global-1202076367/

There are so many interpersonal nuances in this book it was fun to look at

KRIS: I like that Nico is very clearly ignoring Joe here -- no word balloons, but it’s obvious that this is heated

and classic Andy not wanting to deal

MARCHAE: he’s turned away from him entirely

KRIS: (I love that I can say “classic Andy” after just five issues)

MARCHAE: LOLOLOL

she’s so unimpressed by the entire situation

probably mentally sighing

KRIS: So what do you think of the punishment?

MARCHAE: its kind of devastating I think for Booker - It also makes me curious about what time feels like for these people

KRIS: Yeah

MARCHAE: What does 100 years feel like when you’ve lived a fafillion years already

KRIS: They have no friends besides each other

You don’t even really get the sense that Booker sleeps around the way Andy does because the team is a liiiiittle bit judgey about it in #1

MARCHAE: LOL they kind of are!

and it would just be complicated - we see that with Andy and her relationship

it reminds me of the first book of a series i like called the discovery of witches

just that idea of engaging in a relationship with someone who is mortal you’re constantly reminded that you are too much - and that the person you are with will never be enough for you because they will perish

https://www.goodreads.com/book/show/8667848-a-discovery-of-witches

(the text is now being turned into a major television show)

KRIS: I really love that the last two pages have no dialogue

It’s not a long epilogue at all but it also doesn’t feel too abrupt because those last two pages are a really well done kind of fade-out

MARCHAE: it’s incredibly effective - just as much as the opening which had very little dialogue

KRIS: I mean, just to really drive this home for everyone, not that I think anyone missed this, but THE LAST LINE OF THE BOOK IS “you’re alone”

And it’s so simple, it’s not a Dramatic! scene at all, it’s so understated, and that’s why it lands so hard

Andy’s not a Dramatic! person

MARCHAE: and you absolutely know she means it and is not in any way playing with this man

KRIS: ANDY DOES NOT PLAY

MARCHAE: Almost like I’ve worked to hard to get us here  - I’m disappointed and i hate to do this but it has to be done

KRIS: It’s so good

This will probably not be our last comic Reaction. Marchae really hopes you read not just this but other Rucka work. In the meantime, follow us on Twitter!

[zjarondinelli]

Echoes Not Heard: Alex Ross' "Echoes of Shazam!" and the Absence of a Certain Big Blue Boy Scout

I recently had the pleasure to have this piece published as a part of the “POP: Culture & Comics” website #SneakPeekWeek! The site has come down (temporarily) until it’s grand launch on Monday April 22, 2019, so I wanted to make it available here on my CV/blog in the meantime. Thanks for checking it out:

-- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- 

This past Friday, exactly one week before the North American theatrical release

of the SHAZAM movie, Alex Ross has provided what Nerdist.com calls "his

definitive take on the cultural impact of the character." [1] "In this illustration..."

Diaz writes, "[Ross] goes beyond the comic book universe to trace the influence

of Shazam! on a broader pop culture scale, depicting over 100 characters from

comics, movies, and television." [2] Not only does it feature characters,

regardless of publisher, that have been called "Captain Marvel", but it also

depicts characters who have been heavily influenced by him and his stories. If

you haven't yet seen Ross' work, take a look below:

                                         Echoes of Shazam! (2019)

As you might expect from an artists of Ross' caliber, the painting is spectacular.

Foregrounded in the image is the original Captain Marvel & Billy Batson,

represented in the classic-style of co-creator and Chief Artist of Fawcett's

represented in the classic-style of co-creator and Chief Artist of Fawcett's

flagship Captain Marvel Adventures, C.C. Beck, surrounded by all of the 

CaptainMarvels and other characters who have taken inspiration from him and 

his journey's over the years. [3] Immediately recognizable characters like Marvel

Comics' Carol Danvers/Captain Marvel, Alan Moore's Marvelman, the original

Thor (who many might forget was originally Dr. Don Blake, a man who became

the God of Thunder when he slammed his cane on the ground), He-Man,

Ultraman, Captain Super (the Crime Syndicate version of Captain Marvel), and 

so many more are there to celebrate the power of Shazam.

While it is certainly true that all of these characters, in one way or another, have

taken inspiration from the "Big Red Cheese" and that the painting is an 

ambitious one that clearly demonstrates Ross' adoration for the character, there 

is a notable absence among the characters that populate this work of art. And if 

this is to be a definitive take on Captain Marvel/Shazam's pop culture influence, 

as Ross, Diaz and Nerdist.com have suggested, then this missing character is 

an egregious one. So, I have to ask...

Where, oh where, is Superman?

                                           Superman by Curt Swan

Now, I'm sure many of you have already done the math... Superman debuted in

Action Comics #1 which was published in 1938. The original Captain Marvel

debuted in Whiz Comics #2, first published a full two-years later in 1940. You 

may even be aware of the lawsuit filed by DC Comics (then National Periodical

Publications) against Fawcett that claimed copyright infringement against

Captain Marvel. On the surface, none of this gives the impression that 

Superman was inspired in any way by Captain Marvel. Yet, despite how it looks, 

here I am suggesting that one of the greatest comics artist's of out time missed 

an opportunity to reflexively recognize how the "Big Red Cheese" significantly

improved Siegel & Shuster's "Big Blue Boy Scout". In fact, I would go as far as 

to improved Siegel & Shuster's "Big Blue Boy Scout". In fact, I would go as far 

as to suggest that that the Superman as we know him today only exists 

because of Fawcett's Captain Marvel.

To understand why Superman belongs in Ross' "Echoes of Shazam!", we first 

need to talk about one of the greatest Golden Age comics writers of all-time: 

Otto Binder.

                                                     Otto Binder

Otto Binder began writing for Fawcett comics in 1941, taking over the Captain 

Marvel stories after original co-creator, Bill Parker, joined the military in 1940. 

Under Binder's pen, Captain Marvel quickly became the most popular comic 

book superhero published at that time. According to scholars Bradford Wright 

and Christopher Murray, Billy and Captain Marvel's popularity stemmed from 

their ability to provide young readers with a way to "imagine what it might be 

like to possess magical powers". [4] Billy, a boy as young as many of his 

readers, could become a hero with a single word; kids no longer had to project 

themselves into the bodies of adults for adventure, they could simply call for 

magic from the skies and become the hero they had always dreamt about.

It was this level of popularity and success that eventually led National to file 

their lawsuit against Fawcett. The lawsuit, which would drag on for years and is 

better discussed in a different article, would ultimately be settled in 1952 when 

Fawcett (who no longer wanted to continue their fight against National) agreed 

to stop publishing Captain Marvel comics.

While this might have signalled the end of the best-selling comics hero of the

1940s, it also opened the door for Otto Binder to begin another comics project. 

In 1954, Binder took on writing duties for the Superman group of titles at 

National, and would change the face of the character forever.

During his time working on the Superman titles, Binder contributed to the

introduction of the Legion of Super-Heroes, and debuted one of Superman's

deadliest villains (who will soon be appearing on Krypton: Season 2), Brainiac, 

as well as the Bottle City of Kandor in Action Comics #242 (1958). Around the 

same time, he also introduced fan-favourite villain/anti-hero, Bizarro, in 

Superboy #68 (1958) as well as Bizarro World in Action Comics #263 (1960). He 

would further introduce other important elements to the Superman mythos 

including The Phantom Zone, Lucy Lane, Beppo the Super Monkey, and even 

Jimmy Olsen's famous signal-watch.

While all of these new characters are important and signal Binder's contribution

to the Superman mythology, they don't really explain why Captain Marvel

impacted Superman or why Superman should be in Ross' "Echoes of 

Shazam!". For that, we have to look to Binder's two greatest additions to the 

Superman universe: Krypto the Super Dog and Supergirl.

One of the most enduring and popular elements of Binder (and Beck's) time on

Captain Marvel was the introduction of the Marvel Family.

                                 Cover to The Marvel Family #1 (1945)

Originally introduced by Binder and Beck in Captain Marvel Adventures #18 

(1942), the Marvel family was one of the most popular elements of Captain 

Marvel's mythos. In stark contrast to many other heroes being published at that 

time, Captain Marvel had a whole family to help him on his adventures and 

demonstrated to young children the importance of having support from those 

who love and care about you. Billy knew he couldn't always do it alone; a 

meaningful lessons for young children. 

Joining Billy/Captain Marvel in those original team-up adventures with the 

Marvel Family was Freddy Freeman/Captain Marvel Jr., who had been originally 

introduced in Whiz Comics #25 (1941), and Mary Marvel (as well as some other 

less notable family members, like Uncle Marvel). Within a very short time of the 

family's introduction, they become on of the most popular and best selling 

comics of the Golden Age. [5]

In an article for Polygon.com about Disney/Pixar's The Incredibles, Meg 

Downey states, "The Marvel Family’s success went on to inspire copycats of 

their own — DC (then known as National Comics) replicated the process for 

their entire trinity, complete with costume-wearing animal companions, super 

babies, wonder tots, and long lost elderly relatives." [6] What Downey fails to 

mention is that, for Superman at least, the one who developed this "Superman 

Family" was the writer of Captain Marvel himself, Otto Binder.

Only one year after he began working with Superman, Binder introduced Krypto

the Super Dog in Adventure Comics #210 (1955). Besides Siegel and Shuster's 

own Superboy, Krypto served as the first step towards the building of the 

Superman Family as we know it today. The next one, would come in the form of 

Superman's cousin, Kara Zor-El, also known as Supergirl in Action Comics 

#252 (1959).

Together with Superman, an increased focus on Lois Lane (his Lois Lane comic 

for Showcase #9 in 1957 set the stage for her own on-going publication shortly

thereafter) and Jimmy Olsen (Binder launched Superman's Pal Jimmy Olsen in

1954), the Superman family would continue to grow and demonstrate that the

Family Formula pioneered with Captain Marvel all those years before, was still a

winner. So to is this demonstrated by the characters lasting importance to

Superman even today.

Recent comics (Tomasi, Gleason, Jurgens, and even Bendis' runs) have

emphasized the importance of family to Superman. Jon Kent (the son of

Superman and Lois Lane) has become  one of the break-out stars of the current 

DC Universe, the return of Connor Kent within the pages of Young Justice 

(2018) has been met with resounding excitement, Supergirl is riding high after 

Melissa Benoit's successful CW television series has far surpassed 

expectations and Krypto has even been gallivanting alongside her in her solo 

comics series.

Simply put, the Superman that we know today would not be who he is without 

his family. There is no denying that Superman's "family", like the extended "Bat-

Family" are completely indebted to the success of Otto Binder's work with

Captain Marvel. When Fawcett abandoned the fight against National, Binder

brought the formula that had made Captain Marvel and his family so successful

and applied it to the original comic book superhero. Without the contributions 

of Binder, the family characters that have come after his tenure at DC simply

wouldn't exist. He not only set the stage for them within Superman comics, he 

did so even earlier within the Captain Marvel stories. This is the contribution 

that Captain Marvel and Shazam gave to Superman, and why he belongs in 

Ross' "Echoes of Shazam!" painting.

The "Big Blue Boy Scout" owes a pretty massive debt to the "Big Red Cheese"

because, in no uncertain terms, he gave him his family.

Ross' "Echoes of Shazam!" is nothing short of amazing. It is an artist's passion

project for a character that he clearly loves and cares about. By demonstrating

the missing piece of the painting, I do not intend to diminish it's power or 

suggest that it fails in it's mission; it certainly doesn't. What it does do though is 

miss the opportunity to recognize the contributions of a character that Ross 

clearly loves so much on one of DC Comics' most visible and popular heroes. It 

would have been a small, but meaningful vindication for Captain MArvel's 

wrongful demise at the hands of National/Superman.

We may not see that in Ross' work here, but SHAZAM! does hit theatres this 

Friday. Maybe we'll finally see the "Big Red Cheese" overshadow the "Big Blue 

Boy Scout".

Sources:

[1] Diaz, Erica. "Alex Ross' 'Echoes Of Shazam!' Pays Tribute to Every Captain

Marvel Ever (Exclusive)". Nerdist.com. 3.29.19. Available at

https://nerdist.com/article/alex-ross-echoes-of-shazam-every-captainmarvel-

ever-exclusive/.

[2] ibid.

[3] Cremins, Brian. Captain Marvel and the Art of Nostalgia. University Press of

Mississippi. 2019.

[4] Wright, Bradford and Christopher Murray qtd. in Cremins, Brian, p. 16.

[5] Downey, Meg. "There's No Incredibles Without the Golden Ages First Superhero

Family". Polygon.com. 6.17.18. Available at

https://www.polygon.com/2018/6/17/17473058/the-incredibles-2-

connectionscaptain-marvel-comics.

[6] ibid.

[beowulfs-booty-call]

Shiro, pidge, Beezer

Hey! I’m super sorry for being so late! Considering the other asks piled up, and tumblr does blatantly no help in organizing them, I completely missed it! I hope you can forgive the unnecessary time spent waiting! Unfortunately, though, this is gonna be a long post!

Shiro: What’s the one thing you have that keeps you going on life?

Well, actually… Before, it was someone I’m very close to. I… er… Well, how do I put this? I kept going because someone became my rock. And I depended on them, a lot. But, whenever they needed me, I was as strong as ever so we both could be. 

…Truth be told, they still are, but, I’ve sorta grown more, that I don’t need to rely constantly on this one person to make sure my life is going well, you know? If I answered before, I’d probably answer that person, though… I’m still clinging to hope.

Hope that maybe, things will change. Hope, that one day I’ll fall in love the way I think I was meant to be. Hope… That I’ll be the best me I can be, that everyone I know can be as happy as they deserve to be. It’s a long shot; Where does hope come from? Where does it go? But, hope’s what got me here in the first place when things were nothing but horrid and unsafe. For what it’s worth, I believe hope’s what’s gonna keep me going, so that one day, I’ll wake up, happy and falling in love with myself and someone else, and sharing me, with someone else. 

I hope for a lot of things, but, I find it’s that hope that keeps me going forward, even when I don’t know sometimes where I’ll end up.

Pidge: Do you feel comfortable with who you are as you are now?

Pfft, it’s funny Pidge comes up, frankly, I enjoyed this question most! 

In all honesty… I like to believe I’m getting more comfortable with myself. I… I started writing poetry, I started drawing digitally, I’ve even thinking of having Beowulf as my actual name at times, hilarious as it is… It’s… Strange, actually. Getting to know the person you are now, that is. I didn’t know my life’s purpose, nor my own identity, but now more than ever, I feel… Kinda more… “whole”, you know? I, I fell in love with someone, went through a break up, consequently the “OTP BROKE UP!!!” phase, and so on which made me rethink a lot about myself. In one sense, yes, I feel more comfortable with myself. After that breakup, I sort of, realized that really, when it came down to it;

I didn’t need to ask why my ex and I did. 

I just understood that our relationship was at an end, it was time to move on, but, when you give your heart to someone, where do you go after that’s gone?

So, I took a lot more me time, I started up my love of flannel after, almost years of never seeing them again, I started reading Beowulf the first time, fell in love with the mythos and wanted really… Really badly to emulate it. I wanted to be a hero, I wanted people to remember me so much and praise me for what I do, when, most of the time, I barely even saw how far I came along the way. And, that’s how Beowulf ends (Sorry for the spoilers!), he gets too arrogant and only wants to hog the glory, and, he dies to the dragon when he’s older (35? He was still young.) and battle hardened. When I read Beowulf, that’s just when things clicked in. 

Did I really want glory and fame? Or, did I just want someone to recognize me for something? And, well, since then, I started listening to myself. I wore flannel, jeans, boots, I was so… happy not to wear whatever someone else told me to wear, it felt so… Right. I bought my opal choker, charmed it, and the local witch who sold it to me, remarked that Boulder Opal was meant to bring the real person within, out.

Looking back to that, it’s… Quite the journey. I’m… Me, and…. I know I’m gonna change more, that’s just a part of life, but, it’s been pretty cool getting to know myself. I channel spirits, I’m an incubus after making a deal with a few contracted demons and Lilith, and I’m always here for my friends. Self consciousness will always be something holding people back, and the same with body image, but, I’m much more comfortable as the person I am now, than I was before.

I think, to really say it more clearer…

I feel, free.

Enlightened.

Me.

Beezer: Who do you look up to?

Oh! Well, this is interesting as well!

I… Look up to a lot of people. I’ve looked up to my Spanish teacher in High School since, my junior year. He’s adopted me as his kid, by word of mouth and by action, the way he’s been, along with my school secretary. They’ve… Become like my mom and dad, in the context of things, I’d always make excuses to spend time with them than my own parents, and, I’d always hang out with them after school because I was so… Well, I was starved for parental affection. I felt wrong, so disastrously wrong for craving their love. “What about their children? Obviously, they won’t just drop everything to be with you, damnit!” But, those fears were just childish, my mom, when she figured how I was feeling, and she calmed me down by saying,

“It’s okay to cry, it’s okay to be weak sometimes when all you’ve ever known was to be strong. No matter what anyone says, wherever you go, whomever you become, you will always be my son.”

That was when my dad jumped in, and nonchalantly tried to hype it up by saying,

“And who better yet to be our son than a brave prince, with a soul older than the gods himself?”

(Now, mind you, my dad is sort of nuts. He’s a very strict teacher, everyone fears him and his teaching since he still uses the old RAP THE RULER TO ENVOKE PURE FEAR, but, his a very goofy guy with the air of a Sultan. Ever since I did my tarot cards, he’s always seen them as holy predictions as they for the most part, has. So, he’s always more or less, meaning well, just not… Wording things well…!)

I’ve left high school since, and I still get word from them time to time, I send cards, but, sometimes, I want to be their kid. I want to look up to them the way their kids do (Though, my dad, his sons left him with their mom when he was in the military. He… Well, he personally thinks I was sent to be his kid as part of fate. His words, not mine, but, those words always stuck with me.) and be just like them. So strong, so wise, but so loving as well.

My grandpa and grandma are just two of my supposed biggest fans, they’ve done nothing but support me, and well, frankly, I’ve always used their struggles to live in the time they are now to go on with my schooling. My grandmother worked as a worker for Verizon for years, while taking care of her mother, and her four kids at the age of 40 as a single mom, working the telephone poles (Something she claims only men did at the time, so, she worked her hardest to make ends meet). She taught me first about magic, and most of the basic Hindu mythos (We still cry over the movies and depictions of Parvati.) My grandpa, as it goes, isn’t really my grandpa, he’s simply my Gram’s neighbor and they’ve both come to fall in love with each other (As… Much as she won’t admit it openly.) 

He took me in as a young child when my parents didn’t, and was one of the first teachers I had, teaching me “Ese Lunar” (Cielito lindo, in actuality) and my first basic Spanish, and inspiring me with stories from the bible, but also about cultural figures like Santa Muerte and such. Sometimes, I gloss over it, but, I’ve always admired them. The way they bicker so much, but will always wake up the next morning, making tea and coffee and reading the paper and then asking me to do the chores and heavy lifting like we’re on Smallville. I always enjoyed their basic lifestyle… It’s taught me a lot, especially in how to appreciate the little things in life, from receiving a letter, to writing one and mailing it everyday, they’ve done so much to me, that I can only hope to do the same for them.

I look up, well, I idolize a lot of fictional characters too, like Terra Branford from Final Fantasy 6 or Yukino Mayuzumi from Persona 1 and 2. Terra keeps faith and hope for the orphans of the town of Mobliz, while Yukino struggles with her feelings for her mentor as a photographer.

Terra is a lot like me, she yearns to find out what love means. Not just the romantic ones, not just the “good friend” platonic love. She wants to discover real, true love, which she finds in orphans like her, who cling to her and call her Momma. It’s… Heartbreaking, but hopeful, in the way she was raised to be a weapon, and later, she is reversing it to teach others about love.

Yukino fights, not because she was once a gang member, not because she wants to be the only one to love her mentor, but because she wants her friends and her own student, Ana, safe and sound. Yukino’s life was turned around when her teacher, Ms. Saeko intervened and took her out of the female gang lifestyle to become a teacher like her. It inspired her to go forward, and though she couldn’t become a teacher like Ms. Saeko, she became a photographer and her mentor Shunsuke Fuji becomes her love interest. When a classmate of the protagonist, Ana Yoshizaka, goes rogue and becomes antagonistic, Yukino works to intervene like Saeko did, acknowledging she wasn’t strong enough to say she loved Fuji, nor smart enough to go to college and become a teacher like Ms. Saeko, or have “the eye” to be a photographer like Fuji himself. Instead, she acknowledges she doesn’t need those things to be a person, a strong person, to make sure she wouldn’t let Ms. Saeko’s lessons leave her so quickly to save Ana from a life of crime.

I also really look up to Beowulf, like I mentioned before, as a book, as a character, even as a Skullgirls character (pfft). I’ve always been a fan of wolves, and while they don’t exactly pertain to the legend of Beowulf, they do to the Skullgirls one. For the legend, he’s regarded as “Son of Wulf”, so, merely, his name is can be seen as Beo (lol, the logic is flawed of course, but hear me out) as Wulf was really a common ground name at the time. But, he was a prince of legend, a man the people looked up to and was, while vain, a good man at heart. I really want to emulate that, the same for the Skullgirls Beowulf, he may just be a wolf themed wrestler, but he’s got great intentions at heart besides just wrestling for his fans. But that’s just how I see it, the fact that he’s loosely based on the actual Beowulf, and my analysis of his character, it’s hard for me not to sorta… Look up to that legacy.

And, lastly, it’s my mother goddess Parvati. 

Streamlined mythos, she’s mother of Ganesha, and second wife of Shiva after her previous incarnation, Sati, committed suicide by diving into a sacrificial fire when her father Daksha forced her to marry another man and not whom she fell in love with (Shiva).

Parvati, then came as the daughter (and princess) of the Himalayas, and she gives forth an eternal maternal love only she can exude. When I was younger, I was once told, the gods decide who to protect in the world. This was why people tended to favor different gods in different households. My grams favored Vishnu, my father, Shiva, and so forth, we were a Guyanese community, so, superstitions were the best interpretation of “God comes in all forms to be accepted by his devotees.”

I didn’t bond with many gods, Vishnu frightened me, with the terrifying Ananta as his vehicle, Shiva was far too powerful in his austerities. And, one day, when I cried out that I had no one in the world to love me, a woman in a pink shalwar came to me and claimed I needed no such words, because she was here to be my mother, when my mother is not. And so, she accepted me as her child, and, I’ve done nothing more but try to be as patient, loving, and wise as she’s been for me. 

She’s never left me alone, and, well, I’m not doing that to anyone I care about either. It’s one of the reasons I look up to her, her love is as eternal as the moon’s light.

Thanks, so, so much for asking! I’d like to apologize again for the lateness! Really, thank you again!

[lazybarbarians]

Star Wars: Catalyst: A Rogue One Story by James Luceno

Ragnell: So, after a brief break last week (it was a holiday), we read Star Wars: Catalyst: A Rogue One Novel which you know is extra fun because it has an extra colon!

This novel is a prequel to the prequel everybody likes, set sequentially after the other 3 prequels that nobody likes. It takes place before the events of Rogue One. Spoilers, they build a Death Star. (Extra spoilers, a magic teenager from the middle of fucking nowhere blows it up.) But for those of you who watched that movie and ask “How did these people get into this situation?” then this is the book for you.

Kalinara: also, if you watched and thought “is it just me, or is Krennic really kind of obsessed with Jyn’s dad?” This book seems to clarify: yes, yes he is.

R: I must warn you, that this book contains graphic depictions of social climbing, child care, bureaucracy, workplace competition, shameless use of high school contacts for your own professional advancement, and several instances of unadulterated exposition about the nature of kyber crystals. Which power lightsabers.

Also, Lightsabers do not appear in this book. Not even once. Not even in a flashback.

We open with Galen and Lyra Erso, a pacifist scientist and his religious environmentalist wife, trying to synthesize kyber crystals on Vallt, a neutral planet in the Clone Wars while Lyra takes notes and prepares for impending motherhood. Just their luck there’s an insurrection and they get captured in an attempt to make Galen work for the Separatist. So poor Jyn is born while her father’s in prison. But not to fear, Krennic is here! Lt Commander Krennic, who knows Galen from Smart Dude School, arranges for their rescue because he thinks Galen’s specialty will really help him get to the Front Row of researchers on the Super-Secret Battle Station Project they have been assigned to.

Krennic uses a smuggler to get them out, and then destroys the new Vallt government for Orbit. Galen, of course, does not accept a military job immediately and instead offers Krennic a way out of military service. Which is sweet but a major character misjudgment So Krennic greases the works of the Republic so that Galen can’t leave Coruscant, and is bored out of his skull and eventually accepts a mind-numbing QA position on another planet. Towards the end of the war, that planet gets the shit bombed out of it and the Ersos again have to flee back to Coruscant. But the war is over! And the Jedi are dead! So, no need for a military job, right?

Still, Galen does need a job so it’s Krennic to the rescue again. With a “clean energy research project” using kyber crystals. He even has a suitcase full of them. Which Lyra points out probably came form the lightsabers of murdered Jedi but really, he’s offering the chance to build UNLIMITED ENERGY for the New Galactic Empire. That can’t be sinister, right?

Little does Galen know, Krennic’s been working behind the scenes at the Empire, convincing Palpatine’s Vice, Mas Amedda (Remember the creepy blue dude with the horns and headtails? He gets lines!) to back him while he maneuvers against Governor Tarkin to gain influence and monitors the Ersos to make sure Lyra’s not radicalizing her husband.

The time goes on and Galen gets more into his work, and Lyra gets offworld with a friend and gets to see the environmental devastation being wrought by the Empire on protected lands. And things aren’t adding up from their POV. They finally have a talk about it, then confront Krennic. Krennic handles the confrontation so poorly it confirms he’s evil and that Galen’s research has been weaponized. Fortunately, this coincides with Krennic using his favorite smuggler against Tarkin, and Tarkin sending the guy back to Coruscant to make him a spy in Krennic’s organization. Because no one in the fucking Empire gives a fucking fucking about their actual job except guys like Galen Erso who lose faith in the system when they realize their labor has been twisted to evil. Of course, because Krennic used the same smuggler to escort Lyra off-world before, and because the smuggler knows Saw Gerrera this blows up in both Krennic and Tarkin’s faces because he arranges to distract Krennic and smuggle them off Coruscant.

The book ends on some really sweet interaction between Jyn and Saw, and promises that the beginning of the movie is just a few years away.

I do enjoy tie-in books, because I can always picture the actors in their roles. (And through the miracle of the internet can find images of them at the age they’d be during a prequel!) I have long had a problem with Star Wars books, though, because I always have to look up the species online to picture them. But that’s just a small nitpick. If a Star Wars books is funny, quick-paced and adventurous with an engaging hero I can get over that. Oddly, this book is… none of those things. I don’t hate it, I kinda liked it, but if not for the movie I think it’d have bugged me.

K: It’s definitely a “prequel of a prequel” situation. As a stand alone novel, it’s definitely lacking. There really isn’t an overall plot, as I’d define one. And while we have an effective villain, we’re stuck in a position where we can’t get a lot of closure, because that closure will happen in Rogue One itself. As a prequel though, it’s pretty effective.

R: See, this book starts off very very slow. Krennic is the most interesting viewpoint character early on, though it picks up when they bring in Tarkin. (Man I love Tarkin.) Can’t say I grew fond of Has or would’ve been sad if he’d died.

K: This book definitely utilized Krennic well. I think Krennic, like Tarkin, and probably Hux in TFA, represent an interesting, almost banal type of evil. They may get a grandiose gesture or two, but the true nature of their triumphs and schemes are not going to be showcased in a movie like Star Wars. The quiet machinations, social climbing, sneaky backroom financial dealings and so on could perhaps make a good sci-fi version of House of Cards, but they’re not going to waste a filming budget on that when we could have lightsabers instead.

But that’s where books like this one can come in handy. In Catalyst, we get to see Krennic at his most effective. He really is more than just the hapless ineffectual douche that Tarkin and Vader metaphorically shove into a locker.

R: I knew the final fates of the Ersos, so it was hard to get too engaged with them. After a while, I got into the second part, though, I got invested. Galen and Lyra start to come alive after then. Lyra’s faith becomes evident in her reactions to the anti-Jedi propaganda and the kyber crystals, and her husband slowly starting to parrot that stuff. We get to see her keep her head and her wits about her as the Emperor, aided by legions of guys like Krennic and Tarkin, rewrites reality. We can see how a man like Galen Erso ended up in the situation he was in, how naive he could be, how he meant well but couldn’t resist when everything he wanted was placed on a silver platter in front of him with the label “Cruelty-Free!”, and how his curiosity and desire to understand the kyber crystals had him rationalizing all sorts of things away.

K: I really liked Galen and Lyra too. We got to appreciate Galen a bit during Rogue One, of course, as someone forced into Imperial service but taking what steps he can to get the word out and sabotage what he’s created. But here we get to see exactly how he fell into that situation. And it’s very sympathetic.

One thing that I think tends to get lost when we discuss older Imperial characters, whether they be the real assholes like Tarkin and Krennic, or more hapless ones like Galen, is that they didn’t start off as Imperials. They started out as soldiers or scientists of the Republic. Palpatine was the Chancellor before he was the Empire, and he had a very long time to lay the groundwork of his most evil deeds long before he named himself Emperor, or Darth Vader came blasting into the picture. The true change from Republic to Empire, from flawed-but-fundamentally-well-meaning-democracy to a totalitarian dictatorship was slow and gradual, and a lot of people were blind to what was happening until it was too late.

R: With this book we see different levels of that too. We see how Has, Galen, Krennic, and Tarkin all ended up sliding into the Imperial machine due to the Clone Wars, for different motivations and different rewards and different levels of satisfaction.

K: Lyra’s faith was an interesting note, and something that I’ve really liked about the new Disney canon. In the old Expanded Universe, the Jedi were very much like Han describes them in A New Hope: hokey religious practitioners with little to no connection to every day life. Even after Luke brings back the Jedi Order, they are very separated from the day to day life of the citizens of the Republic.

The Disney canon so far, from Catalyst, Rogue One, Heir to the Jedi and so on, have painted a different picture of the way that the Jedi and the Force interact with common people. A woman like Lyra, who has never met a Jedi in her life, can still venerate the kyber crystals and their connection to the Force. The rebels still give Jedi blessings. Different cultures still tell stories of those of their number who went off to become Jedi, and treasure their heirlooms. It becomes clear in the new canon that Han’s dismissal of the Jedi, or that Admiral who scorned Vader and got choked for his trouble, are yet other demonstrations of Palpatine’s powers and machinations. He’s cut the Jedi off from common, ordinary people. That’s not the natural state of events.

I think maybe when we do see Luke’s idea of a Jedi Order, we’ll see something very different from the isolated little boarding school/temple on Yavin IV. But maybe something more organically linked to the people. (And hopefully something that would allow more to survive/escape Kylo’s treachery.)

R: I like that aspect too. It must be leading up to whatever we’ll see Luke set up, and I really don’t want the later purge to have been as effective as the first. I think there should be a handful running around who’ll show up in the next two movies.

I also like the Jedi being a specialized practitioner of a faith that is actually pretty widespread. They’re like priests in the Disney canon, which suits Luke a lot. In Shattered Empire Rucka has Luke planning an espionage mission with a volunteer pilot, and killing a bunch of Imperials during it, but afterwards Luke and the volunteer sit down and discuss whether or not she should leave the army. Not from the point of view of whether or not it’s good for the Alliance, but whether or not it’s the right choice for her. Like a Chaplain would. And it’s a role that really fits Luke Skywalker’s character arc

Of course, even with that in mind the Sith-Jedi thing is still a sectarian dispute. So after Palpatine has cut off the Jedi from the common people, and driven belief in the Force underground… has he replaced it with anything? Are there non-Sith Force-believers out there who are like a dark side version of the Guardian of the Whills or Church of the Force?

Aside form that, I wish we’d had more Saw. I thought the end bit with him was lovely, and very sad in light of his role in the movie. In the early years of the Empire, saw Gerrera greeted defectors with kind words and admiration. By the time of the Death Star, he’s so paranoid he tortures the messenger and holds the message in terrified uncertainty about its truth. It’s tragic.

And, much as I grouse, I appreciate a little exposition on kyber crystals. They’re confusing little things. I guess, with this book establishing they can’t be easily synthesized they’re even more confusing (are the Sith using natural crystals or do they just have a method?), but it’s good to have a little material on them and know how difficult it was to power the Death Star.

But really, if anything’s worth reading in this book, it’s the inner workings of the Empire. Rogue One let us know both the Empire and the Rebellion were logistical nightmares. Rebels tells us why the Rebellion is so screwed up. Catalyst tells us why the Empire is so screwed up. How all of the secrecy and backbiting and political jockeying that has run rampant in Palpatine’s organization is doing in the Empire piece by piece. But going by the Vader-Emperor relationship in ESB and ROTJ, we can surmise that in-fighting is a top-down trend.

[thesnhuup]

Pop Picks – July 23, 2018

What I’m listening to:

Spotify’s Summer Acoustic playlist has been on repeat quite a lot. What a fun way to listen to artists new to me, including The Paper Kites, Hollow Coves, and Fleet Foxes, as well as old favorites like Leon Bridges and Jose Gonzalez. Pretty chill when dialing back to a summer pace, dining on the screen porch or reading a book.

What I’m reading:

Bryan Stevenson’s Just Mercy. Founder of the Equal Justice Initiative, Stevenson tells of the racial injustice (and the war on the poor our judicial system perpetuates as well) that he discovered as a young graduate from Harvard Law School and his fight to address it. It is in turn heartbreaking, enraging, and inspiring. It is also about mercy and empathy and justice that reads like a novel. Brilliant.

What I’m watching:

Fauda. We watched season one of this Israeli thriller. It was much discussed in Israel because while it focuses on an ex-special agent who comes out of retirement to track down a Palestinian terrorist, it was willing to reveal the complexity, richness, and emotions of Palestinian lives. And the occasional brutality of the Israelis. Pretty controversial stuff in Israel. Lior Raz plays Doron, the main character, and is compelling and tough and often hard to like. He’s a mess. As is the world in which he has to operate. We really liked it, and also felt guilty because while it may have been brave in its treatment of Palestinians within the Israeli context, it falls back into some tired tropes and ultimately falls short on this front.

  Archive

June 11, 2018

What I’m listening to:

Like everyone else, I’m listening to Pusha T drop the mic on Drake. Okay, not really, but do I get some points for even knowing that? We all walk around with songs that immediately bring us back to a time or a place. Songs are time machines. We are coming up on Father’s Day. My own dad passed away on Father’s Day back in 1994 and I remembering dutifully getting through the wake and funeral and being strong throughout. Then, sitting alone in our kitchen, Don Henley’s The End of the Innocence came on and I lost it. When you lose a parent for the first time (most of us have two after all) we lose our innocence and in that passage, we suddenly feel adult in a new way (no matter how old we are), a longing for our own childhood, and a need to forgive and be forgiven. Listen to the lyrics and you’ll understand. As Wordsworth reminds us in In Memoriam, there are seasons to our grief and, all these years later, this song no longer hits me in the gut, but does transport me back with loving memories of my father. I’ll play it Father’s Day.

What I’m reading:

The Fifth Season, by N. K. Jemisin. I am not a reader of fantasy or sci-fi, though I understand they can be powerful vehicles for addressing the very real challenges of the world in which we actually live. I’m not sure I know of a more vivid and gripping illustration of that fact than N. K. Jemisin’s Hugo Award winning novel The Fifth Season, first in her Broken Earth trilogy. It is astounding. It is the fantasy parallel to The Underground Railroad, my favorite recent read, a depiction of subjugation, power, casual violence, and a broken world in which our hero(s) struggle, suffer mightily, and still, somehow, give us hope. It is a tour de force book. How can someone be this good a writer? The first 30 pages pained me (always with this genre, one must learn a new, constructed world, and all of its operating physics and systems of order), and then I could not put it down. I panicked as I neared the end, not wanting to finish the book, and quickly ordered the Obelisk Gate, the second novel in the trilogy, and I can tell you now that I’ll be spending some goodly portion of my weekend in Jemisin’s other world.

What I’m watching:

The NBA Finals and perhaps the best basketball player of this generation. I’ve come to deeply respect LeBron James as a person, a force for social good, and now as an extraordinary player at the peak of his powers. His superhuman play during the NBA playoffs now ranks with the all-time greats, Larry Bird, Magic Johnson, MJ, Kobe, and the demi-god that was Bill Russell. That his Cavs lost in a 4-game sweep is no surprise. It was a mediocre team being carried on the wide shoulders of James (and matched against one of the greatest teams ever, the Warriors, and the Harry Potter of basketball, Steph Curry) and, in some strange way, his greatness is amplified by the contrast with the rest of his team. It was a great run.

May 24, 2018

What I’m listening to:

I’ve always liked Alicia Keys and admired her social activism, but I am hooked on her last album Here. This feels like an album finally commensurate with her anger, activism, hope, and grit. More R&B and Hip Hop than is typical for her, I think this album moves into an echelon inhabited by a Marvin Gaye’s What’s Going On or Beyonce’s Formation. Social activism and outrage rarely make great novels, but they often fuel great popular music. Here is a terrific example.

What I’m reading:

Colson Whitehead’s Underground Railroad may be close to a flawless novel. Winner of the 2017 Pulitzer, it chronicles the lives of two runaway slaves, Cora and Caeser, as they try to escape the hell of plantation life in Georgia.  It is an often searing novel and Cora is one of the great heroes of American literature. I would make this mandatory reading in every high school in America, especially in light of the absurd revisionist narratives of “happy and well cared for” slaves. This is a genuinely great novel, one of the best I’ve read, the magical realism and conflating of time periods lifts it to another realm of social commentary, relevance, and a blazing indictment of America’s Original Sin, for which we remain unabsolved.

What I’m watching:

I thought I knew about The Pentagon Papers, but The Post, a real-life political thriller from Steven Spielberg taught me a lot, features some of our greatest actors, and is so timely given the assault on our democratic institutions and with a presidency out of control. It is a reminder that a free and fearless press is a powerful part of our democracy, always among the first targets of despots everywhere. The story revolves around the legendary Post owner and D.C. doyenne, Katharine Graham. I had the opportunity to see her son, Don Graham, right after he saw the film, and he raved about Meryl Streep’s portrayal of his mother. Liked it a lot more than I expected.

April 27, 2018

What I’m listening to:

I mentioned John Prine in a recent post and then on the heels of that mention, he has released a new album, The Tree of Forgiveness, his first new album in ten years. Prine is beloved by other singer songwriters and often praised by the inscrutable God that is Bob Dylan.  Indeed, Prine was frequently said to be the “next Bob Dylan” in the early part of his career, though he instead carved out his own respectable career and voice, if never with the dizzying success of Dylan. The new album reflects a man in his 70s, a cancer survivor, who reflects on life and its end, but with the good humor and empathy that are hallmarks of Prine’s music. “When I Get To Heaven” is a rollicking, fun vision of what comes next and a pure delight. A charming, warm, and often terrific album.

What I’m reading:

I recently read Min Jin Lee’s Pachinko, on many people’s Top Ten lists for last year and for good reason. It is sprawling, multi-generational, and based in the world of Japanese occupied Korea and then in the Korean immigrant’s world of Oaska, so our key characters become “tweeners,” accepted in neither world. It’s often unspeakably sad, and yet there is resiliency and love. There is also intimacy, despite the time and geographic span of the novel. It’s breathtakingly good and like all good novels, transporting.

What I’m watching:

I adore Guillermo del Toro’s 2006 film, Pan’s Labyrinth, and while I’m not sure his Shape of Water is better, it is a worthy follow up to the earlier masterpiece (and more of a commercial success). Lots of critics dislike the film, but I’m okay with a simple retelling of a Beauty and the Beast love story, as predictable as it might be. The acting is terrific, it is visually stunning, and there are layers of pain as well as social and political commentary (the setting is the US during the Cold War) and, no real spoiler here, the real monsters are humans, the military officer who sees over the captured aquatic creature. It is hauntingly beautiful and its depiction of hatred to those who are different or “other” is painfully resonant with the time in which we live. Put this on your “must see” list.

March 18, 2018

What I’m listening to:

Sitting on a plane for hours (and many more to go; geez, Australia is far away) is a great opportunity to listen to new music and to revisit old favorites. This time, it is Lucy Dacus and her album Historians, the new sophomore release from a 22-year old indie artist that writes with relatable, real-life lyrics. Just on a second listen and while she insists this isn’t a break up record (as we know, 50% of all great songs are break up songs), it is full of loss and pain. Worth the listen so far. For the way back machine, it’s John Prine and In Spite of Ourselves (that title track is one of the great love songs of all time), a collection of duets with some of his “favorite girl singers” as he once described them. I have a crush on Iris Dement (for a really righteously angry song try her Wasteland of the Free), but there is also EmmyLou Harris, the incomparable Dolores Keane, and Lucinda Williams. Very different albums, both wonderful.

What I’m reading:

Jane Mayer’s New Yorker piece on Christopher Steele presents little that is new, but she pulls it together in a terrific and coherent whole that is illuminating and troubling at the same time. Not only for what is happening, but for the complicity of the far right in trying to discredit that which should be setting off alarm bells everywhere. Bob Mueller may be the most important defender of the democracy at this time. A must read.

What I’m watching:

Homeland is killing it this season and is prescient, hauntingly so. Russian election interference, a Bannon-style hate radio demagogue, alienated and gun toting militia types, and a president out of control. It’s fabulous, even if it feels awfully close to the evening news. 

March 8, 2018

What I’m listening to:

We have a family challenge to compile our Top 100 songs. It is painful. Only 100? No more than three songs by one artist? Wait, why is M.I.A.’s “Paper Planes” on my list? Should it just be The Clash from whom she samples? Can I admit to guilty pleasure songs? Hey, it’s my list and I can put anything I want on it. So I’m listening to the list while I work and the song playing right now is Tom Petty’s “The Wild One, Forever,” a B-side single that was never a hit and that remains my favorite Petty song. Also, “Evangeline” by Los Lobos. It evokes a night many years ago, with friends at Pearl Street in Northampton, MA, when everyone danced well past 1AM in a hot, sweaty, packed club and the band was a revelation. Maybe the best music night of our lives and a reminder that one’s 100 Favorite Songs list is as much about what you were doing and where you were in your life when those songs were playing as it is about the music. It’s not a list. It’s a soundtrack for this journey.

What I’m reading:

Patricia Lockwood’s Priestdaddy was in the NY Times top ten books of 2017 list and it is easy to see why. Lockwood brings remarkable and often surprising imagery, metaphor, and language to her prose memoir and it actually threw me off at first. It then all became clear when someone told me she is a poet. The book is laugh aloud funny, which masks (or makes safer anyway) some pretty dark territory. Anyone who grew up Catholic, whether lapsed or not, will resonate with her story. She can’t resist a bawdy anecdote and her family provides some of the most memorable characters possible, especially her father, her sister, and her mother, who I came to adore. Best thing I’ve read in ages.

What I’m watching:

The Florida Project, a profoundly good movie on so many levels. Start with the central character, six-year old (at the time of the filming) Brooklynn Prince, who owns – I mean really owns – the screen. This is pure acting genius and at that age? Astounding. Almost as astounding is Bria Vinaite, who plays her mother. She was discovered on Instagram and had never acted before this role, which she did with just three weeks of acting lessons. She is utterly convincing and the tension between the child’s absolute wonder and joy in the world with her mother’s struggle to provide, to be a mother, is heartwarming and heartbreaking all at once. Willem Dafoe rightly received an Oscar nomination for his supporting role. This is a terrific movie.

February 12, 2018

What I’m listening to:

So, I have a lot of friends of age (I know you’re thinking 40s, but I just turned 60) who are frozen in whatever era of music they enjoyed in college or maybe even in their thirties. There are lots of times when I reach back into the catalog, since music is one of those really powerful and transporting senses that can take you through time (smell is the other one, though often underappreciated for that power). Hell, I just bought a turntable and now spending time in vintage vinyl shops. But I’m trying to take a lesson from Pat, who revels in new music and can as easily talk about North African rap music and the latest National album as Meet the Beatles, her first ever album. So, I’ve been listening to Kendrick Lamar’s Grammy winning Damn. While it may not be the first thing I’ll reach for on a winter night in Maine, by the fire, I was taken with it. It’s layered, political, and weirdly sensitive and misogynist at the same time, and it feels fresh and authentic and smart at the same time, with music that often pulled me from what I was doing. In short, everything music should do. I’m not a bit cooler for listening to Damn, but when I followed it with Steely Dan, I felt like I was listening to Lawrence Welk. A good sign, I think.

What I’m reading:

I am reading Walter Isaacson’s new biography of Leonardo da Vinci. I’m not usually a reader of biographies, but I’ve always been taken with Leonardo. Isaacson does not disappoint (does he ever?), and his subject is at once more human and accessible and more awe-inspiring in Isaacson’s capable hands. Gay, left-handed, vegetarian, incapable of finishing things, a wonderful conversationalist, kind, and perhaps the most relentlessly curious human being who has ever lived. Like his biographies of Steve Jobs and Albert Einstein, Isaacson’s project here is to show that genius lives at the intersection of science and art, of rationality and creativity. Highly recommend it.

What I’m watching:

We watched the This Is Us post-Super Bowl episode, the one where Jack finally buys the farm. I really want to hate this show. It is melodramatic and manipulative, with characters that mostly never change or grow, and it hooks me every damn time we watch it. The episode last Sunday was a tear jerker, a double whammy intended to render into a blubbering, tissue-crumbling pathetic mess anyone who has lost a parent or who is a parent. Sterling K. Brown, Ron Cephas Jones, the surprising Mandy Moore, and Milo Ventimiglia are hard not to love and last season’s episode that had only Brown and Cephas going to Memphis was the show at its best (they are by far the two best actors). Last week was the show at its best worst. In other words, I want to hate it, but I love it. If you haven’t seen it, don’t binge watch it. You’ll need therapy and insulin.

January 15, 2018

What I’m listening to:

Drive-By Truckers. Chris Stapleton has me on an unusual (for me) country theme and I discovered these guys to my great delight. They’ve been around, with some 11 albums, but the newest one is fascinating. It’s a deep dive into Southern alienation and the white working-class world often associated with our current president. I admire the willingness to lay bare, in kick ass rock songs, the complexities and pain at work among people we too quickly place into overly simple categories. These guys are brave, bold, and thoughtful as hell, while producing songs I didn’t expect to like, but that I keep playing. And they are coming to NH.

What I’m reading:

A textual analog to Drive-By Truckers by Chris Stapleton in many ways is Tony Horowitz’s 1998 Pulitzer Prize winning Confederates in the Attic. Ostensibly about the Civil War and the South’s ongoing attachment to it, it is prescient and speaks eloquently to the times in which we live (where every southern state but Virginia voted for President Trump). Often hilarious, it too surfaces complexities and nuance that escape a more recent, and widely acclaimed, book like Hillbilly Elegy. As a Civil War fan, it was also astonishing in many instances, especially when it blows apart long-held “truths” about the war, such as the degree to which Sherman burned down the south (he did not). Like D-B Truckers, Horowitz loves the South and the people he encounters, even as he grapples with its myths of victimhood and exceptionalism (and racism, which may be no more than the racism in the north, but of a different kind). Everyone should read this book and I’m embarrassed I’m so late to it.

What I’m watching:

David Letterman has a new Netflix show called “My Next Guest Needs No Introduction” and we watched the first episode, in which Letterman interviewed Barack Obama. It was extraordinary (if you don’t have Netflix, get it just to watch this show); not only because we were reminded of Obama’s smarts, grace, and humanity (and humor), but because we saw a side of Letterman we didn’t know existed. His personal reflections on Selma were raw and powerful, almost painful. He will do five more episodes with “extraordinary individuals” and if they are anything like the first, this might be the very best work of his career and one of the best things on television.

December 22, 2017

What I’m reading:

Just finished Sunjeev Sahota’s Year of the Runaways, a painful inside look at the plight of illegal Indian immigrant workers in Britain. It was shortlisted for 2015 Man Booker Prize and its transporting, often to a dark and painful universe, and it is impossible not to think about the American version of this story and the terrible way we treat the undocumented in our own country, especially now.

What I’m watching:

Season II of The Crown is even better than Season I. Elizabeth’s character is becoming more three-dimensional, the modern world is catching up with tradition-bound Britain, and Cold War politics offer more context and tension than we saw in Season I. Claire Foy, in her last season, is just terrific – one arched eye brow can send a message.

What I’m listening to:

A lot of Christmas music, but needing a break from the schmaltz, I’ve discovered Over the Rhine and their Christmas album, Snow Angels. God, these guys are good.

  November 14, 2017

What I’m watching:

Guiltily, I watch the Patriots play every weekend, often building my schedule and plans around seeing the game. Why the guilt? I don’t know how morally defensible is football anymore, as we now know the severe damage it does to the players. We can’t pretend it’s all okay anymore. Is this our version of late decadent Rome, watching mostly young Black men take a terrible toll on each other for our mere entertainment?

What I’m reading:

Recently finished J.G. Ballard’s 2000 novel Super-Cannes, a powerful depiction of a corporate-tech ex-pat community taken over by a kind of psychopathology, in which all social norms and responsibilities are surrendered to residents of the new world community. Kept thinking about Silicon Valley when reading it. Pretty dark, dystopian view of the modern world and centered around a mass killing, troublingly prescient.

What I’m listening to:

Was never really a Lorde fan, only knowing her catchy (and smarter than you might first guess) pop hit “Royals” from her debut album. But her new album, Melodrama, is terrific and it doesn’t feel quite right to call this “pop.” There is something way more substantial going on with Lorde and I can see why many critics put this album at the top of their Best in 2017 list. Count me in as a huge fan.

  November 3, 2017

What I’m reading: Just finished Celeste Ng’s Little Fires Everywhere, her breathtakingly good second novel. How is someone so young so wise? Her writing is near perfection and I read the book in two days, setting my alarm for 4:30AM so I could finish it before work.

What I’m watching: We just binge watched season two of Stranger Things and it was worth it just to watch Millie Bobbie Brown, the transcendent young actor who plays Eleven. The series is a delightful mash up of every great eighties horror genre you can imagine and while pretty dark, an absolute joy to watch.

What I’m listening to: I’m not a lover of country music (to say the least), but I love Chris Stapleton. His “The Last Thing I Needed, First Thing This Morning” is heartbreakingly good and reminds me of the old school country that played in my house as a kid. He has a new album and I can’t wait, but his From A Room: Volume 1 is on repeat for now.

  September 26, 2017

What I’m reading:

Just finished George Saunder’s Lincoln in the Bardo. It took me a while to accept its cadence and sheer weirdness, but loved it in the end. A painful meditation on loss and grief, and a genuinely beautiful exploration of the intersection of life and death, the difficulty of letting go of what was, good and bad, and what never came to be.

What I’m watching:

HBO’s The Deuce. Times Square and the beginning of the porn industry in the 1970s, the setting made me wonder if this was really something I’d want to see. But David Simon is the writer and I’d read a menu if he wrote it. It does not disappoint so far and there is nothing prurient about it.

What I’m listening to:

The National’s new album Sleep Well Beast. I love this band. The opening piano notes of the first song, “Nobody Else Will Be There,” seize me & I’m reminded that no one else in music today matches their arrangement & musicianship. I’m adding “Born to Beg,” “Slow Show,” “I Need My Girl,” and “Runaway” to my list of favorite love songs.

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[andrearivera13-blog]

Ten Interesting Fiction Novels

1) The Orphan Master's Son by Adam Johnson

Pak Jun Do is the haunted son of a lost mother—a singer “stolen” to Pyongyang—and an influential father who runs a work camp for orphans. Superiors in the North Korean state soon recognize the boy’s loyalty and keen instincts. Considering himself “a humble citizen of the greatest nation in the world,” Jun Do rises in the ranks. He becomes a professional kidnapper who must navigate the shifting rules, arbitrary violence, and baffling demands of his overlords in order to stay alive. Driven to the absolute limit of what any human being could endure, he boldly takes on the treacherous role of rival to Kim Jong Il in an attempt to save the woman he loves, Sun Moon, a legendary actress “so pure, she didn’t know what starving people looked like.” (Amazon.com)

2) When My Name Was Keoko by Linda Sue Park 

Sun-hee and her older brother, Tae-yul, live in Korea with their parents. Because Korea is under Japanese occupation, the children study Japanese and speak it at school. Their own language, their flag, the folktales Uncle tells them—even their names—are all part of the Korean culture that is now forbidden. When World War II comes to Korea, Sun-hee is surprised that the Japanese expect their Korean subjects to fight on their side. But the greatest shock of all comes when Tae-yul enlists in the Japanese army in an attempt to protect Uncle, who is suspected of aiding the Korean resistance. Sun-hee stays behind, entrusted with the life-and-death secrets of a family at war. (Amazon.com)

3) Every Falling Star: The True Story of How I Survived and Escaped North Korea by Sungju Lee, Susan Elizabeth McClelland

Every Falling Star, the first book to portray contemporary North Korea to a young audience, is the intense memoir of a North Korean boy named Sungju who is forced at age twelve to live on the streets and fend for himself. To survive, Sungju creates a gang and lives by thieving, fighting, begging, and stealing rides on cargo trains. Sungju richly re-creates his scabrous story, depicting what it was like for a boy alone to create a new family with his gang, his “brothers”; to be hungry and to fear arrest, imprisonment, and even execution. This riveting memoir allows young readers to learn about other cultures where freedoms they take for granted do not exist. (Amazon.com)

4) Without You, There is No Us: My Time with the Sons of North Korea's Elite by Suki Kim

Every Falling Star, the first book to portray contemporary North Korea to a young audience, is the intense memoir of a North Korean boy named Sungju who is forced at age twelve to live on the streets and fend for himself. To survive, Sungju creates a gang and lives by thieving, fighting, begging, and stealing rides on cargo trains. Sungju richly re-creates his scabrous story, depicting what it was like for a boy alone to create a new family with his gang, his “brothers”; to be hungry and to fear arrest, imprisonment, and even execution. This riveting memoir allows young readers to learn about other cultures where freedoms they take for granted do not exist. (Amazon.com)

5) Under the Same Sky: From Starvation in North Korea to Salvation in America by Joseph Kim

A searing story of starvation and survival in North Korea, followed by a dramatic escape, rescue by activists and Christian missionaries, and success in the United States thanks to newfound faith and courage Inside the hidden and mysterious world of North Korea, Joseph Kim lived a young boy’s normal life until he was five. Then disaster struck: the first wave of the Great Famine, a long, terrible ordeal that killed millions, including his father, and sent others, like his mother and only sister, on desperate escape routes into China. (Amazon.com)

6) Hello, I Love You: A Novel by Katie M. Stout 

Grace Wilde is running—from the multi-million dollar mansion her record producer father bought, the famous older brother who's topped the country music charts five years in a row, and the mother who blames her for her brother's breakdown. Grace escapes to the farthest place from home she can think of, a boarding school in Korea, hoping for a fresh start. She wants nothing to do with music, but when her roommate Sophie's twin brother Jason turns out to be the newest Korean pop music superstar, Grace is thrust back into the world of fame. She can't stand Jason, whose celebrity status is only outmatched by his oversized ego, but they form a tenuous alliance for the sake of her friendship with Sophie. As the months go by and Grace adjusts to her new life in Korea, even she can't deny the sparks flying between her and the KPOP idol. Soon, Grace realizes that her feelings for Jason threaten her promise to herself that she'll leave behind the music industry that destroyed her family. But can Grace ignore her attraction to Jason and her undeniable pull of the music she was born to write? Sweet, fun, and romantic, Katie M. Stout's Hello, I Love You explores what it means to experience first love and discover who you really are in the process. (Amazon.com)

7) The Boy Who Escaped Paradise by J. M. Lee

An astonishing story of the mysteries, truths, and deceptions that follow the odyssey of Ahn Gilmo, a young math savant, as he escapes from the most isolated country in the world and searches for the only family he has left An unidentified body is discovered in New York City, with numbers and symbols are written in blood near the corpse. Gilmo, a North Korean national who interprets the world through numbers, formulas, and mathematical theories, is arrested on the spot. Angela, a CIA operative, is assigned to gain his trust and access his unique thought-process. The enigmatic Gilmo used to have a quiet life back in Pyongyang. But when his father, a preeminent doctor is discovered to be a secret Christian, he is subsequently incarcerated along with Gilmo, in a political prison overseen by a harsh, cruel warden. There, Gilmo meets the spirited Yeong-ae, who becomes his only friend. When Yeong-ae manages to escape, Gilmo flees to track her down. He uses his peculiar gifts to navigate betrayal and the criminal underworld of east Asia—a world wholly alien to everything he's ever known. In The Boy Who Escaped Paradise, celebrated author J. M. Lee delves into a hidden world filled with vivid characters trapped by ideology, greed, and despair. Gilmo's saga forces the reader to question the line between good and evil, truth and falsehood, captivity and freedom. (Amazon.com) 

8) The Frozen Hours: A Novel of the Korean War by Jeff Shaara 

NEW YORK TIMES BESTSELLER - The master of military historical fiction turns his discerning eye to the Korean War in this riveting new novel, which tells the dramatic story of the Americans and the Chinese who squared off in one of the deadliest campaigns in the annals of combat: the Battle of Chosin Reservoir, also known as Frozen Chosin. June 1950. The North Korean army invades South Korea, intent on uniting the country under Communist rule. In response, the United States mobilizes a force to defend the overmatched South Korean troops, and together they drive the North Koreans back to their border with China. But several hundred thousand Chinese troops have entered Korea, laying massive traps for the Allies. (Amazon.com) 

9) North Korean Memoirs: The Life of an American Agent Who Defected to North Korea by Mark Treston 

Journey into the life of a renegade American who decided to defect to the most reclusive and oppressive nation in modern history: North Korea. An American idealist defects to North Korea in the 1970's only to discover the true horrors of this Stalinist state. What happens next would shock even those familiar with authoritarian regimes. The author, an American Foreign Service worker in china, meets a man by the name of "David". David entrusts the author with his diary and makes the author promise him that the diary will be shown to the world as "evidence of what North Korea is really like". Following this encounter, the author never sees David again. The author discovers that within the pages of this diary lies an incredible story of defection, survival, and an eventual escape by the man he knows only as "David". After staying up and reading the entire diary, the author is convinced that David's story must be told to the world. The diary details David's life from his fairly comfortable upbringings, through his rebellious youth, and into his extraordinary decision to defect to North Korea. At first, David enjoys an elevated status in North Korea as a "hero" and a "patriot" of the socialist cause. During two decades as an English professor at the most prestigious North Korean University, David experiences love, seduction, betrayal, and violence. (Amazon.com) 

10) My Last Empress by Da Chen

A sweeping story of passion and obsession, set against the upheavals of nineteenth-century imperial China, by the New York Times bestselling author Da ChenWhen Samuel Pickens’s great love tragically loses her life, Samuel travels the globe, Annabelle always on his mind. Eventually, he comes face-to-face with the mirror image of his obsession in the last place he would expect and must discover her secrets and decide how far he will go for a woman he loves. Da Chen immerses the reader in the world of the Chinese imperial palace, filled with ghosts and grief, where bewitching concubines, treacherous eunuchs, and fierce warlords battle for supremacy. Chen takes us deeply into an epic saga of nineteenth-century China, where one man searches for his destiny and a forbidden love. (Amazon.com)