#and they DID.

[kiraridertime03]

We need to free the Weasel

A brief discussion about the way that Creature Commandos uses politics in its narratives.

Spoilers for it and everything else James Gun DC up to this point though, below the cut.

Also, it is a busy post, content warnings for discussions of white supremacists and cops, as it is necessary.

With the release of the trailer of James Gunn's Superman film, hype for his grand DC Universe has kicked into high gear, and for good reason. That trailer, no matter the quality of the final film, is a goddamn work of art. A piece of film that understands Superman better over the course of 2 minutes and 20 seconds than Zack Snyder did over the course of 3 overlong movies. That mixed with his solid back catalogue of Superhero films. However, slightly more obscurely, this universe has already started with the animated series Creature Commandos, and especially with the fourth episode, which released hours before Superman's trailer, shows the kind of skill and thought Gunn and co. are putting into this new universe.

At its front, Creature Commandos feels very... blunt, in a lot of ways. It's like The Suicide Squad but with Creatures! It's big and raunchy, being an animated series with blood and swearing and sex and whatnot. And, when it comes with its politics, some of the early villain's mooks are a bunch of weird incels, and one of the main characters constantly advocates for killing Nazis. It is a work that immediately shows its hand, making the type who would decry the wokeness of modern movies and games or whatever. However, with these early examples, it can feel like a bit too much, maybe. I love it, don't get me wrong, I'm the type to really enjoy blunt earnestness. Though, given the more comedic approach that many of these elements take in the early episodes, it can feel a bit like it's only there for the bit.

Where the series really starts to excel, though, is when it starts integrating its flashback segments. As a whole, even outside the point of this post, the flashbacks feel like a wonderful decision. A way of fleshing out our characters while giving each episode a distinct feel, justifying the series as, well, a series rather than just one long movie. However, here, I want to discuss some of its political ideas, and how they integrate. Because, for these, they integrate more thematically, being an undertone to each character's own story.

For the bride, her story is centered around this idea of the objectification of women. I mean, it makes sense. She was literally made to simply be the bride of Frankenstein, an object of his affection. However, as she gained her own independence, the masculine figure who feels he is owed her hand in marriage breaks out into a rage, harming her and the person she actually loves. This story is what gives her the cynical edge she gains in the series proper, giving her an interesting, sympathetic story while using the elements of said story to say something about how many men perceive woman. A strong enough parable that acts as an undercurrent for her character.

Then, we get to G.I. Robot's episode, a real tear-jerker of a thing about a silly robot character, the exact thing to set my brain off in all sorts of ways. Much of this story is designed to set up his tragic past, so that we can feel catharsis once he gets his big moment, then feel the tragedy when he gets brutally murdered. However, it again is saying a lot of complex things. Many have discussed the PTSD angle for GI, which I do see, however, in GI's story specifically, I see the way that the American state treats veterans. Like, think about it. This being who was forged and created for the purpose of making war, goes to war, then once the war is over, they are, best, used for spectacle on live TV (Where they are unable to properly adjust to the tone of peacetime, accusing the audience of being Nazis themselves), studied not to help them, but to make the next generation of soldiers even more efficient at their goal of warcraft, then thrown to the side when they are no longer useful. The man selling GI to the collector literally says he slipped through the cracks. It, again, is a wonderful metaphor that takes advantage of what GI is, and uses it to emphasize these issues in a more literal way. It is a lot easier to show a robot who was programmed in a specific way weird the room out than the rocky adjustments a veteran may have to go through. It then, also, shows the kinds of people who really benefit from this warcraft, those it appeals to. The collector who buys GI turns out to be a part of a White Supremacist group in America, a group of people who gladly use Nazi iconography, identify with it, and gladly push it. Those also happen to be the types who want to buy old war memorabilia. Obviously, not all war collectors are Nazis. But these are people who see this kind of might makes right ideology that America so often employs with its military, and latch onto it. GI, rightfully, finds this appaling, and kills them on sight. It is this wonderful moment from this delightfully twisted series.

However, even that could be seen as a tad blunt. Again, GI is very clear with his words, he doesn't hide much. So, where I see this series going from good to great is with Weasel's flashback segments. This begins when a lawyer, a member of a nonprofit, demands she see Weasel, as she is putting on a case for him. In essence, she states that, at least to her and her organization, he was unjustly prosecuted. To both Rick Flag and us, this seems absurd, as we have a lot of predisposed biases towards Weasel. You see, he is one of the few pre-existing characters in this cast. Weasel was previously seen in James Gunn's The Suicide Squad, though only briefly. There, as a member of the Decoy Team, he makes weird, gross noises, they make a joke about him having killed 27 kids, then have him promptly drown before the mission even starts (Though, in the post credit, it turns out he survived, because that's even funnier). Even if you hadn't seen that film (Which you should if you haven't), they reestablish all that in this series in the first few episodes, portraying him as a stupid, vulgar, violent creature who isn't worthy of rights. However, expertly, this is all a front.

In the flashbacks, we learn that Weasel only interacted with about 8 kids, a bunch of students left at an after school program. Contrary to what we had been told, he really just played around with the kids, chasing around a ball. They eventually get inside the school and, while messing with stuff they shouldn't have, start a small fire. However, some antics are afoot. While he is playing around, an old senile man sees this and, rather than asking about what's going on, decides to run back to his home, call the cops about what is a clear, if odd, misunderstanding, then grab his gun to try to take things into his own hands. And, as he does, shakily trying to shoot Weasel, he makes the problem of the small fire worse, shooting a gas canister behind them, turning the small fire into a school-destroying explosion and fire. Then, the cops show up. Many of the kids are already dead, seemingly, but one survived. So, as he pulls her out of the wreckage, what do the cops do? They start shooting. Throughout this whole sequence, the cops do nothing but shoot and get in the way of things. It all culminates in the final shots, where Weasel has dropped the kid after being shot. And, instead of either of them going to get the kid, they both pin Weasel down, try to pull him out. This leaves the young girl to be crushed.

This is a massive tragedy, a game of tragic misudnerstandings that gets kids killed. However, again, it does this by hiding its politics into a genuinely moving character based story to make them more effective. It is a story, in part, about our predisposed biases. I mean, the narrative literally sets this up. Characters around Weasel say things about him without him being able to have a say. Because he's a Weasel. Then, our characters make judgments based on what they believe and what they've heard from secondhand sources over what they actually see. Even when Weasel is his most violent (taking down Circe in episode 3), he does it to protect his teammates, and he doesn't actually kill her. In his backstory, characters make rash decisions based on their misinformed judgments in hopes of "protecting the kids," when all they are actually doing is harming them. They get 8 kids killed all because Weasel is a little freaky.

Then there's the cops themselves. It so masterfully uses showing rather than telling. The most it tells us is of the trail at the start, and again, this is moreso used as setup, playing into our dispositions. However, when it is time to actually depict the injustices, it shuts the fuck up. It doesn't just say that cops are bad with a couple of clear shitheads and moves on. It shows how cops are bad. Their only answer to this situation is violence. They don't actually serve their community, in this instance the children stuck in the fire, their only answer is to start shooting things. Because they have no other answer than state sanctioned violence. And they did this all with an episode about FUCKING WEASEL!

Now, imagine what they can do with Superman. It doesn't even have to be political, like these previous examples. However, to me, this shows that he can do what, to me, some of the best storytellers do. They weave every element of their story together with deliberate choices that strengthen each other. If anything, more than any well edited trailer, it is that that excites me about everything James is working on. Of course, he is doing this with a team, but James is the type to surround himself with smart people who understand these things inside and out. That one David Corenswet quote about the shorts proves that to me in shades. That's what gives me hope about these works. That they will be movies and shows that mean things. Which seems like a low bar, but hey, so many fail at it that it's kind of impressive.

[tomorrowillbeyou]

koi no yokan has never ONCE let me down in my wholeeee life

[biggest-gaudiest-patronuses]

now that trump has tiktok, twitter, facebook and insta in his pocket, get ready for a massive wave of internet censorship. one of trump's greatest weapons has always been misinformation; it's going to become harder and harder to spread facts and criticism going forward. posts that aren't made invisible will be magically ignored by the algorithm. dissidents will have their accounts deleted and voices erased.

this is a suppression tactic. this is another stage of fascism.

[bloodbending]

can’t believe tiktok is actually getting banned, twitter is infested with bots and brainworm-infested musk bootlickers, facebook is king of QAnon, instagram caught the plague from facebook and is dying a slow death in real time… and as the dust settles… only Miss Tumblr is left standing… failing upwards once again

[paintedcrows]

Did anyone tell Ford (bonus doodles: Family Movie Night, 70s Classics)

[hydrattan]

I was feeling agitated and artblocked yesterday so I decided to give my brain a rest by watching TV and then the next thing I knew these were in front of me

[unpeeled-human]

[thebreakfastgenie]

At least two major artists (Lady Gaga and Chappell Roan) making a point to vocally support trans people the Grammys is a big deal in this political climate.

[noodles-and-tea]

Haha… yeah… that’d be crazy…

[ideologyofone]

Do you think we’re soulmates in another universe?

[bixels]

As gen-AI becomes more normalized (Chappell Roan encouraging it, grifters on the rise, young artists using it), I wanna express how I will never turn to it because it fundamentally bores me to my core. There is no reason for me to want to use gen-AI because I will never want to give up my autonomy in creating art. I never want to become reliant on an inhuman object for expression, least of all if that object is created and controlled by tech companies. I draw not because I want a drawing but because I love the process of drawing. So even in a future where everyone’s accepted it, I’m never gonna sway on this.

[gongyussy]

good thing from jp twitter this week is queen of old man yaoi michiru sonoo discovering the term old man yaoi

update: somehow it got impossibly more wholesome

quick translation: おかえり: welcome home あ 終わった 終わった: ahhh, it's over! it's done! コーヒー? お茶?: coffee? tea? コ~ヒ~ ありがと: coffee, thank you~ ネクタイレア★★ ネクタイ取るレア★★★★: seeing him with a tie on, rarity level ★★, seeing him take a tie off, rarity level ★★★★ にあうな~: it suits him~

also please do follow: AraigumaSha: sensei's twitter account marureviere: maru, who does such valuable work highlighting bl manga for an international audience

[listen-to-the-inner-walrus]

Love it when Rolling Stone puts out an article about the 25 most influential internet creators and I've only heard of 7 of them

[arcanegifs]

ARCANE LEAGUE OF LESBIANS: 2x08 - “Killing is a Cycle”

[koobiie]

shoutout to everyone who wants to infodump but cant string together coherent thoughts to form sentences and instead just look at you like this