#but i also have some very early scenes (including a few comic issues) planned out | Explore Tumblr posts and blogs

decepti-thots · 2 years ago

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an absolutely shocking number of people wanted me to talk about my thoughts on this post after i made it, lmao, so HERE WE GO, i'm gonna ramble in a very unstructured way about my dumbass theories regarding the development of… well actually a couple separate-but-linked subplots in MTMTE/LL. not about how they ended up, but about my theories as to what changed in the course of writing the comic and why.

specifically, what i have guessed might have changed in the development of rewind's subplot regarding finding agent 113 (dominus ambus in the final comic- we'll get to that below) and its overlap with the chromedome-prowl and DJD subplots.

big disclaimer: nothing i say here unless explicitly stated has been confirmed in any way by roberts, it's almost ALL wild theorising. i could easily be wrong about literally everything here, lmao, in fact i probably am! but ever since my second readthrough of the comic where my brain went 'wait, what was the motivation behind making rewind's dead husband minimus' brother when that connection never pays off??? roberts what???', combined with finding out that the cd-rw-prowl plot is one of the only ones confirmed to have dramatically changed from roberts' original plans, i have been. bizarrely obsessed with the whole mess of it. apologies in advance. but here we go.

first of all, the things that are confirmed, from jro directly:

the original plan for the chromedome-rewind-prowl stuff was that chromedome and prowl had been working together when chromedome met rewind; in this concept, prowl sent agent 113 to infiltrate the DJD and used chromedome as a plant at the relinquishment clinic to first shadowplay rewind into forgetting anything that could lead him to the truth, and then later to be a kind of 'minder' who followed rewind around and stop him finding out the truth. this is what prowl is referring to in the flashback scene prior to Overlord escaping where chromedome shadowplays him. the blackmail he was intended to be threatening to tell rewind there is that chromedome became his friend under prowl's orders, and false pretenses. the other major hint to this plan is the mention chromedome makes in issue #12 of rewind's supposed UV light allergy- this was originally chromedome making sure none of the marks were seen by medics. this plot is by word of god and the text of the comic itself a hundred percent gone in the final product. but it was not something roberts had committed to changing until AFTER the overlord arc, hence that infamous dangling thread that now has no clear explanation re: prowl's blackmail material.

relatedly, the original plan was for chromedome and rewind to just be friends for quite some time into roberts planning out the series' trajectory. even when actually writing the early issues, roberts was not sure if they would be romantic for a while, so he hedged his bets. (in the event hasbro said 'no' to his request to confirm cd/rw as married, he had a whole backup plan for tailgate and cyclonus.) in turn, it's generally assumed, though technically not confirmed, that e.g. this is also true of prowl and chromedome as partners, rewind and 113 as married, etc. it just logically follows. but yeah. all these original relationships were platonic or possibly, in one case, familial.

prior to writing the series, the first plan for agent 113/the person rewind was looking for was for him to be eject. it's not confirmed this was going to be eject as rewind's spark brother, but contextually, it seems pretty likely, since a) roberts has revisited the concept a few times, including with 113 once he's dominus, and b) the whole rewind/eject being near identitcal thing makes it an obvious approach- they're referred to in fan circles as 'twins' a lot the same as rumble and frenzy. at some point, late enough the notebooks covering "pre-production" outlines for MTMTE's first season do not mention him, Dominus Ambus becomes 113 instead.

so my big takeaway from thinking about this whole thing, to start off, is that the original plan probably involved agent 113 being vos. not the previous vos as we ended up with, but the vos we were introduced to as part of the DJD, the guy who turns into a sniper rifle and speaks in old cybertronian. there's some stuff early on when he's introduced that points to the idea that at the very least, the audience is supposed to consider this idea as plausible, namely:

agent 113 isn't first brought up in mtmte. he's first brought up as a mole the autobots have in the DJD in 'bullets', the prose story accompanying Last Stand of the Wreckers. first aid keeps an eye out for autobot badges on patients that have been shot because springer has told him that due to increasing paranoia about being caught as a spy, agent 113 insists on sending messages hidden in bullets shot at autobot soldiers, identifiable as his because they go very specifically through the right "eye" of his targets' autobrands. so 113 is a sniper/sharpshooter. and vos turns into a sniper rifle. one of the first times we see him is in a large spread where megatron is wielding him, in fact. this is then a significant plot point in mtmte later. (swerve and all that.)

vos has the quirk of only speaking "old cybertronian" that is unintelligble to many characters and the audience. the comic goes out of its way to make rewind knowing old cybertronian in mtmte a running gag early on (with the joke part being that he always gets the translation slightly wrong). not only is that a really specific link, but it feels totally plausible that the expected payoff is that only rewind recognises 113 when he speaks in old cybertronian, because he's heard it spoken before. (if 113 is originally eject, this makes a lot of sense; it relates to both of them being older than most of the cast, perhaps.)

dominus ambus is just. clearly not meant to be the pet as of when the pet and him are first designed in mtmte. lmao. and for that matter, minimus is clearly not designed to turn into a turbofox in his irreducible form. when we get the teeny tiny minimus reveal in RiL, it's really clear the idea is he looks very similar in both "forms"- same face, same colours, etc, but his irreducible form doesn't turn into anything. he has exposed ball joints like the internal 'skeletons' of TFs/toys and no kibble. the idea of 'he can't turn into anything, but he can wear armour to become whatever' is a pretty clear inference, right? (and was the dominant interpretation prior to the reveal dominus becomes a turbofox, ftr!) but to make dominus the pet, they have to design his internal form to look nothing like either his own armour OR minimus' internal form. that's… a pretty blatant retcon, imo! why is he a weird green colour when his armour is yellow? why does he have a fuckton of kibble and minimus is Nothing when in his irreducible form? retcon, baby.

so i really think that an early concept was that 113 was still an active spy in the DJD, and that this changed at some point, probably fairly early on but late enough the original seeds had been sown, with roberts doing a neat patch job to take the concept in another direction that still worked with his set up… but the question becomes WHY it changed. after all, none of the confirmed changes actually require altering that concept, so if i'm right, then why the hell would you change it?

my theory about why you'd have to change it relates to something else that has always confused me, which is where the really fun but kind of objectively batshit concept of 'rewind is making his new husband look for his dead husband he's still in love with, apparently has no idea why chromedome would be insecure about this' comes from. (it's great, i love it, but it doesn't strike me as an obvious storytelling beat to go for! it creates great storytelling opportunities because it's very… unintuitive for a love story, imo.)

which is that… they weren't originally married, which is kind of obvious in retrospect and ESPECIALLY now we know that 113 was originally eject! 'rewind doesn't realise chromedome might be insecure about his best friend looking for a guy from before they met he also cares for' is a way more obvious emotional beat when you think on it, imo! (plus it turning out to ACTUALLY be about chromedome's guilt because he knows where 113 is, ofc- there's the twist for the audience.) like. rewind thinking that is an ok thing to do with a friend is clearly the more intuitive plotline beat, versus 'rewind does this to his current husband who he is letting think he will replace'.

chromedome/rewind then winds up being romantic, and to match this, 113/rewind ALSO has to become romantic. right? otherwise, the then-still-a-misdirect of chromedome's jealousy makes no sense. why would chromedome be worried about a platonic friend replacing him as rewind's husband? so now, 113 is rewind's dead husband all of a sudden. (sidenote: this also makes the very bizarre backstory re: the wild power imbalance between dominus and rewind a lot more… understandable? if it was not envisioned as them getting married on the part of the author.)

maybe eject has already been replaced when this idea slots into place, or maybe dominus is conceived in part to allow for this element in a way that makes sense. you can't really tell in this theory. (in a similar way, puzzling out whether he's related to minimus because the idea was there for minimus to be a loadbearer and it created a way to make him 113 came first, or if it was the reverse, is hard to tell. ftr, when the magnus armour is referenced in the notebooks, it does NOT contain reference to minimus; magnus is just a small person who has been given augmented armour in those drafts.) (this has also always bugged me. WHY is rewind's dead husband also minimus' brother when the narrative doesn't do anything with that connection!!! wellll. that's one possibility. lmao.)

the original plan for chromedome to be in on it with prowl and 113- to have manipulated and lied to rewind, and for all of them to, essentially, have screwed him around- was changed by roberts because chromedome/rewind became romantic. he decided, imo completely rightly, that the subtext there with a romantic pairing was just wrong tonally and way too uncomfortable. you're getting into straight up gaslighting abuse, and for the first romantic couple of the series, and one of the first ever m/m pairings in TF, i mean… yeeeeah.

but this creates kind of a discrepency. because 113 is still fucking rewind over in this scenario. suddenly it goes from 'multiple friends of rewind turn out to have collectively been deceiving him' to 'both rewind's husbands have been deceiving him' to 'well rewind's NEW husband is completely innocent, he had nothing to worry about all along cause if they ever find dominus, he's the one who is a dick now' which like. that is not a satisfying conclusion to the conflicts set up wherein rewind proves that he is not so stuck in the past he won't choose chromedome over dominus if he has to, or where chromedome has to learn rewind really does unconditionally love him and he's not replaceable. right? it's a cheap get out of jail free card there.

and THAT'S why i would guess that if 113 was gonna be vos, it got changed. people have noted that dominus is easy to read as implicitly a bit of dick in mtmte when you think about it- he ran off without telling rewind, after all. but only when you think about it. this makes sense in the original concept. it doesn't really have a good option of payoff once chromedome is not nearly as bad himself. and in this theory, dominus doesn't so much get changed so he wasn't at all a dick about it, he just… gets moved out of focus with the "domestication" explanation. suddenly, instead of a potential confrontation between rewind, chromedome and 113 in dying of the light, to name one possible example, you have the revelation that dominus has been out of action this whole time, and now he can instead be a catalyst for a conclusion between chromedome and rewind. it's a little bit of sleight of hand. it means the audience isn't thinking about that in DotL. they're thinking about cd/rw, not dominus, even when he's right there. (a macguffin of a character til the end…)

and now you know the insane and completely unverifiable theory that has percolated in my brain to explain some of that whole plot's weirdness the past, oooh, 3 years or so. very good chance none of it's true but it's the best i have and it just drove me INSANE because i've reread everything relating to cdrw and minimus in mtmte SO much that the weird gaps nagged me constantly. this is what it's like being me. yes, it's annoying for me too. but for those who were wondering: here you go. 2200 words of this:

#meta #well. wild mass guessing bullshit anyway.#what else am i gonna tag it.#idw #rewind #dominus ambus #chromedome #cdrw

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ramzawrites · 4 years ago

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Ok I have coffeed up 🦀🦀🦀

Could I request a fic about a Male Reader Border Collie Hybridbeing hired to look after the pets of the Syndicate while theyre at a meeting? Having to feed every single dog, Ranboos cat, Carl, the parrots, Steve the bear, etc? Trying to wrangle the foxes because theyre trying to eat poison potatoes, shooing zombies off the turtle eggs? -🌱🌟

The Syndicate’s Pet Sitter - BorderCollie!Hybrid!Reader

Male

Pairings: none

Characters included: Technoblade, Philza, Ranboo, Nihachu

Warnings: n/a

Series: A request for my beloved 🌱🌟<3

Summary: The Syndicate is meeting up early in the morning and didn’t have the chance to feed their pets yet. Luckily Y/N who lives there as well but isn’t part of the Syndicate can take care of them. And no that is totally not because Border Collies are good herding dogs.

Words count: 4732

Authors Note: I just noticed I missed the foxes oh no ;_; Why do the Syndicate have so many pets I swear! I hope you guys enjoy this! Esp you 🌱🌟 since you requested it! I also haven’t had the chance to properly look over it look for typos, I apologize! I’ll deal with that as soon as I can! Also thanks for the prompt 😌 I have a weakness for animals and dogs

The chest let out a strained creak as Technoblade closed it for what felt like the hundredth time. He was preparing for the next meeting of the Syndicate and this time he, as well as Phil, had actually planned a few things other than just showing the newest members where the headquarters were and setting up the rules for the organization.

While both men were busy running from chest to chest collecting materials and writing down information into books, they were accompanied by a soft rhythmic thud as well.

That sound came from Y/N. More specifically his tail swishing up and down as he was sitting in front of a window on the windowsill. Watching peacefully as the two went about their business.

Y/N was a Dog Hybrid. A Border Collie Hybrid to be specific. He has been technically living with Techno and Philza for a while now but Techno liked to act as if he was just some stranger to him.

When Y/N first came to the SMP Philza and Techno were the first people he met and ever since then he has gotten quite attached to them.

At first Techno tried to get rid off him, especially since he always gave him wishy washy answers concerning his opinions on governments but Y/N wouldn’t let himself get spooked off that easily and even begun building his own little home close to them without asking. At that point Techno had to accept defeat and let him begrudgingly stay.

Philza liked to poke fun at that fact but he also understood Techno’s caution. Though over time Y/N has shown to be a trusty ally that could keep secrets, even once leading people astray since they became dangerously close to their home. Because of that Philza brought once the idea up that maybe they should let Y/N join the Syndicate after all as well.

Of course Techno immediately shut down the idea for the simple fact that not once has Y/N ever clearly stated that he was against any kind of government. There was no point in arguing with the Pig Hybrid about this particular topic so Philza just dropped the issue altogether.

That said after Niki came over to join the Syndicate and Ranboo got roped in it as well, Y/N managed to at least learn of the name of the organization.

He even asked to join to which Techno just said “Prove to us you are an anarchist and maybe I will think about it.”

“So you are saying you just want me to tell you the things you want to hear in order to get in? Doesn’t seem that smart to me.”

Y/N would always pull out these snide remarks whenever that topic came up.

For some reason Y/N woke up early and found that both Philza and Techno got up early as well so he just let himself in, sat down next to the window and begun happily munching on some cold steak for breakfast.

Techno made a point of ignoring him only muttering something about a “damn mutt” under his breath while Philza was chuckling to himself. Y/N’s fluffy dog ears obviously picked up on it but the happy swags of his tail continued on, knowing that if Techno really was annoyed by him, he would have already intervened way back when he begun building his home.

Phil was rummaging through a chest, trying to find some extra paper only to suddenly stop moving and turn around to look at Y/N, his arms still in the chest.

“Y/N?” adding a whistle to ensure that he would gain his attention.

As a response the Dog Hybrid looked absolutely aghast “Did you just-? Did you just whistle at me? Did you, Philza, just whistle at me to get my attention? Like a dog?”

“Sorry, just kind of happened but since you are here I have a request for you.”

Now Technoblade stopped whatever he was doing as well to observe what was happening in front of him, curious what he was proposing. A smirk adorning his features knowing full well that Philza probably whistled on purpose seeing how Y/N was kind of an unwelcome guest right now.

“You can request but no guarantee I will fulfill your request, old man.” Y/N spoke through an exaggerated pout.

This only earned him a tired sigh from Philza “Yeah, Yeah. As you can see we are up early for a reason but this also means we didn’t have the chance yet to feed the animals. Could you feed them all and make sure they’ll be alright while we are gone? You know how this place can get with pets.”

“All? Like all the pets? Like you want me to feed all the pets and take care of them?” Y/N was obviously intimated by the idea of the task judging with how his voice jumped up an octave to the end of the question. But who could blame him. Over time the group managed to amass a comical amount of pets which included a full hound army, polar bears, turtles, cows, Carl the Horse and in Ranboo’s case even parrots.

That reminded him.

“Does that include Ranboo’s bird and cat?”

“Does what include my bird and cat?” Suddenly the door swung open as Ranboo stepped inside Techno’s home. Cramping up the small cabin even more. The cold winter air only managing to sneak in for a short moment before he made sure to close the wooden door again.

Techno chuckled “We are asking Y/N here to feed our pets while we are busy at our meeting and to make sure they are safe while we are gone. He has time after all.”

Y/N’s shocked expression turned to a frown. Oh they did that deliberately alright.

Ranboo took a moment to take in the scene before he slowly nodded “Oh, if that is the case then I would actually really appreciate it if you could take a look at my parrot and cat. I haven’t had the chance to feed them yet since I ran out of seeds for the bird. Actually the reason I came over here was because I wanted to ask you guys if you had some extra.”

Techno’s smirk was ever present on his face as he motioned with his hand towards his mass of chests “Somewhere in there we have some but I’m sure Y/N will find them and take care of your pets as well.”

“Would you?”

Ranboo sounded so genuine and almost surprised by this that Y/N couldn’t come up with a snarky response but instead he looked defeated.

“I- alright. I will take care of your pets while you do your stupid Syndicate meeting.”

“We trained him well, Techno.”

“That we did, old friend.”

Now Y/N’s happy tail wagging did finally stop and he jumped up away from the window, surprising Ranboo in the process “You didn’t train me! I’m not one of your dogs!”

He knew they were joking but he still couldn’t let that stand.

Philza stepped closer to Y/N and put one of his hands on his head between his ears. Giving a short pat only to remove his hand again “Yes, we know. If that was true you would be listening to us at all times. Anyways, I spotted Niki outside and we are ready, so, we’ll be going. Make sure nothing happens to the animals! We are putting our trust in you!”

Before Y/N could protest or retract his agreement the group made sure to leave the little hut as fast as possible. Ranboo was very confused but still followed the others outside to loudly greet Niki.

Y/N himself was so bewildered by this whole situation he didn’t even make the effort to run out to greet Niki as well. Instead his thoughts begun to swirl around his new responsibilities.

What do Polar Bears eat? How is he going to feed all of the dogs? By Ender he hoped that Techno had all the necessary things in one of his chests.

That’s when a stray thought hit him “Did they hire me as pet sitter because I’m a Border Collie Hybrid? Did they seriously make me the pet sitter because Border Collie’s are stereotypically good herding dogs?”

That thought had to set in for a moment as he was asking himself if this seriously could be the case and knowing them that might have very well been a thought that crossed their minds. They all joked around about their hybrid parts but this was just ridiculous.

He didn’t know how yet but somehow he will make sure that the damn Pig and the Birdbrain will get this back tenfold. Ranboo was okay in Y/N’s book since he mostly got pulled into this by the others but even then he was still on thin ice.

“I better get going.” He whispered in order to try to pull himself out of his thoughts.

First on the agenda were the Polar Bears. Mostly since he wasn’t exactly sure how to go about it and just wanted to get it over with but also one of the Bears was laying inside the hut. Snuggling close to the fire place.

That polar bear was Steve and Techno often made comments of him being his emotional support animal and at this point Y/N just believed him. With Techno who knew at this point.

Well what would Steve eat? Just some meat?

“Fish!”

How he didn’t immediately come to that conclusion he didn’t know but better late than never.

Y/N excitedly rubbed his hands together. Time to snoop through Techno’s things. No way in hell is he going to use his own resources to feed their pets. Hence why he begun looking through Techno’s chests. Taking note of things like stray armor, golden apples and enchantment books.

Somewhere in a corner he found some cooked fish. Should be fine, right?

Taking a couple of fish he moved over to Steve who was still lazily draped on the ground enjoying the heat from the fire. Carefully and slowly Y/N put down a couple of fish in front of his big snout. His dog ears pressed down on his head as he stared rigidly at the bear. Hoping for the best.

Steve’s black nose begun to twitch. He slowly opened up his eyes and lazily begun nudging the food closer to his snout with his big paw. Snacking on the pile of fish.

“Okay? I’m guessing that’s fine? I think?”

Just to make sure he still threw more fish towards him and then made his way with a second pile outside where Ed was waiting for his food as well. Ed was way more active and often enough obstructs the way up the stairs that lead to both Philza’s and Techno’s house.

Philza was always annoyed at Ed because of that particular reason. Though today he was a good Polar Bear that was sitting next to the stairs staring at Ender knows what.

Y/N threw him his pile of fish and watched for a second as he happily begun munching on them.

“Guess I’m doing alright after all.”

Almost as if to answer the bear suddenly begun to move towards Y/N which made him panic. Stepping back, trying to understand what he was doing now. Sure the bears are cute but also big and dangerous if they wanted to be.

But Ed bowed his head down and softly pressed his head against Y/N’s chest.

“Is this a thanks, buddy? Aw, no problem.”

Tentatively Y/N placed his hand on the bear’s head to give him one or two scritches. To which Ed then let out a deep puff of air through his nose and immediately moved back to his food to continue his breakfast.

All the Polar Bears are fed. Now only the whole hound army, cows, parrot, Carl the Horse, Turtles and Enderchest the Cat were left. Oh by Ender. That is still a lot.

Y/N immediately ran back into Techno’s hut and begun to search through his chests again. Grabbing things like Seeds, Sea Grass, more fish and some steak.

The parrot and cat were the easiest to deal with first so he decided to run into Ranboo’s house. Even if just to avoid the cold outside for a tiny bit longer.

He climbed down the ladder and found the parrot patiently waiting for him. Excitedly squawking as soon as he saw him.

Placing the seeds in front of the animal Y/N took a good look at the colorful bird.

“How are you doing? Keeping Ranboo company? Making sure he isn’t feeling too lonely?”

“Company! Company!” Ranbird answered in a shrill voice only to continue picking up the seeds off the ground.

Y/N liked spending time with Ranboo. He was a bit of an enigma with his memory issues and interesting behavior at points but Y/N loved hanging out with him. He would always try to offer to play pranks on Techno but Ranboo was too apprehensive about it, not wanting to make the scary Pig Hybrid mad at him.

The two had a bit of a running joke going on where both Ranboo and Y/N would call the other weird. Ranboo for his weird behavior and Y/N for the simple fact that he apparently didn’t fear Techno at all. Philza and Ranboo having to mostly hold him back before he could seriously upset Techno.

“Enderchest? Come here!” Y/N called out and continued to do the typical mouth noises to attract cats. Luckily he did come around a corner.

Happily meowing when Enderchest saw Y/N. Chirping as he pressed his body against Y/N’s legs.

“See, you are a kitty and I am a dog hybrid but we like each other.” Was he still a bit salty about the fact that they most certainly chose him to take care of the pets due to his Hybrid side?

Yes. Definitely.

Sure, no one else was there who could deal with it but on the other hand normally they were always so prepared for everything so this must have been planned beforehand. They didn’t feed the animals on purpose because obviously he was there and had time.

A loud meow pulled Y/N back out of his thoughts again.

“Sorry, Enderchest. You are right it’s food time.”

He then took out two fish and placed it in front of the cat who immediately put them in his mouth and ran off with them. Probably to eat in peace.

Next on the list was Carl. If Y/N didn’t make sure that Carl was absolutely doing alright and was fed Techno would kill him. And while Y/N liked to joke with Techno and pretend that he wasn’t as dangerous as everyone else is treating him like, he also knew that Carl is so important to him that Techno let him get himself kidnapped by the Butcher Army for the horse’s safety.

Technoblade hid his horse behind a wall but Philza one day accidentally found it. Y/N immediately took the chance to build an actual hidden entrance. He liked being a bit of an annoyance for Techno but if he can somehow help out, he will.

Pressing a button on the stone wall gave away to the little stable he and Philza made for Carl.

“Breakfast!”

Some Hay and other food was always ready for Carl so all Y/N had to do was put some of it in the tray and make sure he still had water. Everything seemed fine so Y/N took a second to pet him.

“No idea why Techno is so attached to you but you do seem like a good one. He protects you so you better make sure to not disappoint him as well.”

Carl neighed and nuzzled his nose into Y/N’s shoulder. Softly nabbing on the clothes which made the man laugh in return and softly shoved Carl’s face away from him.

“My clothes aren’t food, buddy!”

Luckily Carl didn’t continue to screw around and instead concentrated on his actual food.

The next pit stop were the turtles and cows. It was easy feeding them since you just placed down the food and then let them go about their day. No, the dog army would be a problem later. They might be war dogs but they were still playful dogs.

Y/N closed up the stable for Carl and made his way through the snow towards the cows first. Opening up a chest that stood close by. He placed it there a few days back with a ton of wheat. It was meant as way to help with the feeding. It was meant for the others since these cows didn’t belong to him but now he was stuck with the responsibility after all.

The cows were happily chewing on the food that Y/N threw into their enclosure and seemed to be doing alright as well so he moved on to the turtles.

For the turtles he actually had to get into the enclosure. Putting the kelp down near the water so the turtles inside the water could see him placing the food down as well. All the while he had to make sure to not accidentally walk on top of the eggs that some of these turtles have laid.

The animals themselves seemed to ignore Y/N. Just slowly crawling along the coarse sand or floating inside the water.

That’s when Y/N heard a groan from behind him. A groan he knew too well.

“Oh no you don’t!”

Y/N swiveled around and pulled out his netherite sword. A sword he made with the help of Philza. During his travels in the nether he found some ancient debris but since he never worked with that material he asked Phil for help. Which was also the reason why the purple sword was called Swordza.

“You helped me make it, I’m naming it after you.” He said to Philza’s dismay.

Right now though the reason why he turned around so fast was that he heard the familiar retching sound of a zombie. It was still early in the morning no surprise there that a loose zombie might be around the place.

Also no surprise that the zombie appeared around the turtle enclosure. For some reason they loved trampling down turtle eggs which was really just barbaric if you really thought about it. Beings that seemingly just wandered around the overworld with no goal but as soon as they spot turtle eggs they suddenly know exactly where to go. Well, besides when they find a human to attack.

The zombie limped towards the turtles.

Y/N didn’t wait long to react. He immediately took a running start and jumped over the fence. Striking down with his sword while he was landing, giving the attack a little more oomph. Together with the enchantments on the sword the zombie fell down into a burning mess. Gurgling sounds escaping it only to die down. A growl escaped Y/N’s throat as he stared at the dead mob.

“Nothing will happen to the little ones while I have anything to say about it!”

He took another sweeping look around the place but found nothing out of the ordinary. With a relieved sigh he put his sword back. The turtles were fed and safe.

Though as he looked around his eyes fell unto the hoard of dogs. All fenced in under a self-made roof. Most of the dogs were laying around either in a small pile or alone. Some were trotting around or even playing but it seemed like the dogs were still tired.

It was time to deal with them.

Y/N walked over to the dogs and as he stepped closer the animals immediately took notice of him. A few running over to him while others just patiently stared. As he got closer to the fence the nearest dogs put their front paws on the fence. Barking excitedly.

If Y/N went in like this some will run out and that was not something he wanted to deal with. There was still some adrenaline pumping through his veins from back when he spotted the zombie but he was still slowly beginning to freeze. Honestly he wanted to get through this fast so he can go back into his cabin and enjoy the warmth of his hearth.

Maybe even begin to plot on how to get back at the Syndicate for doing this to him.

But this wasn’t important right now.

Y/N let out a sharp and loud whistle “Away! Come one! Move out of the way!” He pointed to a corner and surprisingly the dogs seemed to understand that he wanted them away from the gates.

When he opened said gate the dogs patiently waited for him to move in and close it again before they suddenly begun to swarm him. Jumping up trying to lick his face or they began sniffing him out.

“Hey! Stop! I can’t feed you like that!”

He had a frown on his face but his tail was happily swinging from side to side as the dogs greeted him.

“Okay, stop! Sit!”

Luckily the dogs were well trained since they immediately sat down. Still panting in excitement and whining but now they weren’t trying to pull Y/N down to play with him.

In return Y/N got out the steaks out of his inventory and walked past the dogs. Giving each one of them their share. Whenever some dogs begun to scuffle over the food all Y/N had to do was to whistle or yell “Stop!” and they would listen.

Truthfully he feared that feeding the dogs would be the most difficult task of all the animals but as it turned out they listened to him rather well. It’s probably only because Techno trained them so well but still, maybe there is a way Y/N could use this power for himself.

It didn’t take long for Y/N to feed all the dogs but once he reached the last one the first dogs were already done eating and happily following Y/N around the fenced off area. Sometimes barking, hoping to get his attention. While his ears would always move in the direction of the barking dogs, he made appoint to concentrate on the dogs that he was actually interacting with.

Though when he was done he finally turned around to look at the happy dogs “You guys are needy, did you know that?”

As if to answer a dog right in front of him sat down and woofed at him.

Y/N rolled his eyes and knelt down, scratching that one particular dog behind his ear “You little pooch.”

That was a mistake. A huge mistake.

As he went down and balanced on the front of his feet the other dogs saw their chance as he went down to their height, practically jumping on.

Startled the Hybrid let out a yelp as the dogs pushed him on his back. Licking his face or tugging on his clothes.

He tried pushing the dogs away from his face but it he was unsuccessful. For every dog he pushed away two new dogs would try to jump into that new space. Sadly also pushing the dogs away seemed to be something fun for them.

At some point Y/N managed to get back up but still got swarmed by the dogs. All the dogs now in a happy playful mood after having eaten. Y/N could just tell them off but everyone on the outside could see that he had fun as well playing and tussling with the dogs.

Over time that tussling just became the dogs jumping into Y/N arms so he could throw them a few feet away while simultaneously trying to not fall down as some dogs begun tugging on his clothes again. The longer it kept going the more tired he got which was hi downfall. Quite literally.

He fell over again and while the dogs swarmed around him they too were getting tired and just laid down next to him. Framing his body or just straight up laying on top of him, one dog even snuggled up to his head, ending up more as a pillow for him.

At first Y/N tried to struggle against being buried alive by the animals but as soon as he noticed the warmth engulfing his body instead of the cold harsh wind he accepted his fate.

After all he was done with feeding the pets.

“Horrible. Techno would be proud with how relentless you all are.” A yawn escaped his lips which seemed to infect a few of the dogs as well.

It really didn’t take long for him to fall asleep. It was warm, soft and he felt safe.

The meeting for the Syndicate took longer than expected. They spent way too much time trying to find a common goal to start with. They didn’t want to do something huge at the beginning but start small, something that would test their cooperation and teamwork.

Though after they finally found something and started planning a few hours had past and since both Ranboo and Niki apparently had people to meet they had to stop the meeting early.

“You think the animals will be fine?” Ranboo asked Philza as they stepped out of their hidden headquarters.

The older man just waved off his question “Ah, they will be fine! We rag on Y/N often but we can trust him with things like these. He’s a good one even if he absolutely refuses to give Techno a straight answer when it comes to governments. I do believe he is only doing that to annoy him though.”

As the group approached their home again everyone took a good look around.

“Well, everything seems normal.” Techno noted.

Niki scowled “Aw I had hoped to see him. I couldn’t even say hello when I got here.”

That’s when Ranboo stopped dead in his track. He wanted to go home to get ready for Snowchester but something inside the dog pen caught his attention “Oh by Ender! There is an arm! The dogs have an arm!”

The other three ran over, confused with what the hell he was talking about only to see he was right. There was an arm sticking outside of the dogpile. Why did the dogs pile up in the first place though?

Out of nowhere Phil snorted and pressed his hand against his chest and mouth. Trying to stifle a laugh.

Niki still looked shocked and worried, confused with Phil’s reaction “What? Philza, why are you laughing?”

“Let me show you. Y/N! Are you awake, mate?”

At first nothing happened but then suddenly the arm moved and retreated back inside the dogpile. Now the others understood what happened.

Both Niki and Ranboo looked a bit embarrassed that they genuinely thought that these dogs might have ripped off an arm and were now cuddling with it.

Techno stayed stoic as always. Folding his arms in front of his chest, waiting for Y/N to properly react.

“Y/N, come on!” Phil called out again.

A muffled groan came from the pile of dogs and Y/N’s head appeared as he sat up “What?” He whined “I was having such a nice dream!”

“Oh my- Y/N! Good morning!” Niki greeted the Hybrid happily.

In response Y/N got a bit out of his furry burial but still pulled one of the ferocious war dogs closer to himself, hugging it. His tail now out as well showing the others his happy mood as he slowly drifted off again.

“Hello, Niki.” He sounded still half asleep. At least the others assumed since his face was buried in the dogs grey fur.

“Y/N please get away from my hound army. They are bred to fight and kill not for hugs and naps.” Techno grumbled.

“Then why are they so comfy and love me so much. They love me so much more than you” He made sure to drawl out the word “love” to really hammer that fact in.

“Let’s make Y/N then our go to pet sitter.” Phil noted.

This seemed to wake up Y/N, he immediately looked up with a scowl “No! I am not going to be your pet sitter! You put me in that role in the first place because I’m a Border Collie Hybrid, or am I wrong? If it’s true that’s seriously screwed up, by the way!”

Techno sighed “Yep, there he is. Now he is awake alright.”

1K notes · View notes

ectonurites · 4 years ago

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idk how to quote tags on mobile where is the conner kent essay i NEED it

ALRIGHT OKAY! here’s 5k+ words plus panels & screenshots of me comparing and contrasting the two drastically different versions of Superboy (comics vs young justice cartoon) and going over what makes them such distinctly separate characters. someday i’ll refine this a bit more its kinda just a word dump that’s been living in my brain that i wanted to actually articulate after i read through Reign of the Supermen but here we go:

Pretty frequently I see the question “Why is Superboy so different in the Young Justice cartoon?” float around in DC circles. I think there are two main approaches to answering this:

Why did the writers of the cartoon decide to create a very different version of Superboy?

What factors make this Superboy so different from the comic version?

For the first approach the answer is relatively straight-forward, from the start Young Justice as a cartoon was never meant to be a direct adaptation of the comics. They just used the title and a few elements so they could create their own approach to the DC universe with a focus on younger heroes. For example, Artemis Crock in their show is also COMPLETELY different from her comic counterpart, Zatanna is aged way down to be a member of the teen team, and Kaldur’ahm was created for this show (and integrated into the comics as Jackson Hyde). They were always trying to do different things than the main comics universe, so them making a different version of Conner also makes sense. Their approach to him is also very clearly influenced more by how he appeared in the Teen Titans comic run that was still coming out as Young Justice started airing (his design, and some other elements we’ll discuss along the way), as opposed to his original version from the 90′s/the Young Justice comic.

So the basic “why” is that from the start they wanted to create something unique to their universe, which they definitely did accomplish.

The much more interesting subject to dive into, though, is looking at the differences in Superboy’s story that contribute to him becoming such a different person.

The drastic changes made to the following factors are what I view as the main source of his differences in personality/outlook/characterization:

The conditions and history of the world at the time he is introduced

The circumstances around him being introduced/leaving Cadmus

The reaction Clark has to him and how their relationship starts

The people he first interacted with & became close to, and how he interacts with the world

The timing of him finding out about his connection to Luthor

The State of the Worlds

In the comics, Superboy is first introduced in Adventures of Superman #500 by iconically saying “Don’t ever call me Superboy!”

during a 1993 event called “Reign of the Supermen”, a follow up to the 1992 event “The Death of Superman”. Based on the title of the 1992 event, I think you can, uh, guess what one major difference in the setting here was vs. the state of the world at the time he was introduced in the cartoon. Obviously Clark didn’t stay dead forever, but Superboy first comes onto the scene as a young clone of Superman who insists he is the new Superman (one of the four characters trying to do so during the event). This is in the main DC universe in the early 90’s, which means that heroes in general, including teen heroes, aren’t a new thing! Not only has the Justice League been around for a while but so has the Teen Titans. Once Clark is alive again, Superboy goes off on his own to establish himself as an individual teen hero.

So how is that different in the cartoon?

In the cartoon, Superboy is first introduced in the pilot episodes “Independence Day” and “Fireworks”

on the 4th of July in (what most people consider to be) 2010. This was supposed to be the day that Robin (Dick Grayson), Speedy (Roy Harper), Kid Flash (Wally West), and Aqualad (Kaldur’ahm) would get to see the true Justice League HQ at the Hall of Justice, which... doesn’t go exactly as planned.

In this world, superheroes are a newer thing, this is something that the creators have talked about before. At this point, while there is an established Justice League, there are no known teams of teen superheroes. Just the fact that as of season one Dick Grayson is still Robin is a pretty good indicator that this world is early in it’s time with a Batman. Now, the sidekicks aren’t a secret, as they appear very publicly in this first episode, but they are almost always seen acting with their mentors at this point. Again, there is no Teen Titans in this setting, and there never has been.

So when they do form the first teen hero team? It is kept covert-ops. They do not publicize that they act as a superhero team, and the members who weren’t already publicly known heroes (mainly Miss Martian and Superboy) end up being pretty… unknown to a lot of the world outside the hero/villain community! Again their existence is not strictly kept a secret, but they keep the fact that there’s a team of minors who are heroes going on independent missions VERY under the radar on purpose. Thus, those who aren’t going around doing super public hero activities just don’t have nearly as much of a presence.

So to summarize:

In the comics, Superboy is immediately put in a spotlight (he befriends a reporter and is all over tv and literally trademarks the name Superman) becoming known to the world and establishes himself as a solo acting hero YEARS before joining any teams.

In the cartoon, Superboy is kept relatively out of the spotlight, immediately becomes part of a covert-ops team and doesn’t act solo very often. The well known teen heroes in this setting are sidekicks working under a mentor, and Superboy does not actually act as a sidekick.

What does this mean for Superboy?

Superboy in the comics gets to, right away, act on his own and get a taste of what being Superman is like. In the cartoon, he’s brought into the world at a time where there already is a Superman. I think back to this bit from the therapy episode, where he says:

“See, from the moment I first opened my eyes in that Cadmus pod, there’s been one thing I’ve wanted, and feared. To know what it is to be Superman.”

Comics Superboy started out getting to do that! He immediately got a shot at filling that role, and he then makes the choice to relinquish it back to the original once he’s alive again. He (begrudgingly at first) understood that it wasn’t yet his time to be Superman, and knows he’ll someday fill those shoes for real- but in the meantime being Superboy is gonna be his own thing and he’ll embrace it and make it work.

Cartoon Superboy is left in a shadow, not ever truly knowing what it’s like to fill those shoes (except in a doomsday scenario training exercise gone awry that he then just feels intense guilt over). This leaves him a lot more frustrated and lost, and I think is a major contributor to how angry this version of Superboy is compared to his much more ‘chill go with the flow’ attitude in the comics.

Cadmus

In the comics, in that same issue he’s introduced, we find out that Superboy broke out of his cloning tube prematurely and left Cadmus with the assistance of the second Newsboy Legion, who also gave him his first leather jacket, before the programming that would allow Cadmus to control him was implemented.

He quickly gets up to speed with the situation, that Clark is dead. So he comes on the scene starting to save people and saying he is Superman, or at least the clone of the original one. A major thing that does influence his character here is the fact that… this is the 90’s. He is designed around the idea of what is ‘cool’ back in 1993. (look, even his original character design sheets call him cool)

So right off the bat he’s got a stereotypical ‘cool teen guy in that era’ personality, which is often played for comedy to add a little lightness to some of the dark things happening during this event.

Anyways, he has left Cadmus, he’s acting on his own, and he starts realizing that his powers aren’t exactly the same as Superman’s over the course of the Reign of the Supermen story.

After the main conflict is settled and Clark is fully alive and acting as Superman again, the two of them end up going back to Cadmus to find out what the exact deal is with him. I’ll go into this more in a later point, but they find out he’s not exactly a clone of Superman (or Lex- him being actually involved as a DNA donor is a retcon that happened a decade later). They agree to let someone from Cadmus (Dubbilex- the grey guy with the horns in this pic) leave Metropolis with him, as he sets out on a press tour to establish himself as Superboy now that he relinquished the trademark on the Superman name back to Clark.

Let’s pause and look at how this is different in the cartoon.

In the cartoon, when the trio of Robin, Kid Flash, and Aqualad decide to prove themselves to their mentors they run off on their own to attend to a fire at Project Cadmus when the Justice League got called off to do something else. Upon arriving, they accidentally uncover some weird things about Cadmus, like the crazy amount of sublevels, the creatures roaming around, and the fact that it’s not on the main power grids. They eventually find Superboy, still in his cloning tube. They break him out, but then get captured themselves.

When they are then put into tubes by Cadmus personnel, they manage to convince Superboy to help free them by promising him things like getting to meet Superman, and see the moon. The group of four now working together manages to escape from the building and it topples down, where they are then greeted by the Justice League who are Not Happy.

Superman flies away shortly after, and the group of kids explain to their remaining mentors that sure, they disobeyed orders, but they accomplished something good here, and they are going to keep doing it, whether the League likes it or not. The compromise is the formation of The Team, to be covert-ops while the Justice League acts publicly, and the boys are joined by Miss Martian.

So to summarize:

In the comics, Superboy leaves Cadmus pretty independently (with some assistance) to go act on his own as a hero immediately. He returns to Cadmus later for more information, and they reveal truths to him about his existence. After he knows his truth, he goes off to continue establishing himself as a solo hero but lets Cadmus still supervise what he’s doing through Dubbilex.

In the cartoon, Superboy is rescued from Cadmus by Robin, Kid Flash, and Aqualad, without knowing pretty much anything about himself besides the fact that he is a clone of Superman, and is immediately put on the covert ops team.

What it means for Superboy:

Comic Superboy goes to act on his own, even after he admits he’s not the real Superman anymore. Yes he’s not 100% alone in terms of ‘he’s got people (Rex, Roxy, Dubbilex, Tana) around him’, but as a hero he’s a solo act and ends up taking residence in Hawaii. In the cartoon, by joining a team right away, he’s taking on a very different style of being a hero, especially because the team itself is covert-ops. Rather than regularly saving the day all on his own much like Superman, which can help comic Superboy feel like he’s still living up to the name more, cartoon Superboy is working under the radar in a group setting, while still wanting to desperately fill those Superman shoes.

He is overconfident in his abilities and wants to be the hero he was created to be, so him being put into this very different type of superhero situation is another major contributor to the frustration/anger. Even later on when comics Superboy is part of forming the Young Justice team, they were never a secret covert-ops team, they were always publicly known. (hell, a reporter is the one who gave them the team name Young Justice because he’d misheard Bart)

Superboy & Superman

In the comics, as we have established, Clark was dead at the time Superboy first came on the hero scene. Clark comes back to life, during a little bit of a lull in the middle of the huge conflict. He immediately accepts that Superboy is one of four who came forward to try to replace him, and one of the only two (Superboy & Steel) who genuinely only had good intentions in doing so. Clark, Steel, Supergirl, Hal Jordan, and Superboy then all work together in the big battle against the Cyborg Superman.

Once things are settled, Clark is curious about him, and where he came from and his origin, so they end up going to Cadmus together with Guardian and learning more about him, as I previously mentioned. Once it is established that Superboy is in fact a metahuman clone who was created to mimic Superman, but is not actually a clone of him, Superman still accepts him and thinks he’s earned his right to continue using the ’S’ shield and have the name of Superboy.

They part ways so Superboy can go on his press tour, but in general they have pretty positive interactions where they mutually respect each other! Not too much later in the comics even (I forget exaaactly when this happens but it’s definitely before the 1998 Young justice comic), Superman is the first one to give Superboy a real name, “Kon-El”, something he is so happy about he literally cries.

How is this different in the cartoon?

When the boys first escaped, and Superboy first meets the Justice League, Clark is standoffish. Other members of the league need to nudge him over to go actually talk to Superboy, and it’s not much of a conversation before he flies off and away, leaving Superboy frustrated and alone.

This… turns into the standard for almost the entire first season. Other characters constantly telling Clark that he needs to reach out and be support for the boy (like in this iconic diner scene with Bruce and Clark), but Clark consistently being too freaked out by the fact that someone made a clone of him without his knowledge to properly accept Conner. While this does over time get better, this being the immediate reaction when Superboy is brand new in the world definitely… has an impact!

He is rejected by the person he idolizes, and feels neglected and abandoned, and definitely kinda overcompensates with ego to try to make up for it.

So:

In the comics, Superman and Superboy work together from the start, not falling into a hero/sidekick situation but rather acknowledging each other as individual heroes with respect for one another. They grow to see each other as family much faster, and little tension between them. A crucial difference in situations, though, is that at the time these versions first meet Superboy is not actually a clone of Superman.

In the cartoon, Superman at first avoids Superboy, and does not offer guidance or mentorship or anything the boy needs. It is clear that he wants to work with Superman and be like him, since it was what he was created to do. It takes a lot of time for Clark to accept Conner in this setting, and there is a lot of tension for the first several months Conner exists. (they seem to settle this towards the end of season 1/during the gap between season 2, but it still has it’s impact on who Conner is early in his life)

What does this mean?

I feel like this is another major factor that contributes to Conner being so angry all the time in the cartoon, he feels immediately rejected by the person he’s supposed to be someday, rather than accepted by him. Again, very different from how comics Superboy got a chance to be Superman, and a chance to then work with the real deal as equals.

Friendships, Relationships and Identity

When Superboy is freed by the second Newsboy Legion, it’s primarily out of a ‘we’re clones who are stuck here, but you need to be out there, you’re what Metropolis needs right now!’ kind of idea. The first person he actually becomes close to is a reporter named Tana Moon.

Tana and Superboy’s relationship is… bad once it actually becomes romantic due to their huge age difference (she’s around 23, he is for all intents and purposes 16), but during the Reign of the Supermen where they’re still just friends for the most part, it’s not as bad. Tana becomes the GBS correspondent who focuses on everything Superboy (at this time still insisting he is the new Superman) is doing as a hero, and they become close friends.

GBS then also brings in Rex Leech (and his daughter Roxy) to be his agent, to promote Superboy and manage things for him. Rex is exploitative as hell, but Roxy does become another really important person to Superboy. These characters along with Dubbilex are his main supporting cast at the start of his solo comic when he’s in Hawaii.

In this whole era, Superboy is pretty much a celebrity. He’s cool, he’s a superhero, and I think it’s very notable he does not have a secret Identity. For a decent chunk of time, he is always just ‘Superboy’ (until, as I mentioned earlier, Clark gives him the name Kon-El. Even so, he doesn’t adopt a regular secret identity [Conner Kent, although he actually used a different one, Carl Grummett, before that!] until he begins living with the Kents in the early 2000s). By the time he joins any teams, Kon is pretty damn confident in who he is as a hero and has a relatively good grasp on who he is in general, if anything he’s a little too confident.

Young Justice was created in the aftermath of World Without Grown Ups when the trio of Superboy, Robin (Tim Drake) and Impulse (Bart Allen) had teamed up. After they saved the day they realized they worked well together and formed their team, utilizing the old Justice League base in Mount Justice. They were eventually joined by more members, especially relevant here is Wonder Girl (Cassie Sandsmark) who Kon later dates for a portion of the Teen Titans run that these four are in after Young Justice ends.

The four of them become close, and when Kon dies during Infinite Crisis it rips a hole in everything they had established growing up together over the past several years (Cassie joins a cult dedicated to bringing him back, Tim tries to clone a new Kon, Bart got aged up and took on the mantle of the Flash, etc) and Bart’s death that followed similarly shook the remaining Cassie and Tim. This group eventually does get to reunite, with Kon and Bart coming back during Final Crisis, solidifying how even things like death don’t keep them apart for long. It’s hard to look at the comic book versions of these four characters and imagine how they would be without their connections to each other... until you look at the YJ cartoon and see a world where they’re not even all part of the same generation, let alone a friend group.

Now in the cartoon…

The first people Conner primarily interacts with are Dick, Wally, Kaldur, and M’gann, along with the League members who interact with The Team pretty regularly, Red Tornado, Batman, and Black Canary. He’s shown to be friends with the other memebers of the team and get along with them relatively well, but in general he’s not much of a social person.

Much like in the comics, Superboy is considered very attractive, and immediately upon their meeting, M’gann is interested in him. Very, very interested in him.

At first it definitely does seem more just like an innocent crush, but it’s later revealed to be a little more… concerning than that. As in ‘Megan subtlety influencing Superboy to become her dream boyfriend based on a TV show she likes’ concerning. Like… she literally gives him the name ‘Conner’ after the TV show character that was the boyfriend of the character she bases her human self and entire identity on. The two date and once that becomes a thing, a lot of their plot lines in the following seasons revolve around the ups and downs of their relationship.

In general in this show, Superboy doesn’t really get much of a chance to establish himself on his own terms. Within months of him leaving his cloning pod, he and M’gann start going to high school with secret identities, so he’s already having to hide who he truly is to blend in with other people, before he even knows who he truly is.

So to compare:

In the comics, Superboy gets to figure out who he is as Superman’s Clone/Superboy very publicly, has multiple love interests and a celebrity status, and over time becomes part of a tight-knit group of friends. He doesn’t use a regular secret identity for the first several years he’s active.

In the cartoon, Superboy has one love interest with a very large impact on him, not nearly as much focus is given to his other friendships, and he immediately adopts a secret identity meaning he needs to hide who he is from the start.

What it means:

These factors play a big difference in his attitude, particularly highlighting how extroverted his comic version is and how introverted his cartoon version is. Comic Superboy never really needed to hide who he was until years into his career, vs being told to do so early on in his life. When you get used to needing to hide things so early, that can definitely lead to being more private/disconnected from others. Also somewhat related- in the comics, when Kon is given knowledge in his cloning tube, more pop culture got included. He mentions knowing Star Wars without having seen it, and references a ton of TV and Movies, vs the cartoon version of him that seems to have been given a lot of history of the world but not the current fun stuff. It’s the difference between knowing what’s going on in the world and what’s popular, vs only knowing the past and what’s fundamental. Not knowing pop culture like this can also really contribute to feeling alienated and lead to introversion. (I just... I think about how in the comics Kon’s favorite TV show is Wendy The Werewolf Stalker, in the cartoon Conner just... watches white noise static)

Also, having a completely different set of friends with different personalities has a big effect, people are always gonna be influenced by the people they’re close to to some extent. Bumping Conner up to Dick’s generation of heroes instead of Tim’s not only gives him completely different friends, but it also puts him in this position of being one of the ‘Original Team Members’. By this I mean, a member of the first iteration of the only teen team, one of the people that younger heroes coming onto the scene and joining the team in later seasons see as an experienced and older team member to look up to (despite the fact that cartoon Conner is permanently 16- they never fixed that for him like in the comics). That just creates a different dynamic entirely, because in the comics even when the Tim/Kon/Cassie/Bart group are more experienced on their team late in the Teen Titans run, they are still always going to have heroes like Dick Grayson, Donna Troy, Wally West etc as the older generation of ‘original teen heroes’ who came before them.

Also, while I am talking mostly about in-universe reasoning here, I do wanna bring up one slightly more meta reason that might also have contributed to them choosing to go for a more ‘introverted brooding hero’ characterization with him: the fact that their version of Wally already filled the ‘flirty jokey’ archetype original Comics Kon fits into. Having two characters like that in the show from the start would definitely get... overwhelming. And at the time this show was first airing, in the comics, he was relatively devoted to Cassie and not nearly as flirty anymore anyways.

Lex Luthor / Details of Cloning

In the comics, as I have already mentioned and will now actually explain, when Superboy was first introduced he was not the clone of Superman and Lex Luthor as we know him to be today. Kon was a metahuman clone, made with the DNA of Paul Westfield who worked at Cadmus, that they genetically altered to look like Superman, and gave powers based on the energy aura they discovered to exist around Clark’s dead body. This telekinetic field gave Kon the distinct powers he had for his first decade of existence: His Tactile Telekinesis (often referred to by him as TTK)

Lex Luthor was originally not directly involved in his creation, but he was aware that it was going on as is revealed during the Reign of the Supermen arc. Kon’s TTK allowed him to mimic Superman’s flight and strength, but not all of his powers. TTK also gave him powers Superman DOESN’T have, such as his ability to dismantle machinery or mold materials he is touching into different shapes. (The reason this is called Tactile Telekinesis is because there needs to be a tactile element, he needs to be touching the things)

It is not until 2003, a decade after Superboy was created, that writer Geoff Johns in his Teen Titans run decided to alter Superboy’s origin. He established that Lex Luthor had been the real human DNA donor and that Superman’s Kryptonian DNA was actually used in the cloning process. Around this time, Conner also begins to exhibit more of the typical Kryptonian powers, like Clark did around this age.

This information is at first only known by Conner and Tim, because the email had actually been sent to Tim directly. The two keep it a secret as Conner was not ready to tell the rest of the team, because he fears the implications it has, and is afraid of becoming evil or being rejected. This revelation about Lex being one of his ‘parents’ DNA-wise coming years into his hero career changes a lot of things for Conner, and makes him begin to question who he is. Unfortunately, Lex does at one point take control of Conner and force him to break Tim’s arm and attack Cassie directly (as well as the rest of the team, but these two specifically are what Conner expresses the most guilt over after the fact). This era of Conner in the comics is where he’s definitely closest to his cartoon counterpart, because he’s very troubled and dealing with a lot of heavy stuff regarding himself as a person. Yet there’s still traces of who he has always been in there. I mean, if you’re only familiar with cartoon Conner, can you really imagine his final words as he’s dying after saving the world being “Isn’t it cool?”

Now, looking at the cartoon…

Conner finds out about his connection to Lex in November, only a few months after having existed outside of a cloning tube. He finds it out on his own, from Lex speaking to him directly, after Conner went back to investigate the remains of Cadmus and ended up having a fight with Match (another clone who is able to pass for Conner’s duplicate who they… their version of Match is another thing they drastically changed from the comic version but as we’ve established that’s something they like to do so I’m not gonna dwell on it).

In the cartoon, Conner’s powerset is, from the start, different from both Superman and comic Superboy. Here he has heightened senses and strength and the ability to leap really far, but he lacks actual flight and some of the other standard Kryptonian powers, and has no TTK. The cartoon explains these gaps in his powers as being due to his half human DNA, and they introduce these patches that are able to suppress his human DNA and give him temporary access to full powers. Lex uses these patches as a way to manipulate him. Much like in the comics, Lex has a code word programmed into Conner that effects him, although it isn’t quite used for the same amount of ‘total mind control’, and he doesn’t get fully brainwashed and turn against the team or anything. Instead, the code word (here “Red Sun” rather than “Aut vincere, aut mori” [Translated as “to conquer or die" / "victory or death”]) just leaves him stuck in a hypnotic trance.

So:

In the comics, Kon finds out after years of believing he was a metahuman clone who was given powers to mimic Superman, that he is actually a clone of Lex Luthor and Superman, which alters his entire perspective on himself! This causes him to become a lot more unsure and anxious about who he is, in stark contrast with how confident he was before. There are still traces of his old self within him, but this is a development in his character that influences him moving forward, making him a bit more serious but still at his core the same person he used to be.

In the cartoon, Conner finds out after months of thinking he was a clone of just Superman, that he has half human DNA and the donor was Lex Luthor. While he always had confidence in his abilities, he was still somewhat lost as a person in knowing who he really was outside of things other people have assigned to him (teammate, boyfriend, superhero, etc), and finding out this information about himself just adds to the uncertainty and frustration.

What it means:

Having this struggle be something Conner has to deal with so early in his existence is one of the most fundamental changes in my opinion. Finding out that Lex Luthor is one of your clone parents is something that will alter your entire perception of yourself and who you are! In the comics, Conner had already been confident in who he was so it shakes his world in a really big way, but in the cartoon he still didn’t know who he really was so it just adds to further confusion.

I think that even with the more serious characterization Kon starts getting in the 2003 Teen TItans run, his history and past as the fun cool 90′s Metropolis Kid isn’t entirely forgotten, it’s still a part of who he is/was. Sure, maybe he’s sometimes even embarrassed by how he used to be, but it’s not treated as though it didn’t happen. All of his history comes together to create the character and who he is by the time he wears just a T shirt as a costume.

By skipping over the fun era of his life and jumping right into who he was when he started facing these huge changes, it creates such a completely different set of challenges for him and that contributes directly to how he’s characterized.

Putting it all together

The ultimate point I am trying to reach in all of this is that, beyond just ‘they made a writing choice to make him different’ the environment that Superboy was brought into and the events that took place right when he came into the world greatly influenced the type of character he would become. Every time an adaptation is made of something like comics, there are going to be changes and alterations to fit the world the creators want to make. Sometimes these changes are minor and don’t actually change who a character is (an example for the YJ cartoon’s universe itself: In the tie-in comics [issue 6] it’s established in this universe that the Flying Graysons weren’t just Dick and his parents, but other family members were active parts of it too. One was an uncle also named Richard, who actually survived the fall that killed the rest of his family but was left paralyzed and thus unable to care for him. This uncle already used the nickname ‘Rick’ which is likely why Dick ended up using ‘Dick’ as a name in a modern setting even though it has fallen out of popularity as a nickname because uh, connotations. This is something that is mostly unique to their world and helps to explain some things, but it’s not like tragically losing a few more family members changed their version of Dick and his backstory that drastically. At his core, he still has many similarities to his comic self) but they’re still changes, and that’s okay. Superboy, though, is such an extreme case where they made so many changes that at his core he really does become a completely separate character. Sure he has the name and design, but I was able to write five thousand words about differences here and am struggling to come up with more similarities beyond that.

I think there still could be specks of the original Superboy buried inside cartoon Conner, and that maybe he could have been more like his original version under other circumstances. Looking at these differences and where they come from is, I think, a cool way to begin to understand what elements contribute to who each version of Conner Kent really is. I think it’s clear from how I wrote this that I prefer the comic version, but there are definitely things that are fun to look at and think about with both.

if u read all of this UH thanks for listenin to me ramble! sorry if this is incomprehensibe!

#rainbowroadimpulse #sam writes #conner kent #superboy

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stxleslyds · 4 years ago

Text

NIGHTWING #81

UMM... HOW ABOUT NO.

Ever since Tom Taylor took over Nightwing I have only made a post about one issue of his (I will leave it here Nightwing #78), that issue was beautiful, it was a solid start and the little things that made me feel a bit icky were not mentioned in the post because the issue was good.

Then the issues felt like connectors or just very bland story wise. I had problems with the book also feeling like a Nightwing and (fake) Oracle book instead of just Nightwing. There were many instances where Dick alone could have gotten himself out of situations without Barbara, but because she was there the opportunity to show that he can do things was taken from him. I guess what I am trying to say is that the book has disappointed me but I didn’t feel like making a post because it was too early and this is an ongoing book that Taylor said he planned on continuing for a while, but now I can’t not make a post.

A few days ago, I finally read the Red Hood story in Urban Legends (I have a review for that one too I will link it here Red Hood part 4) and I couldn’t stand how OOC and disappointing the story/characterization has been. I am saying this because I am only reading these two books at the moment, ONLY these two, and all I have gotten from them is shit.

I know it’s still early to say that the Nightwing book is bad but…I hated this issue, I hated it with all of my heart. But now that I am a bit calmer, I have come up with some ideas of what is truly going on with the Melinda situation.

Anyway, let me give you my thoughts.

There are big Wilson Fisk vibes coming from both Blockbuster and Melinda Zucco. Those two will lie, manipulate and be evil every chance they get. They are working together to make Nightwing disappear. I know it. The whole “make us all much wealthier and to extend your power beyond the city” idea does not include Nightwing.

Melinda might not want to burn anything down but she sure isn’t a hero. This woman accepted the position of Mayor after watching Blockbuster kill the former mayor. I understand that talking with the BHPD isn’t the best idea but this woman feels way too comfortable in the presence of a killer.

She is cunning and she has plans, I strongly believe that she might be a villain and that she will betray Blockbuster and take all the power (if it reaches that point) to herself.

Heartless is just another weirdo, he tricks both Nightwing and the reader into thinking that he has a soft spot for kids but surprise! He doesn’t. There isn’t much to say about him, he just has very complex gadgets and doesn’t know how to fight. I don’t even have any ideas about who he might be.

What I know though is that there was absolutely no need for Dick to think that he had “underestimated” Heartless, my love you threw your stick at him while he was looking directly at you, there was a 50/50 chance of him catching it. I swear I don’t understand the need to write him thinking that mostly because Taylor then has Dick swiping the floor with the guy, not only is it a simple fight (for Dick) but it’s also boring for him. Taylor’s writing is so annoying sometimes, he just loves to write extra things that are out of place like the “Tim Drake. Thought of by many as the best Robin” why the fuck did he put that there? Honestly, what was the point of having Dick say that, I don’t read a Nightwing book to have Tim Drake praise. If it doesn’t offer anything to the story that is being told then keep the thought to yourself Tom...

Moving forward the scene in the pier was quite nice, mostly because it’s Dick’s quick thinking that gets everyone to safety, he knows exactly what to do and how to contact the Maritime distress channel.

He has hope for his city, he knows there is good in it and he believes help will show up when lives are about to be lost. I loved that, just like Heartless said, Nightwing IS Bludhaven’s Guardian Angel. Once again, I am having Daredevil vibes from Dick (like from the show)

After the fight we get to see consequences of Dick not healing properly from a shot to the head. He loses his consciousness which is extremely dangerous but luckily Tim is at arm’s reach to help him out of the pier.

There are many things I want to talk about from the scenes that happen after Dick wakes up in his apartment so here we go.

First of all, Bitewing is adorable, she loves Dick the most and was happy to see him awake once more, what a good girl!

Secondly, Barbara, honey, you do not have three names, you aren’t Batgirl anymore, you are a grown woman that needs to move on from a mantle that has other people that can do something else/better with it. And we all know that this Oracle is just the ableist version of Oracle. So yeah…all I ask is for Barbara to move on from Batgirl, Cass and Stephanie are right there, enough is enough.

In these panels we have Dick, Tim and Barbara being kinda dismissive about the homeless kids, and it has been happening for so many issues, what is the point, Taylor? You made Dick a millionaire and you just can’t have him say or think for a second that he will monetarily help those kids and make sure they are put somewhere safe? You are really going to wait up until you have Dick running for Mayor or something to help the kids? I just don’t get it. Kids living on the streets and each time they are mentioned the three heroes of the book act like it’s normal and doesn’t need fixing. What the fuck.

Then we have the gang finding out that Melinda Zucco is the new mayor, the woman has an FBI file and a redacted one! This makes me think two things, either things are like I thought in the beginning of the post (she is evil and very good at it) or this woman is actually FBI and she is undercover (this one is less likely because of what happens at the end of the issue).

What we can see from the file that Barbara found is very little, but in these two pictures we can see that maybe she was put in foster care and x age? Also, she was apparently investigated in April of 20xx, the investigation must have been recent, why would the FBI investigate a minor or college student? What if these files were implanted by Melinda for someone to find them, and for her to have some sort of proof of her lies? If the file is about her being left in foster care or something while would the file be redacted? I don’t know, everything about her is shady and I don’t trust anything from or about her.

This could be a complex and very interesting character but Tom Taylor and DC really love to do stupid shit for shock value (more of this later).

All the new information (the Maroni, Blockbuster and now this very shady Mayor) has Dick saying that it is a bit too much for him and yeah, it is too much, you know who could help? Red Hood. I am of course not talking about current DC comics Red Hood, I am talking about the Red Hood that I would love to see, just yesterday I had an ask about who would I like to see working with Jason and I said Nightwing because Dick puts a lot of responsibility on his shoulders so it would be nice if they negotiated and each could work on different crime areas in Bludhaven, if only DC would hear me…

Anyway, now that we come to the end of the scene let’s talk about Barbara’s shirt.

That was unnecessary and not funny. That’s all it was. Yeah, I know it’s a meme and I know it was included for funny ha-ha purposes but I am not laughing. Bruce has been written as abusive towards his kids for so long, Jason, Tim and Dick have been physically harmed by Bruce and writers use it as just something that happens, there are never repercussions for the Bat. And this shirt sucks because Dick was Robin there and he was a kid, so having Barbara or anyone wearing a shirt with Batman hitting Robin!Dick right in front of Dick is just disgusting. What if someone wore a shirt that had Joker beating Jason with a crowbar in front of Jason, would that be a funny ha-ha too? What about Dick wearing a shirt with the Joker shooting Barbara, is that a funny ha-ha? The answer to those questions is no, it’s not funny.

The idea of that shirt shouldn’t have been pitched, drawn or included after the editor took a look at it.

The picture is a meme in our world, not in theirs. And the readers aren’t laughing.

Back to the issue, Dick is left alone in his apartment to rest (seriously? You think the man that showed up to help Bruce in Gotham with a knee brace is going to rest?) but he can’t, he just found out that Mayor Zucco might be trouble for Bludhaven and might be working with not only Blockbuster but the Maroni family. He is not waiting one more second to have a chat with her.

Dick is obviously still concussed so of course he grabs a mask that has a camera that Oracle can view, and of course he enters yet another window without being careful.

Melinda and Audre were obviously waiting for him.

But here is where the real bullshit begins. Dick is unmasked.

I am so mad; it’s been four issues and Dick gets his ass in a trap and is unmasked by a villain? Are you kidding me right now?

But that’s not all, after Dick breaks free and accuses Melinda of being the daughter of the man that killed his parents, she pulls out a uno reverse card and says that her actual father is John Grayson, and that she is his sister.

How about no. Absolutely not. Go away.

Let’s re-visit Melinda’s appearances in the book so far so we can start theorizing about her real intentions or if she could be saying the truth.

Back in issue #78 where she is first introduced to us, after Melinda watches Blockbuster kill the mayor, she goes home and tells her Audre that she is now mayor because Blockbuster did what he does, so she knows that this guy is trash and a killer. But that’s not all, Audre asks her if she came across Dick Grayson to which Melinda answers “I am not ready for him yet”. Audre suggests she talks to him sooner rather than later because she might not have “another chance”, and the issue ends with Melinda agreeing with her while she is looking at a Flying Graysons poster with a red circle framing Dick’s face.

That whole thing? Shady. Melinda, obviously, wanted to talk to Dick Grayson, probably to tell him that she is his sister, but why is there a time limit, why is Audre telling Melinda that she can’t wait too long? Is it because her undercover work is ending soon? Is it because it’s not real at all and she needs to tell that lie in order to move forward with some sort of plan? I don’t know…

In issue #79 Melinda (and Audre) are out in the open with Maroni and they are talking about her becoming the next Mayor, Nightwing was watching from afar so this is his first contact with her. And it might be the first time that Melinda and her friend see Nightwing in action too. I cannot tell if she is aware that Nightwing/Dick Grayson are the same person here.

In #80 she doesn’t make an appearance.

But now in #81 she is taking her place as Mayor of Bludhaven, there Commissioner McClean takes her somewhere she didn’t expect to go (she is shown not knowing that Maroni and Blockbuster were in the next room over). Once in the room she refuses to take the cash from McClean but she will take the money as a transaction (for a second I thought she wouldn’t take the money but she did because she is very corrupt) and talks to Maroni once more. Before I talk about what happens with Blockbuster let me say this, she acts so distant to Maroni, she calls him Mr. Maroni every single time and she comes off as cold and feeling no type of way while talking with someone that is part of the family that actually raised her, and this is not because she is in a room full of other people, she did it too in #79. It seems weird that she acts that way with someone that took her under his wing since she was eight years old.

When she sits with Blockbuster he says “tell us your plan for my city” to which she says all of this: “My plan, Blockbuster, is to make us all much wealthier and to extend your power beyond the city. But to do so in a way that builds on the good work you’ve already done I have no interest in burning anything down.”

At the start of the post I said she gave me big Wilson Fisk vibes and that right there is why. She is shady, she has plans on top of plans, she calls Roland Desmond Blockbuster to his face but says that he has done good work for Bludhaven, which is weird because Blockbuster destroys Bludhaven a couple of times a year…

As I said before whatever she has planned does not include Nightwing, and here is where I kinda start theorizing a bit more, what if Blockbuster told Melinda Nightwing’s real name, he used to know who he was once upon a time…

Later in this issue when Nightwing is going to Melinda’s place Audre is already waiting for him right next to the window (with a sword), so, was he making an insane amount of noise or were they told to be ready for him?

Melinda traps him and takes his mask off, she barely seems surprised about Nightwing being Dick, she barely reacts when he jumps at her. She is in complete control of the situation and proves that by disarming Dick, as fast as he accuses her of being Zucco’s daughter she tells him that her real father is John Grayson.

She is in complete control. She has to be lying, she put a stop to whatever Dick had to say and do in seconds. This woman is trained and she is manipulative as fuck!

And if she isn’t lying then fuck DC and fuck Tom Taylor, this woman is either younger or the same age as Dick, John Grayson was not a cheater, the man is dead, has been dead for so long, don’t throw dirt on his name at this point. I refuse to believe this is true.

I honestly think that she is evil, and knows more than we are aware of, her first appearance was shady as fuck, let's suppose that she didn’t truly know that Dick was Nightwing, why on earth did she have a Flying Graysons poster with a red circle on top of Dick’s face? That doesn’t seem like something a sister would do! And why would this be information that is so important that she NEEDS to tell him in a certain amount of time?

It’s fucking insane. Tom Taylor, if she is actually Dick's sister then shame on you. Disgusting, what is with writers and cheating, what the hell is going on? Dick doesn’t need to think back to his parents and see a cheater in one of them. This better be Melinda being a cruel and vile human being that is trying to emotionally hurt Dick/Nightwing so she and Blockbuster can do whatever its they want to do.

That’s all I have to say.

#dick grayson #nightwing #nightwing 81 #dc comics #dc infinite frontier #melinda zucco #nightwing and bitewing #bitewing #blockbuster

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sokkas1mp · 4 years ago

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I gonna break in this acocunt with me being angry about something that doesn't really matter (very fitting for tumblr if you ask me), this article.

First: "And I’m sorry to open with this, but part of that is due to the age difference between them. Two years is hardly worlds apart (I’m personally working with four), but a 12-year-old boy and a 14-year-old girl are. Especially the way these two are drawn. Not to be too voyeuristic about Y7 cartoons, but Katara has clearly gone through puberty, while Aang hasn’t. There is something just…off, about a sixth grade boy having a full on make-out sesh with a high school girl."

This argument is one of the most stupid ones if you ask me, because it blatantly ignores the culture we have been presented by the show. I can understand why people find this weird, but we have to try not to look at it as if its our society, because its not. In A:tla, specifically the water tribes, 16 is marrying age. Right there, our "age norms" (idk what else to call it) are very different. And there are no divisions between ages in their world like we have with middle and high school. To me, two people are fit to be together based on their maturity, not their age. That's why 45 & 40 is not the same as 15 & 10, or 20 & 15. This is the same for Kataang. They have very similar life experiences and matured together, literally side by side, so a two year ago gap is irrelevant.

Second: "...Katara took on a very maternal role with Aang. Sure, she’s a caretaker and sort of a “mom friend,” but it’s a bit more than that. She served as his literal guardian during the show’s run—there’s just no other way to look at it. By the third episode, she called herself his “family,” and later even went on to role play as his mother to get him out of trouble at school. Aang, meanwhile, was… Well, I wouldn’t say “immature” for his age, […] However, Katara is 14 going on 25, while Aang is just, Aang."

There's a compilation of Katara doing thing with Aang that if someone saw a mother doing with her son they would call it incest:

Katara definitely acts motherly towards Aang, but that is just her nature. She is more than just motherly with him. And some people like to call the check kisses familial (which is kinda weird imo), but we know Katara herself doesnt think that:

"Easy there, big brother" She pushes Sokka away. Not to mention, this was about a scene or two before she kisses Aang on the check.

Calling someone close to you your family does not mean you see them in the same way you see your parents/siblings. And Sokka played Aang's father in that scene, but we aren't sitting here using that as evidence to call him Aang's paternal figure.

Something Aang haters forget (or chose to ignore) is that being lighthearted and goofy does not equal immature. Yes, Aang does some juvenile things, but that shouldn't take away from his growth and maturity.

Third: "In fact, in the last season, Katara was shown to be uncomfortable each time Aang kisses her, and even went as far as to tell him to back off with the romantic stuff in the episode before the finale, because she was confused about how she felt. [*new paragraph*] Yet, in the end, she just trots up and blushes at Aang, than happily makes out with him when he goes for it,"

Katara initiated 2/4 of the kataang kisses (not including the check kisses). The kiss in The Cave of Two Lovers and the kiss in the finale. Yes, she's the one that "goes for it" in the finale (she also initiates the hug). She only pulls away once out of the 3 times we see a kiss end (this would be excluding the kiss in The Cave of Two Lovers). She wasn't confused about her feelings, she didn't want to have to worry about a relationship when they were nearing the end of the war.

Fourth: "The post-canon comics only furthered the lack of exploration of her feelings in this relationship"

Fifth: "[referencing a scene in The Promise in which Katara is jealous of a fanclub being around Aang] "I'm sorry, this amazing, adult communication is blowing me away"

The are both still teenagers, who have zero previous relationship experience. Also, Aang had no ill intentions and Katara recognized it.

Sixth: [refencing Katara's role in The Legend of Korra] "Did Katara want to do anything other than sit in a healing hut and be known for having Aang's kids?"

This is another argument that just pisses me off. You can not use Katara's lifestyle in her 80s (she is 85 in s1) as judgement for her adulthood. It's purely assumption based. Constantly this author assumes that because she is in a relationship with Aang, Katara would drop her whole personality. What? Katara would not and could not be forced to do something or conform to some label and Aang wouldn't let it get to that point either. He would squash any idea that she is just "The Avatar's wife" or "The mother of the Avatar's children" the minute he heard it.

Seven: [comparing Katara's reaction to Aang The Desert to Aang's reaction to Katara in The Southern Raiders] "You'll spend a long time looking for her condescending tones. "Anger won't help, Aang," Katara never said, because she got that he was processing something painful and needed to sort it out himself. This difference in behavior is something that would be really fitting for a twelve year old boy to learn and understand. There's just no indication that he ever did."

Maybe I'm remembering wrong, but I don't remember Aang being condescending towards Katara. He was offering his advice because he knew her and knew that she would regret doing what she thought was right when her judgement was clouded by anger. And guess what. He was right. He never forced anything on her, either. Sure, he was a bit more pushy than he could've been, but in the end he let her go on the trip with no complaints. He even agreed that this was something she had to do.

Eighth: [referencing The Ember Island Players] "When the actor says 'Wait! I thought you were the Avatar's girl', Aang agrees. Katara is his."

You know damn well Aang doesn't see Katara as just his. And she's give him PLENTY of reason to believe that his feelings are reciprocated (which they are).

Ninth: "It's the story of a woman who swallows everything lest the man she's interested in has to learn anything about his behavior that violates her boundaries."

Ha! You said she was interested in him.

But in all seriousness, you mentioned how Katara stood her ground and told Aang that she was confused, but apparently now she's swallowing her feeings.

Tenth: [talks about the cloud babies daddy issues]

I don't disagree with what is said here, for the most part, but I don't think it is a reflection on Aang and Katara's relationship.

Eleventh: "... given what what we got with Kataang, it's completely unsurprising that Aang and Katara's parenthood/adult life was defined by a lack of communication and availability, at least from what we can tell. This also puts Katara's choice to immediately moved to the South Pole once Aang died in perspective; perhaps the city he poured all his energy into, at the cost of his family, held some bitter memories."

Once again with the lack communication. We can't use the early years of their relationship to determine their whole relationship. Also, there wasn't consistently a lack of communication, you just pointed out one time and ran with it.

We don't know at what point Katara moved back to the South Pole, but there are plenty of reasons for Katara to leave Air Temple Island:

a) Her son moving in/or planning to move in with his family.

b) She was no longer needed in the city and thus had no need to stay.

c) She wanted to go back to her native home for comfort after the love of her life died at a relatively early age.

d) The next Avatar was discovered and she came home to train them.

That's all. Thank you for reading my unnecessary rant if you made it this far, and I just want to close out with a few things:

- There were some things in the article that I did not include for the fear of this becoming a novel of me repeating myself.

- I agree with most thing said in the final segment of the the article. Most, not all.

- I appreciate the author for not trying to shove Zutara in just because Kataang wasn't there. That is becoming increasingly uncommon, so it was nice to see.

#kataang #pro kataang #katara #aang #pro katara #pro aang #atla

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michaels-blackhat · 3 years ago

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thoughts on evil Forrest 😈

We are going to start out by apologizing. This is very very late. I’m sure when you sent this ask, you meant it to be in the same joking tone that I approach all of my other propaganda posts. Sadly, this is actually going to be a deep dive into a few Evil Forrest related things, including the moment I feel they changed directions, the perfect wasted build-up, and the implications of the change/how it then negatively impacted the story. As I’m sure you already know, by being on my blog at all, I don’t think the story was good to begin with, so we are going to focus on the weird hoops they made themselves jump through to make that story still work. Additionally, I am only going to mention once, right now, how much of a waste it was to not have Forrest ‘fall for his mark’ and complete one of my absolute favorite tropes. Honestly, I think “because I want it” is a completely valid reason to like Evil Forrest. But, the question was “Thoughts on Evil Forrest” and these thoughts have been developing for over a year and a half. So, I apologize in advance.

The majority of this is under a cut, with highlights in the abstract. If no one wants to read this, I understand completely. Go ahead, skip it.

Note: it pains me greatly to not actually have full sources for this essay. Just know that in my heart I am using proper APA citations, I just absolutely do not feel like digging through tweets to find sources to properly cite.

Abstract:

Previous research indicates that Roswell New Mexico has a history of repeating excuses to explain mid-season changes to plots. This essay explores how those excuses are not only loads of crap, but how they hinder the show’s ability to tell a coherent story, misuse the multiple-plot structure to enhance the themes being explored, and lead to decisions that mean the show continuously goes over budget. This also means that characters are not used to their full potential and has led to what some fans consider to be “out of character” behaviors. While these behaviors are not universally agreed on, evidence can be shown that these behaviors directly contradict emotionally important character arc/plot points in the show.

The author of this paper acknowledges that the show took some strides to mend this problem. However, once again no consensus could be found on whether Forrest was a low-level member of Deep Sky and thus just allowed to fuck off on a bus, or his job was recruitment because he did a piss poor job of making Alex not join.

The concept of Evil Forrest has been with the fandom as early as New York Comic Con (NYCC) in 2019, when it was revealed that Alex had a new “blue-haired love interest”. Speculation abounded within the fandom, with some people, including the author, going “yeah, he’s evil” while others rejoiced in the concept of Alex having a loving partner. Speculation increased as fans discussed Tyler Blackburn’s seeming disinterest in his new love interest, prompting some once again to scream “EVIL” at the top of their lungs to anyone who would listen. Very little was revealed, beyond the fact that the new character would show up somewhere around episode 3 of the second season.

Episode 2.04 aired with some commenting on how he barely interacted with Alex- prompting more evil speculation- and others excited to see the characters interact more. The character appears again in 2.06, where he invites Alex to dubious spoken word poetry (which Alex attends); 2.08, where they have a paintball date and go to The Wild Pony; 2.10, where the two are seen writing together briefly at the beginning of the episode; and 2.13, where Alex performs his song at open mic night, tells Forrest his relationship with the person in the song was long over, and they kiss. Forrest was not revealed to be evil during season 2.

Amidst the season airing, Word of God via Twitter post announced that yes, Forrest had originally been planned as a villain, though not the main villain, but it was changed as filming progressed.

The Word of God Twitter post revealed that Forrest had originally been planned as a villain, but they decided that they could not make their “blue-haired gay man” a villain. This mirrors a similar situation and excuse used the previous season, where the character of Jenna Cameron was originally planned to work with Jesse Manes against the aliens, before it was changed because they just “loved Riley [the actress] too much”. Both of these examples occurred while already filming and reflect on a larger problem with the show. Though not the topic of this essay, it is important to note that both characters are white, both in the show and by virtue of being played by white actors. The fact that they couldn’t be villains for one reason or another is not a courtesy extended to the male villains who are all the most visibly brown, and thus ‘other’, members of the cast.

This also highlights the fact that, via Twitter, it has been revealed two other times that occurrences that were reported in season 1 also occurred in season 2. During the airing of episode 1.02, it was revealed that the single best build-up of tension in the show- when Alex walks to the Airstream not saying a word to Michael after a dramatic declaration- happened because one actor was sick at the time and they had to go back and film the kisses later. At the point of airing for episode 2.08, it was revealed that one of the actors were sick and unable to film a kissing scene. Allegedly, this caused the writers to retool the entire scene and deviate from the plan to make that subplot about Coming Out. The execution of this subplot will be explored later in this essay.

The last occurrence revealed via Twitter also revealed larger issues within the show: lack of planning and poor budgeting. During the airing of season 1, Tyler Blackburn was needed for an extra episode beyond his contracted 10. A full explanation was never given, but speculation about poor planning and to fill in because Heather Hemmens had to miss one of her 10 episodes due to scheduling conflicts for another project. During the airing of season 2, yet another tweet came out saying they made a mistake and Tyler would once again be in an additional episode. No explanations beyond “a mistake” were given, though once again speculation occurred. It is the opinion of the author that this was due to changing plot points over halfway through writing, while episodes were already in production. It has been speculated by some that these changes occurred during the writing of 2.08, which was being finished/pre-production was occurring roughly around the time of NYCC 2019.

Previous Literature:

A brief look at different theories of plots and subplots

Many people have written on the subject of plotting, for novels and screen alike. The author is more familiar with film writing than tv, but a lot of the concepts carry over. Largely, the B- and C- (and D- and E-… etc) plots should reinforce the theme of the A-plot. This can be through the use of a negative example, where the antithesis of the theme is explored to reinforce the theme presented by the A plot, or through other examples of the theme, generally on a small scale.

A movie example of this would be Hidden Figures (2016), where the A-plot explores how race and gender impact the main character (Katherine Johnson) in her new job. The B-plots explore the other characters navigating the same concepts in different settings and ways- learning a new skill as to not become obsolete and breaking boundaries there (Dorothy Vaugn) and being the first black woman to complete a specific degree program and the fight it took to get there (Mary Jackson). A TV example that utilizes this concept of plot and theme is the 911 shows. Each of the rescues in a given episode will directly relate to the overall theme of the episode and the overall plot for the focus character. This example is extremely blunt. It does not use any tools to hide the connection, to the point you can often guess the outcome for that A-plot fairly quickly.

This is not the only way to explore themes within visual media. Moonlight (2016) looks at three timestamps in the life of Chiron. Each timestamp has a plot even if they feel more like individual scenes or moments rather than plots as some are more used to in films. Each time stamp deals with rejection, isolation, connection, and acceptance in different ways. So while there is no clear A-, B-, or C-Plot, each time stamp works as their own A-Plot to explore the themes in a variety of ways, particularly by starting out in a place of rejection and moving to acceptance or a place of connection to isolation.

Please note that there are many ways to write multiple plots, there are just two examples.

While there are flaws within season 1 of RNM, overall the themes stayed consistent throughout the season, mainly the theme of alienation. The theme threads through the Alien’s isolation/alienation from humanity which is particularly seen through Michael’s unwillingness to participate and Isobel’s over participation. There is Rosa’s isolation from others, how her friendship with “Isobel” ended up compounding her existing alienation from her support system due to her mental illness and coping mechanisms. We see how Max and Liz couldn’t make connections. This theme presented itself over and over in season 1. While this essay is not an exploration of the breakdown of themes in season 2, it should be noted that there were some threads that followed throughout the season. The theme of mothers/motherhood was woven throughout season 2, with some elements more effective than others. Please contact the author for additional thoughts on Helena Ortecho and revenge plots.

One of the largest problems within season 2 was the sheer number of plots jammed into the season. These plot threads often ended up hindering the effectiveness of the themes and made the coherence of the season suffer. Additionally, a lot of them were convoluted and difficult to follow.

Thesis:

Essentially, season 2 was a mess. To look at it holistically is almost an exercise in futility. Either you grow angry about the dropped plots and premises, you hand wave them off, or you fill them in for yourself. Instead, this essay proposes to look at individual elements to explain why Forrest should have stayed evil.

We first meet Forrest in 2.04 when he is introduced on the Long Family Farm, which we later learn was the location where our past alien protagonists had their final standoff. He’s introduced. He’s largely just there. The audience learns he has more of a history with Michael. In 2.06, we meet him again with his dog Buffy (note: poor Buffy has not been seen again and we miss a chunky queen). There’s mild flirting, Alex is invited to an open mic night, which he attends. For the purpose of this essay, the author’s thoughts on the poetry will not be expressed. Readers can take a guess.

It is after this point that the author speculates the Decision was made. This choice to make Forrest not evil- paired with the aforementioned ‘can’t kiss, someone’s sick’- impacted the plot. We have Alex have a scene with his father- which the author believes could have been pushed to a different episode- and then have Alex go on a date and then not kiss Forrest at the end of the night. Here, the audience sees Forrest hit Alex in the leg, allegedly not knowing he had lost his leg despite ‘looking him up’, which parallels the shot to the leg that happens to Charlie. Besides wasting this ABSOLUTELY TEXTBOOK SET UP WTF, it also takes Alex away from the main plot and then forces a new plot for him. Up to this point, Alex’s plot was discovering more about the crash and his family’s involvement. Turning Alex’s date from a setup for evil Forrest to a Coming Out story adds yet another plot thread to a packed season. It is also the author’s thought that this is where the convoluted kidnapping plot comes in. With Forrest already in 2.10 for a moment, a plot where Alex is evil has Forrest attack him for Deep Sky rather than Jesse abduct him for a piece of alien glass Alex was going to give him anyway and then for Flint to abduct Alex from Jesse. It’s messy. In a bad way. Evil Forrest would have been a cleaner set up: no taking back a piece of alien glass Alex gave to Michael in a touching moment. No double abduction. Instead, there is only Forrest, who Alex trusts, breaking that trust to take him as leverage over Michael.

Implications:

Now, Alex has two plots (Tripp & Coming Out). The Coming Out plot is largely ineffective, as they are only relevant to scenes with Forrest and have the undercurrent of there only being a certain acceptable way to be out. This could have been used for Alex to discover his comfort levels, mirroring Isobel’s self discovery, but there was not enough screen time for that. Additionally, Isobel’s coming out story was about her allowing herself the freedom to explore. Alex’s story was about the freedom to… act like this dude wanted him to. Alex’s internalized homophobia played out often in the series but it was also informed by the violence he experienced at Jesse’s hands and the literal hate crime he and his high school boyfriend experienced. With that in mind, the “kissing to piss off bigots” line comes off poorly. This is a character who experienced what a pissed off bigot could do- reluctance to kiss in public is not the same as not being out. There is more to be said on this topic, but as it is not actually the focus of the essay, it will be put on hold. To surmise: Alex’s coming out is attempted to be framed as being himself, but it is actually the conformity to someone else’s ideals. It does not work as an antithetical to Isobel’s story, as the framing indicates that the conformity/right was to be out contradicts Isobel’s theme.

Further Research:

MAKE FORREST EVIL YOU COWARDS

Author Acknowledgements:

The author of this paper acknowledges that the show took some strides to mend this problem. However, once again no consensus could be found on whether Forrest was a low-level member of Deep Sky and thus just allowed to fuck off on a bus, or his job was recruitement because he did a piss poor job of making Alex not join.

#anti forrest long #i guess #evil forrest propaganda #I asked and no one said don't post it so...#here it is #I started writing this roughly 7 months ago

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felassan · 4 years ago

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Dragon Age Library Edition Volume 1 annotations & additional pages/art compilation

Dragon Age Library Edition Volume 1 is a hardcover collection of some pre-existing Dragon Age comics that was released in 2014. It comprises of all issues of The Silent Grove, Those Who Speak and Until We Sleep. In places, it includes additional annotations/commentaries by the illustrators and authors, as well as a few additional pages with additional art. iirc these additional annotations and pages/art aren’t featured or available anywhere else (in the franchise I mean; other people have probably put them online at some point I’m sure).

From what I can see at least, Library Edition Volume 1 is no longer in print, and as such listings for it on resale sites etc are.. price-inflated & prohibitively expensive (~£100+, which I’m sure we can all agree is just not reasonable or accessible to most people). Due to this, I’ve compiled the additional annotations and pages here in this post. Thank you and credit to @artevalentinapaz, who kindly shared the material with me. This post has been made with their permission. The rest of this post is under a cut due to length.

These commentaries are in the context of The Silent Grove, Those Who Speak and Until We Sleep. If you notice any errors or annotations missing, or need anything clarified, just let me know. I think the annotations are in chronological order. In places I elaborated in square brackets to help explain which part of the comics an annotation is referring to. A note before you proceed further: some of the topics referenced in the annotations/additional pages are heavy or uncomfortable. The quotes here are word-for-word transcriptions of dev/creator commentaries, not my personal opinions or phrasings.

(Also, I do recommend always supporting comic creators by purchasing their comics legitimately. I own each issue of these comics having bought other editions of them all legitimately. The reason I put this post together is because this specific Library Edition volume has been discontinued and the consequently-inflated cost is so high, rendering the additional material inaccessible to most.)

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The Silent Grove annotations

Illustrator Chad Hardin: “I used to be an environmental artist for video games, so I built a 3-D model of Antiva City using the program Silo. Many of the buildings are simple cubes, but a few are more detailed. Overall, I spent the better part of a day building it, but I used it again and again throughout The Silent Grove to maintain continuity in the backgrounds.”

Script Writer Alexander Freed: “Even working with David Gaider, it took me several drafts to find Alistair’s voice. His narrative had to convey his humor and self-doubt from Dragon Age: Origins while suggesting a newfound weariness earned during his years on the throne. For readers familiar with the character, he needed to seem like a changed Alistair - but Alistair nonetheless.”

Chad Hardin: “If you read a lot of comics, you might wonder why the majority of the heroes wear skin-tight suits. Well, I can tell you: they are easy and quick to draw. In video games, you build the model once and then animate it, so details don’t slow you down. In comics, everything has to be rendered by hand. Varric and Alistair’s outfits were quite detailed. It took me a long time to get used to them, and even longer to memorize the designs until drawing them was second nature - Varric’s knee armor in particular! Oy vey!”

David Gaider: “One of my favorite scenes in the entire series [when Varric and Isabela are disarming traps and picking locks together while Alistair looks on]. Isabela and Varric, doing what rogues do. I had a suggestion for how to put it together, but Alex managed to make it fit and did a great job with it.”

Chad Hardin: “I never used to keep any of the artwork I created for comics. I would just hand the pages over to my agent to sell. This page [when Alistair, Varric and Isabela are in a tavern together, with hookah in the foreground] I kept for myself. I love the hookah-smoking elves in the second panel and Isabela’s face in the last panel. I rendered the first four chapters of The Silent Grove in grayscale using ink washes, gouache and Copie markers.”

David Gaider: “For a little while, Varric [in these comic stories] was supposed to be Zevran from Dragon Age: Origins, which would have made sense, Zevran being Antivan and all. I know that some fans would have loved to see him, but the dynamics of the group just didn’t work as well. Then a planned cameo later had to be cut for space. Ah well, Zev, another time.”

Alexander Freed: “Isabela at her most dangerous [climbing up the side of the cliff]. This scene - featuring a scantily clad, dripping-wet woman who tends to flaunt her sexuality - could easily have come across as exploitative, but Chad did a lovely drop portraying Isabela as purely focused and deadly.”

Chad Hardin: “Isabela rising out of the water and scaling the cliff with the knife in her mouth is one of my favorite parts of The Silent Grove. It is one of those moments where the writing really inspired the art. Hats off to Alex and David. This is another page I kept for myself.”

Colorist Michael Atiyeh: “This is one of my favorite Dragon Age pages. Chad is such an amazing artist; I feel very fortunate to have had the opportunity to work with him.”

Chad Hardin: “I love that this page [when a guard spots Varric and shouts ‘Intruder!’] made it in uncensored. So many times in comics, I draw something and some stuffy lawyers come out of the woodwork and tell me to tone it down. Dark Horse and BioWare always let me have fun, and this turned out to be one of my favorite pages with Varric and Bianca. Any guesses to which word he is mouthing in the second panel?”

Alexander Freed: “Note the simple decency of Alistair as he gives his cloak, without comment, to Isabela. For all his flaws, he’s genuinely kind at heart - a rare enough trait in Isabela’s world that I think it’s much of what she values in him.”

Chad Hardin: “I love the opening panel to this chapter [the opening panels to Chapter 3, when the team are on a ship at sea]. It’s the image I use on the homepage of my website. This page was a gift to my cousin Wendy, who loves pirates. Seascapes with sailing ships might be clichéd in fine art, but for me it was a first.”

David Gaider: “I wanted to have this story center on the group travelling to a Witch of the Wilds other than Flemeth, and originally I had set it somewhere else - until I remembered a Codex entry from Dragon: Age Origins that offhandedly mentioned a witch in the Tellari Swamps. Brilliant! It’d look like I planned it all along. I didn’t.”

Michael Atiyeh: “I love opportunities where I can show a change in the time of day as you move from panel to panel [when the ship heads towards and the team arrive in the Tellari Swamps]. I feel the palette of each panel is very distinct and beautiful.”

Alexander Freed: “Why did Alistair choose two people he barely knows to be his companions on this quest? We never make this explicit, but of course Varric is on the right track. Alistair wants to surround himself with people who don’t know him and won’t judge him, yet it’s Alistair’s idealism that Isabela and Varric work to preserve.”

Chad Hardin: “Another page where the writing inspired the art [when the group suddenly encounter a dragon]. I love the dragon bursting onto the scene and Isabela’s stare. Some writers will try to cram six or seven panels on a page like this and the pacing just doesn’t allow the artist to give each moment the right punch. Can you imagine if the first panel was crammed into a single square inch?”

Chad Hardin: “Yavana was one of the only characters that we did no preliminary sketches for. I don’t know how that happened, but thankfully it worked out.”

David Gaider: “I love how Yavana looks like a cross between Flemeth and Morrigan. Flemmigan? She’s totally Chad’s design, and it’s great. Typical for these witches, she never says things straight. In my mind, this Alistair is the one who did the Dark Ritual in Dragon Age: Origins - and I was half-tempted to have him lose his cool in this first scene [opening panels of Chapter 4] with her. Too early, though.”

Alexander Freed: “Through this whole sequence [the page when Varric aims Bianca at Yavana], Yavana is dropping cryptic hints and Alistair is refusing to play along. He’s met Flemeth and Morrigan - he knows Yavana won’t give him a straight answer, and he won’t give her the satisfaction of asking needlessly.”

Michael Atiyeh: “Sometimes it’s the little things on a page that spark my interest. Here [when the team navigate vines and mud to get to the temple], the sunset panel came out great and the mud looks really thick and gooey. It’s fun to focus on these details and make them stand out.”

Chad Hardin: “I hated drawing this scene [when Isabela gets kicked] where Isabela gets the boot to the face. Call me old fashioned, but I was raised to believe that only a coward would ever hit a woman (even a battle-hardened pirate adventurer). I draw at home, and my girls often watch me work in my studio. This was a page I didn’t want them watching me draw. I do like, though, that Isabela gets up, yanks the arrow out, and then soldiers on (and later extracts brutal revenge).”

Michael Atiyeh: “Poor Isabela. It seems I gave her more bruises and black eyes than any of the other characters. [when Isabela is yanking the arrow out]”

Chad Hardin: “It’s always interesting to go back and look at artwork because it reminds me of what was going on in my life at the time. I inked this page [opening panels of Chapter 5] at a ‘draw night’ session at an anime convention in St. George, Utah. I was one of the special guests, but I missed the first day because I was at my grandfather’s funeral in Las Vegas, Nevada. Seeing this page brought back those memories.”

David Gaider: “‘Bianca says hello.’ [quoting the panels being referenced] I adore Varric. I was tempted to have him narrate the entire series [in reference to these three comics], but then again I liked the idea of having each series center on one of the trio’s viewpoints. This book belongs to Alistair, but that doesn’t stop Varric from getting all the best lines.”

Alexander Freed: “Claudio, of course, is not a terribly sympathetic figure. But I wanted to emphasize that he takes this fight as personally as Isabela - he sincerely loved Luis and blames Isabela for the man’s death. I think it’s important to give every character, even the most loathsome, some dignity. [when Isabela and Claudio are fighting]”

Chad Hardin: “Payback! Here is where Isabela extracts her revenge on Claudio [when Isabela stabs Claudio]. I never enjoyed killing off a character so much. I particularly enjoyed putting the look of shock in his eyes. He had it coming. There is something satisfying about killing a ‘made man’.”

Chad Hardin: “Every now and then when drawing comics, I wish I could animate some panels and watch them as a cartoon. It would be great to see this sequence [when Yavana catches Claudio’s soul] in full motion as Yavana snatches Claudio’s soul, makes it reenter his corpse and then extracts information from him until he bursts into flame. It was a very Hellboy-ish moment. I enjoyed the movie that played in my mind while drawing this scene. Hope everyone liked the result.”

Chad Hardin: “As I mentioned on page 17, I rendered the first four chapters in grayscale, which made the black-and-white art look great, but had a neutralizing effect when it came to colors. By the time I drew chapter 4, I had seen the effect it was having and decided to stop using the grayscale so the colors would pop. When I saw this page [when Alistair says to Yavana ‘And we helped you find it’] in print, it confirmed to me that I made the right decision. I honestly feel this art was the best of The Silent Grove.”

Chad Hardin: “I practically painted these pages [when Yavana says ‘It is permitted. Tonight and only tonight’] in thumbnails hoping it would help me choose how to render them in ink. It is so hard trying to figure out how to get a full range of value out of just black and white. There are some artists and inkers that make this look easy. Mark Schultz comes to mind. Michael saved my bacon. Colorists really do so much work when it comes to rendering; this page came out awesome because of him.”

David Gaider: “Here we reveal the existence of Great Dragons (as opposed to High Dragons), and also that Yavana was the source of the return of dragons to Thedas after their departure for so many centuries. But why? There’s the rub, and not even Alistair can trust that she’s telling him the truth.”

David Gaider: “Here’s the controversial scene [Alistair killing Yavana]. I think some fans don’t like that Alistair did this, and have said they consider it out of character. I don’t. From his perspective, Flemeth and her daughters have been toying with the world for reasons that can’t be trusted. They dragged Maric away from his family, from him. One might think his judgement foolish, but considering what Alistair was capable of deciding even back in Dragon Age: Origins, it’s certainly not out of character.”

Chad Hardin: “[same scene as above] This was a controversial page, and there were a lot of people who thought it was out of character for Alistair to kill Yavana (I didn’t see it coming - I mean, you just don’t kill a Witch of the Wild), but here is the thing: this page is Alistair acting as a king. Yavana has been manipulating him, trying to play him like a pawn, and he just can’t allow that. There’s too much at stake, for himself and for his subjects.”

Alexander Freed: “The end? An end, at least [the trio walking off into the distance]. The series needed a note of closure while leading into Those Who Speak (which wouldn’t arrive until many months later). David tweaked the ending in the outline several times, and I did my best to balance resolving Alistair’s emotional journey without resolving the quest. It’s not as clean as I’d have liked, but fortunately, now it’s all in one volume...”

Those Who Speak annotations

Alexander Freed: “Capturing Isabela’s narrative voice was much easier for me than capturing Alistair’s - partly because I’d already written The Silent Grove, and partly because of my own writing proclivities. Rereading now, I wonder if I laid on the (mild) profanity a bit too thick. I’ll leave you to judge.”

David Gaider: “I like the additional detail Alex and Chad put in, letting us see more of Qarinus and more of Isabela’s crew. Alex wanted to give her crew more of a presence, and let her first mate have some face time, so they weren’t just parts of the scenery. Good call on his part.”

David Gaider: “I’m really fond of the formal getups Chad made for the party. Isabela’s actually comes from a concept we didn’t use from the cancelled Dragon Age 2 expansion, if I remember right. And Maevaris came from me asking for ‘someone who looks like Mae West’ - with the wonderful outfit all Chad’s doing.

Chad Hardin: “Maevaris. I love Mae. When David and Dragon Age art director Matthew Goldman spoke to me about designing Mae, they wanted her to be fully female with the exception of her biology. They told me to think ‘Mae West’. Well, when I think of Mae West, I think of her... womanly shape. So, drawing Maevaris was always walking a fine line between portraying Mae’s identity and her biology. The process endeared her to me.”

Michael Atiyeh: “Just like in The Silent Grove, we are introduced to another gentleman from Isabela’s past [when the team meet Lord Devon and Isabela threatens him]. As was the case with Claudio, he will meet his fate at her hands.”

Chad Hardin: “When I was drawing Titus, my kids asked me why I was drawing ‘angry Jesus’ or ‘evil Jesus’. I can’t remember which term they used exactly, but it made me chuckle. I was going for a mix of Rapustin and Joe Stalin, but ‘evil Jesus’ would do.”

David Gaider: “I’m not sure it’s apparent here [when Alistair says ‘I’d really rather not’], but Alistair was supposed to be using one of his Templar powers on Titus (that’s why Titus recognizes what he is on the next page) and disrupting his magic.”

Alexander Freed: “Isabela is witty and charming enough that it can be easy to forget that she’s not, in fact, a nice person. Even after finishing the outline, David was concerned about making her too unsympathetic - but I loved his approach in this series. The dark deeds Isabela commits - this murder included [Isabela killing Lord Devon] - are what make her guilt tangible and no easy matter to overcome.”

Alexander Freed: “I thought the notions of Isabela’s pride in her captaincy and dedication to her crew were some of the most interesting aspects of her character in David’s story. In scenes here [when Isabela is on her ship saying ‘Keep them focused and keep them sober’] and elsewhere, I did my best to emphasize their place at the core of Isabela’s world.”

Chad Hardin: “Most of the time I draw from imagination, but because of the complexity of this page [Qunari trying to board Isabela’s ship] I decided it would work better if I had photo reference. On this page are my nephews Jared (Varric) and Adam, my niece Melissa, my kids Erica, Tasey Michaela (Isabela) and Chad (Alistair), my friend’s daughter Amy, my wife Joy, and the neighborhood kids as Isabela’s pirate crew. (The crew member mooning the Qunari is out of my ol’ noodle.) I paid their modelling fee in pizza and root beer. Also, I had originally drawn cannons on Isabela’s ship, so if there are parts of it that look slightly wonky, chances are there was a cannon there.”

David Gaider: “Ever since the BioWare artists finally did a concept for female Qunari, I’ve been itching to include one in the game. It’s always slipped through my fingers, so I was going to be damned if I’d have a Qunari plot in a comic - without the same technical limitations - and not have one present.

Chad Hardin: “I had no idea this was the first time anyone outside of BioWare had seen a female Qunari.”

Michael Atiyeh: “I really like the lighting in this sequence [Isabela in her cell thinking ‘I haven’t eaten in days’], especially the strong white light and the characters in shadow.”

David Gaider: “The entire sequence of Rasaan interrogating Isabela was something I plotted out in detail when this series began. Here they discuss names - something treated in a manner peculiar to the Qunari, considering how much importance they apply to what things are called (and not called), because it forms the core of their identity. Isabela brushes it off, but as we find out later it’s also at the core of her identity. I liked that parallel.”

Alexander Freed: “To balance out the relatively static talking pages elsewhere in the issue, I hoped to make the interrogation and flashback sequences beautiful and full of information. I proposed an approach to Chad, and he wisely reshaped it into what you see here [the page with the scene where Isabela says ‘I’ve made a lot of stupid mistakes’]. Anything that succeeds on these pages should be credited to him; anything that fails is my fault.”

Chad Hardin: “Probably the most challenging spread I have ever done. My friend Stacie Pitt was the model for Isabela on this page, and my wife Joy was Rasaan. I saved these pages [around the scene when Rasaan says ‘Mistakes can be corrected’] for myself.”

David Gaider: “Sten from Dragon Age: Origins becoming the new Arishok of the Qunari was something we'd planned even during Dragon Age 2. This was a great opportunity to show that, and also to show that Sten didn’t acquire horns even despite the makeover the Qunari received in DA2. Hornless Qunari are considered special, and Sten is no exception.”

Michael Atiyeh: “I think that David, Alex and Chad handled Isabela’s flashback [to when she was sold by her mother] in an interesting way, and it created a nice flow to the story.”

David Gaider: “This was a controversial scene [what happened to the slaves Isabela was transporting], the end result of a lot of discussions between me and Isabela’s original writer on the team, and it went through a lot of revisions over that time. It needed to fit with the story Isabela told the player in DA2, but fill in the blanks of what she didn’t tell. We didn’t want Isabela to be someone who became who she is because she was ‘broken’ but instead as a result of her own actions - yet also not be completely beyond redemption.”

Chad Hardin: “These were hard pages [as above] to draw. It was difficult knowing that events such as this are part of human history, such as the Zong massacre in 1781, where the British courts ordered the insurers to reimburse the crew of the Zong for financial losses caused by throwing slaves overboard when faced with a lack of water. Horrifying beyond words.”

Michael Atiyeh: “Here, Isabela visits here crew, and I wanted to play up that she was in the light and they were in a dark cell. The light streaming through the bars gave me the opportunity to highlight Brand, who also had dialogue in the scene.”

Alexander Freed: “I struggled to find a way for Varric to contribute to victory without distracting from Alistair and Sten’s big fight. I’m happy with the solution: a brazen lie seemed appropriate to the character without taking away from the main show.”

David Gaider: “I believe my original plan had Isabela’s and Alistair’s fight scenes happening separately, but I like how Alex intertwined them in the script and I especially like how this ends up highlighting the differences between their characters when their fights are resolved. Isabela is defiant, revealing her name not because Rasaan demands it but because it’s her choice. In both cases, mercy is strength.”

Michael Atiyeh: “The brush I created for the clouds really gave them a nice watercolor effect here [on the deck of the ship, Sten calling Alistair ‘kadan’]. That brush has become a staple in my toolbox.”

Alexander Freed: “With the strong theme of names running through these issues, I liked the notion that Isabela had outgrown being, well, ‘Isabela’. When her name comes up in Until We Sleep, it’s largely played with ambiguity.”

Until We Sleep annotations

Alexander Freed: “The story of ‘Arthur’ is one of my favorite minor sequences [Varric infiltrating and fighting his way into the fortress]. It tells us something about Varric and it delivers plot information - and it’s also a reminder that our heroes kill an awful lot of people during these series and cope with it in their own ways. In general, writing Varric let me skirt the edge of metacommentary, which I greatly enjoyed.”

David Gaider: “Varric, as always, is my ‘voice of the narrator’. Here he’s expressing some of my own amusement at Alistair’s growing list of peculiarities [‘Your majesty is quite the special snowflake’]. To think, back at the beginning of Dragon Age: Origins he was just the player’s goofy sidekick who grew up in a barn.”

Michael Atiyeh: “By the third series, Until We Sleep, I really started to have a complete feel for what I wanted the final art to look like. As an artist, it’s important to continue to evolve and grow. The close-up of Sten’s face [same page as above] is a perfect example of how I wanted the rendering on the characters to look.”

Alexander Freed: “David’s outline called for a short, somber reveal of the Calenhad story by Sten. Fueled by my desire to avoid ‘talking heads’ sequences, I scripted it as a full-on storytelling flashback. David made sure the history worked (at least from the Qunari point of view), and Chad did a beautiful job handling it in a mere two pages.”

David Gaider: “Blood is important in Dragon Age, as a theme. Here we tie in the dragon blood that was mentioned all the way back in The Silent Grove and explain what it means at last. I was a bit hesitant to tarnish the legend of Calenhad the Great in this way, but I comfort myself with the knowledge this tale is but a viewpoint and not necessarily the entire truth.”

Michael Atiyeh: “Titus melting the attacker is a great example of classic comicbook storytelling and exactly what made me fall in love with the medium.”

David Gaider: “I was really happy with how Chad handled the reveal of Mae as transgender [the scene with Mae in the cell]. My worry was that Varric finding her disrobed might be potentially titillating, but I think he handled it nicely. I only wish there was more time to have Mae properly respond to being exposed in this manner, even to a friend.”

Chad Hardin: “I originally drew Mae as female [same scene as above], then changed her anatomy, so the psychological violation and humiliation she felt would be the focus. Hope that came across.”

Chad Hardin: “When in doubt, have Bianca shoot it [Varric shooting the artifact].”

David Gaider: “This scene [Varric and Bianca the dwarf] with Varric was one I wanted to do for a very long time. We’ve hinted that Varric’s crossbow was named after a real person, someone he never wants to talk about. Now I finally had the chance to show why.”

Chad Hardin: “Of all my Dragon Age pages, this scene was hands down my favorite, because Varric is my favorite. It was awesome to get to draw Bianca in her dwarven form. These scenes give you a glimpse of the love Varric and Bianca shared. It doesn’t tell you the whole story, but you can assume plenty from what is shown. You get to see Varric mostly naked (you’re welcome), but most of all you witness Varric’s heartbreak. I felt privileged to draw it. I got so obsessed with drawing this page I did an entire watercolor painting based on the last panel [Varric gets up to leave, ‘This isn’t right’ - ? or perhaps the scene where he opens the door to leave].”

Alexander Freed: “Unreliable narrators are always tricky - done wrong, they can just confuse the reader. But I’m fairly happy with Varric’s lies throughout this series, most of which are used to downplay the emotional cost of events rather than whitewash the events themselves.”

Michael Atiyeh: “This palette worked perfectly [Varric standing in front of the doorway/portal in the Fade proper], but I can’t take all the credit because BioWare provided reference for the Fade. I added the hot orange energy for the doorway, which looks great with the sickly green sky.”

David Gaider: “This scene [Isabela’s Fade nightmare] was actually inspired by a fan named Allegra who did a cosplay as a Qunari version of Isabela. I knew I wanted something like this for Isabela’s Fade section of the comic, but it didn’t really solidify until I saw the cosplay.”

Chad Hardin: “Isabela is more affected by her encounter with Rasaan than we were led to believe. A portent of things to come?”

Michael Atiyeh: “I love this shot of Mae in the fourth panel [on the page where Isabela is affected by vines]. I would be remiss if I didn’t mention what a great character she is in the series, and Chad captures her beautifully in this shot.”

Alexander Freed: “I saw this issue as a sort of downbeat victory lap. Over the course of the previous series, our protagonists largely came to terms with the inner demons the Fade confronts them with here. The fact they’ve come so far lets them win this last battle... but they still have scars that will never completely disappear.”

David Gaider: “Maric was in the first two novels I wrote for Dragon Age. Seeing Chad’s rendering of him as a regal, grown-up version of Alistair made me incredibly nostalgic. Some characters you just never let go of.”

Alexander Freed: “I feel Varric’s lines (‘tell yourself the stories you need to tell’ but ‘never live your own lies’) are the natural endpoint of all the exchanges he’s had with Alistair, starting from the end of Chapter 1 of The Silent Grove. And of course it plays off the story of ‘Arthur’, as well.’’

Chad Hardin: “I’m happy with the way Titus came off in these pages [Titus attacking and saying ‘The last magisters of Tevinter were so close’]. He looks threatening and powerful when fighting Alistair, Isabela and Varric, but genuinely confused by his inability to defeat Maric. Bye-bye, evil Jesus.”

Alexander Freed: “I can’t help but feel for Titus. He was unthinkably corrupt, but I see him as genuinely motivated by Tevinter’s glory. (The fact Alistair reads zealous ideology as a lust for power says a lot about both characters.)”

Michael Atiyeh: “I love the seamless transition of color from Titus’ magic to the dragon breath and then back into the orange remnants of his magic in the smoke. This was a really fun panel to color [Titus saying ‘Die by what wrought you’].”

David Gaider: “‘You are not the dreamer here. I am.’ I always have a scene or a line that’s in my head when I begin a tale, and this line of Maric’s was one I wanted all the way back when I started working on The Silent Grove.”

Chad Hardin: “I love this page [Maric and Alistair clasping hands]; Mike’s colors are spot on. We get to see all our heroes in an ideal state for the last time. This is the last Dragon Age page I saved for myself.”

David Gaider: “This scene kills me [Alistair destroying the Magrallen]. I knew it needed to happen; I knew I wanted it to happen even back when I began the story. Alistair lets Maric remain in the Fade rather than dragging him back to a world which has moved on. Alistair’s ready to move on, but forcing him to give up that hope... it makes me feel like a bad person.”

Chad Hardin: “Heartbreak for Alistair as he realizes that once again, as a king, he must kill: this time, his own father (granted, the Magrallen did most of the work). I really like how Maric crumbles away in the end. This was my last page, and the emotions on the page and in my studio were very final. Altogether, this was a year of my life in the making. On my last page, I wrote a thank you to everyone involved, the crew at Dark Horse and the crew at BioWare. I’d like to take this opportunity to thank them again. It was a thrill. Finally, a huge thank-you to the Dragon Age fan community, whose support was overwhelmingly awesome.”

Michael Atiyeh: “As the story came to an end, I knew I was going to miss these characters. Writing these annotations reinforces the fact that I hope to work with this great creative team again one day. Many thanks to Dark Horse and BioWare for the opportunity to work on Dragon Age.”

Alexander Freed: “The tension between the art and the narration on this page [the one with Alistair sitting on his throne while nobles argue] is something you can only pull off in comics. Neither tells the full, bittersweet story alone. Similarly, these issues wouldn’t have been possible without everyone on the team; thanks to David, Chad, Michael, and everyone I lack space to list!”

Additional pages / art

Library Edition Volume 1 also came with some additional pages, with additional art and commentary. These are as follows (I’m including them for the sake of completion, click the links to see):

1. Alistair and dragon concepts

2. Rasaan and Maevaris concepts

3. Sten, Titus and Yavana concepts

4. A series of cover pages 1

5. A series of cover pages 2

In case anyone has trouble reading the notes that accompany these images, I’ve transcribed them below:

1. Dragon Age Sketch Book

Alistair Concept

Dragon Age / Dark Horse

Chad Hardin: “The headshot of Alistair is from a finished sketch with a rejected armor design. In order to save time, the redrawing was completed on the computer, where tweaks and changes are quick and easy, if somewhat less glorious.”

[Dragon] Head #1 / Head #2

Chad Hardin: “Everyone liked this dragon sketch so much that Dark Horse printed it for signings at conventions. You can see I did multiple proposals for the dragon’s head. It was more effective than drawing the body over and over.”

2. [arrow pointing to Mae’s sleeve] concealed [I think that’s what it says anyway] daggers / shurikens?

Chad Hardin: “When designing Rasaan and Maevaris, I wasn’t exactly sure how their roles would play out in the series. Maevaris’ outfit was inspired by brothel madams of the Wild West. I thought it would be cool to have some weapons concealed in the formal wear. These never came into play in the series, but they were there in my mind.”

3. Chad Hardin: “Although we only see Titus in his battle garb in one issue, I really liked the design of his armor. The sketch of Yavana was done on the fly and served as both a rough preliminary sketch and as a panel layout. You have to work hard and smart in comics to keep up with the deadlines.”

4. Cover Artist Anthony Palumbo: “This was my first assignment for Dark Horse, and I was both excited and nervous. I drew pencil sketches of the main characters, scanned them and played with different arrangements, poses and color schemes in Photoshop.”

5. Anthony Palumbo: “Fellow illustrator Winona Nelson helped me by sitting for photo reference. I created the mock-jewelry with gold-painted Sculpey. That’s a quick photo of my own gaping maw, to help with the image of Varric.”

#dragon age #bioware #video games #artevalentinapaz #alistair theirin #fav warden #morrigan #queen of my heart #long post #longpost

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fyeah-bangtan7 · 4 years ago

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The Boundless Optimism of BTS

IT IS THE MORNING OF CHUSEOK, A KOREAN HARVEST FESTIVAL akin to Thanksgiving, and the members of BTS would normally be spending it with their families, eating tteokguk, a traditional rice-cake soup. Instead, Jin, 28; Suga, 27; J-Hope, 26; RM, 26; Jimin, 25; V, 24; and Jung Kook, 23, are working. Practicing. Honing their choreography. In a few days, the biggest musical act in the world will perform in the live-stream concert that, for now, will have to stand in for the massive tour they spent the first part of this year rehearsing. At this moment, they’re seated inside Big Hit Entertainment headquarters in Seoul, South Korea, the house they built, dressed mostly in black and white, ready to answer my questions. They’re gracious about it. And groggy.

Before I’m done speaking with them for this story, BTS will have the number-one and number-two songs on the BillboardHot 100, a feat that’s been achieved only a handful of times in the sixty-odd years the chart has existed. Their next album, Be, is weeks away from being released, and speculation about the record, the tracklist, the statement, is rampant across the Internet. BTS are, to put it mildly, huge.

There is something about complete world domination that can really cement a friendship. What jumps out at me as I connect with the members of BTS is their level of comfort with one another. Tension has a way of making itself evident—even over Zoom, even through a translator. There’s none to be found here. They are relaxed in the manner of family. Lounging with their arms around each other’s shoulders, tugging on each other’s sleeves, fixing each other’s collars. When they speak about one another, it is with kindness.

“Jimin has a particular passion for the stage and really thinks about performance, and in that sense, there are many things to learn from him,” J-Hope says. “Despite all the things he has accomplished, he still tries his best and brings something new to the table, and I really want to applaud him for that.”

“Thank you for saying all these things about me,” Jimin responds.

Jimin turns his attention to V, explaining that he is “loved by so many” and describing him as one of his best friends. Suga jumps in, sharing that Jimin and V fight the most among the group. V replies, “We haven’t fought in three years!” They tell me this distinction now belongs to Jin and Jung Kook, the oldest and youngest members. “It all starts as a joke, but then it gets serious,” Jimin says.

Jin agrees and recounts what their arguments sound like. “Why did you hit me so hard?” he says, before mimicking Jung Kook’s response: “I didn’t hit you that hard.” And then they start hitting each other. But not that hard.

Since the start of their careers, BTS have shown a certain confidence in their aesthetic, their performances, and their music videos. It’s right there in the name: BTS stands for “Bangtan Sonyeondan,” which translates to “Bulletproof Boy Scouts,” but as their popularity grew in English-speaking markets, the acronym was retrofitted to mean “Beyond the Scene,” which Big Hit has described as “symbolizing youth who don’t settle for their current reality and instead open the door and go forward to achieve growth.” And their affection with one another, their vulnerability and emotional openness in their lives and in their lyrics, strikes me as more grown-up and masculine than all the frantic and perpetual box-checking and tone-policing that American boys force themselves and their peers to do. It looks like the future.

“There is this culture where masculinity is defined by certain emotions, characteristics. I’m not fond of these expressions,” Suga tells me. “What does being masculine mean? People’s conditions vary day by day. Sometimes you’re in a good condition; sometimes you aren’t. Based on that, you get an idea of your physical health. And that same thing applies mentally. Some days you’re in a good state; sometimes you’re not. Many pretend to be okay, saying that they’re not ‘weak,’ as if that would make you a weak person. I don’t think that’s right. People won’t say you’re a weak person if your physical condition is not that good. It should be the same for the mental condition as well. Society should be more understanding.”

When I hear these words in October 2020, from my house in a country whose leader is actively trying to make the case that only the weak die of COVID-19, well, it sounds like the future, too.

IF YOU ARE JUST NOW CONSIDERING GETTING INTO BTS, IT IS natural to feel overwhelmed by the sheer amount of stuff. It’s a bit like saying, right this second, “Let’s see what Marvel Comics is all about.” In the streaming age, BTS have sold more than twenty million physical units across fourteen albums. Their multi-album concept cycles, The Most Beautiful Moment in Life, Love Yourself, and Map of the Soul, have unfolded over multiple records and EPs. There are collaborations with brands, including a BTS smartphone with Samsung. There is a series of short films and music videos, called BU, or BTS Universe, and an animated universe called BT21, in which they’re all represented by gender-neutral avatars. Their fan base, known as ARMY, is a global cultural movement unto itself.

“Dynamite,” their first English-language single and their first American number one, is pure, ecstatic pop. Shiny and joyful. What sets them apart from many of their peers, and many of the pop acts who achieved worldwide fame before them, is what came earlier. Beneath the sheen and the beats has always been an unflinching examination of human emotion. Their lyrics seek to challenge the conventions of society—to question and even denounce them. BTS’s first single, “No More Dream,” unveiled at their debut showcase in June 2013, concerns the intense pressure South Korean schoolchildren face to conform and to succeed. According to Suga, lyrics about the mental health of young people were mostly absent in Korean pop music. “The reason I started making music is because I grew up listening for lyrics that speak about dreams, hopes, and social issues,” he tells me. “It just came naturally to me when making music.”

Suga’s early ambition of making music didn’t involve him being in a group at all. About a decade ago, in his hometown of Daegu, the fourth-largest city in South Korea, he started recording underground rap tracks under the name Gloss, listening to and learning from the early works of songwriter and producer Bang Si-hyuk, known as Hitman Bang. Bang is the founder and CEO of Big Hit Entertainment. In 2010, Suga, a junior in high school, moved to Seoul to join Big Hit as a producer and rapper. Then Bang asked him to become part of a group, envisioning a hip-hop act with fellow new Big Hit recruits RM and J-Hope. The guys call this “season one” of their development.

“At that time, I don’t think our label exactly knew what to do with us,” RM says. “They just basically let us be and we had some lessons, but we also just chilled and made music sometimes.”

It got more intense. The family grew, occasionally by accident.

V accompanied a friend to a Big Hit casting call in Daegu for moral support and ended up being the person chosen from those sessions.

Jung Kook was signed in a feeding frenzy after being dropped from the talent show Superstar K, fielding offers from numerous entertainment companies before settling on Big Hit because he was impressed by RM’s rapping.

Jimin was a dance student and class president for nine years running at his school in Busan; he auditioned at the behest of his teacher.

And then, to hear him tell it, Jin got picked up off the street. “I was just going to school,” he says. “Someone from the company approached me, like, ‘Oh, this is my first time seeing anyone that looked like this.’ He suggested having a meeting with me.”

“Season two is when we officially underwent hard training,” J-Hope says. “We started dancing, and that’s how I would say our team building started.”

School in the daytime, training at night. “We slept during classes,” V says.

“I slept in the practice studio,” J-Hope counters.

Hitman Bang kept the pressure comparatively low. And he encouraged the guys to write and produce their own music, to be honest about their emotions in their lyrics. Suga is on record saying that no BTS album would be complete without a track that scrutinizes society.

And yet for their new album, Be, they’re putting that aside. Even this has a greater purpose that relates to mental wellness: RM, the group’s main rapper, says, “I don’t think this album will have any songs that criticize social issues. Everybody is going through very trying times right now. So I don’t think there will be any songs that will be that aggressive.”

Though the new rules of COVID-19 mean they can’t come here and promote Be, its first single might not have happened in the first place but for the pandemic. “ ‘Dynamite’ wouldn’t be here if there was no COVID-19,” says RM. “For this song, we wanted to go easy and simple and positive. Not some, like, deep vibes or shadows. We just wanted to go easy.”

Jin agrees. “We were trying to convey the message of healing and comfort to our fans.” He pauses. “World domination wasn’t actually our plan when we were releasing ‘Dynamite.’ ” World domination just happens sometimes. You get it.

MAP OF THE SOUL ONE AIRED VIA THEIR ONLINE FAN PLATFORM and attracted almost a million viewers across 191 countries. The guys say they tried not to think about the enormousness. J-Hope adds, “I felt a little bit more nervous knowing that this was being broadcast live. I actually feel less nervous performing live at a stadium.” Jin replies with a smile, “J-Hope, born to perform at a stadium.”

The graphic layout of the title throws a colon between the final N and E, which makes it look like Map of the Soul On: E, and as I watch it live, as I do in my office at 3:00 a.m. with noise-canceling headphones and a steaming pot of coffee, it feels a lot like I’m watching Map of the Soul on E. It is an explosion of color and fashion and passion, over four gigantic stages, from the boozy swagger of “Dionysus” to the emo-trap introspection of “Black Swan.” Not a step, not a gesture, not a hair is out of place. If there were nerves, they didn’t come through.

There is also, at the end of Map of the Soul One, an intimate version of their 2017 track “Spring Day,” which encapsulates what’s really made BTS stand out. On the surface, it’s about nonspecific love and loss, about yearning for the past. “I think that song really represents me,” says Jin. “I like to look to the past and be lost in it.”

Fair enough, but there is an undeniable allusion, in both the song’s video and its cover concept, to a specific incident in recent South Korean history. “Spring Day” was released just a few years after the sinking of the Sewol ferry, one of the country’s biggest maritime disasters, in which a poorly inspected, overloaded ferry toppled in a sharp right turn. Hundreds of high school students drowned, having obeyed orders to stay in their cabins as the boat was going down. According to some reports, the South Korean government actively tried to silence entertainers who spoke out against it, with the Korean Ministry of Education fully banning the tragedy’s commemorative yellow ribbons in schools. I ask whether it was about a specific sad event, and Jin tells me, “It is about a sad event, as you said, but it is also about longing.” The song kept the disaster front of mind for young Koreans and for the media, indirectly leading to the impeachment and removal of then president Park Geun-hye.

If an overburdened, undermaintained, slow-moving vessel capsizing because of a reckless rightward turn strikes you as somehow symbolic of the country in which BTS are about to explode even further, you won’t hear it from them. “We’re outsiders—we can’t really express what we feel about the United States,” says V. But their actions speak volumes; in the wake of the George Floyd murder and subsequent protests in America, the group made a $1 million donation with Big Hit Entertainment to Black Lives Matter, one that was matched by BTS ARMY.

The fans offer a fascinating inversion of stan culture: Rather than bullying rivals like many other ardent online fan bases do, ARMY have put the positive message of the music into action. Their activism goes deep. Through micro-donations, they’ve regrown rain forests, adopted whales, funded hundreds of hours of dance classes for Rwandan youth, and raised money to feed LGBTQ refugees around the world. Where pop fans a generation ago might have sent teddy bears or cards to their idols for their birthdays, where five years ago they might have promoted a hashtag to get a video’s YouTube viewer count up, for RM’s twenty-sixth birthday in September, international fan collective One in an Army raised more than $20,000 for digital night schools to improve rural children’s access to education during the COVID-19 crisis. ARMY may have even entered the conversation around the 2020 presidential election when hundreds of thousands of Tulsa Trump rally tickets got snapped up online in June. The event’s actual attendance was pathetically low. No particular person or entity claimed credit for this top-notch trolling, but a video urging BTS fans to RSVP to that rally did get hundreds of thousands of views. We have no choice but to stan this fan base.

The relationship is intense. “We and our ARMY are always charging each other’s batteries,” RM says. “When we feel exhausted, when we hear the news all over the world, the tutoring programs, and donations, and every good thing, we feel responsible for all of this.” The music may have inspired the good works, but the good works inspire the music. “We’ve got to be greater; we’ve got to be better,” RM continues. “All those behaviors always influence us to be better people, before all this music and artist stuff.”

Yet for every devoted member of BTS ARMY, there is someone who’s looked right past BTS. Jimmy Fallon, whose Tonight Show hosted the group for a full week this past fall, was one of those people. “Usually if an artist is on the rise, I hear about them ahead of time. With BTS, I knew they had crazy momentum, and I’d never heard of them.”

Here’s a thought that used to be funny to me: There were members of the live audience of The Ed Sullivan Showon February 9, 1964, who weren’t there to see the Beatles. Elvis was in the Army, Buddy Holly was gone, and the three number-one albums in the months before Meet the Beatles! were an Allan Sherman comedy record, the West Side Story original cast recording, and Soeur Sourire: The Singing Nun. America had left rock ’n’ roll behind for the moment, and with the culture aimless and fragmented, it wasn’t quite sure what to pick up in its place. It is possible to imagine that a youngish, reasonably hip, and culturally aware human being might cop a ticket to that week’s show, settle into his seat, and say, “Bring on a medley of numbers from the Broadway musical Oliver! and banjo sensation Tessie O’Shea.”

The instinct is to laugh at that guy, and it’s a good instinct, because what a dope.

And then you become that guy.

Sometimes there is a whole universe alongside your own, bursting with color you’re too stubborn to see, bouncing with joy you think is for someone else, with a beat you thought you were finished dancing to. BTS are the biggest thing on the planet right now, yet the job of introducing them to someone new, particularly in America, seems like it’s never done. Maybe it’s because they are adored by screaming teenagers and we live in a society patriarchal enough to forget that screaming teenagers are nearly always right. Maybe it’s the cultural divide, in a moment when our country is unashamed enough of its own xenophobia to get openly bent out of shape when it has to press 1 for English. Maybe it’s the language barrier, as though we understood a single word Michael Stipe sang before 1989.

Whatever the reason, the result is that you might be missing out on a paradigm shift and a historic moment of pop greatness.

IF BTS SEEM A BIT CAUTIOUS WITH THEIR WORDS PUBLICLY, IT’S because—perhaps more than any other massive pop act in history—they have to be. Shortly after our second meeting, BTS were given the General James A. Van Fleet Award by the U. S.–based Korea Society for their outstanding contributions to advancing relations between the United States and Korea. In his acceptance speech, RM said, “We will always remember the history of pain that our two nations shared together, and the sacrifices of countless men and women,” as seemingly diplomatic and innocuous a statement as he could have made. But because he didn’t mention the Chinese soldiers who died in the Korean War, it didn’t go over well. The Samsung BTS smartphone disappeared from Chinese e-commerce platforms, Fila and Hyundai pulled ads in China that featured the group, the nationalistic newspaper Global Times accused them of hurting Chinese citizens’ feelings and negating history, and the hashtags “BTS humiliated China” and “there are no idols that come before my country” began trending on the social-media site Weibo. The pressure is not small.

Even as the number-one pop group in the world, even with their hard work day in and day out, even with tens of millions of adoring fans redefining the concept of “adoring fans” by literally healing the planet in their name, these guys still suffer from impostor syndrome. RM explains, “I’ve heard that there’s this mask complex. Seventy percent of so-called successful people have this, mentally. It’s basically this: There’s this mask on my face. And these people are afraid that someone is going to take off this mask. We have those fears as well. But I said 70 percent, so I think it’s very natural. Sometimes it’s a condition to be successful. Humans are imperfect, and we have these flaws and defects. And one way to deal with all this pressure and weight is to admit the shadows.”

The music helps. “When we write the songs and lyrics, we study these emotions, we are aware of that situation, and we relate to that emotionally,” J-Hope says. “And that’s why when the song is released, we listen to it and get consolation from those songs as well. I think our fans also feel those emotions, maybe even more than us. And I think we are a positive influence on each other.”

If there’s one thing they’re sacrificing, besides free time and the ability to speak freely without the Chinese foreign ministry releasing an official statement, it’s a love life. I ask about dating, broad questions like “Are you?” and “Is there time?” and “Can you?” and the answer to all of them is pretty clear: “No.” “The most important thing for us now is to sleep,” Jung Kook insists. Suga follows right up with “Can you see my dark circles?” I cannot, because there are none, because flawless skin translates even over Zoom when there’s an ocean between us.

So they’re not, at least publicly, having romantic relationships with anyone. If there is a strong relationship that’s guided their journey into adulthood, it’s with Big Hit. “Our company started with twenty to thirty people, but now we have a company with so many employees,” RM says. “We have our fans, and we have our music. So we have a lot of things that we have to be responsible for, to safeguard.” He considers it for a moment. “I think that’s what an adult is.”

“Our love life—twenty-four hours, seven days a week—is with all the ARMYs all over the world,” RM adds.

In a world that is determined to sand down anything that isn’t immediately recognizable to the average pop-music fan, when it comes to acquainting you with Korean culture, BTS very much do not wanna hold your hand. While the first song on night one of their Tonight Show week was a joyous but expected take on “Dynamite” with Fallon and the Roots, they took some chances during their second performance.

As a friend of mine, a thirty-three-year-old BTS fan in Los Angeles, told me, “The second song they performed was ‘IDOL,’ ” from 2018’s Love Yourself: Answer, “and it celebrated their Korean identity. They performed it in Gyeongbokgung Palace in Seoul. They wore clothes inspired by traditional dresses called hanboks;it was almost entirely in Korean, so it felt super subversive. As a fan, I read it as: ‘Dynamite’ was an invitation, and this is who we are and this is our home.”

“I was a little concerned that people might not understand,” Fallon says. “I was like, ‘There’s nothing in English here.’ But what you see is just pure star power. Pure talent. Immediately, I thought, Oh, this is everything. If you’re that powerful, it transcends language.”

American popular music in the twenty-first century is more fragmented than it has been since . . . well, since Allan Sherman, Leonard Bernstein and Stephen Sondheim, and the Singing Nun battled for that number-one spot. The monoculture that the Beatles helped bring on has breathed its last breath. Each of us is the program director for our own private radio station, letting our own past habits and streaming-service algorithms serve up something close to what we want. Which is great, except that huge moments can whiz right past our ears. Each of us, even if we’re more clued in than our parents were when they were our age, can miss some era-defining, excellent shit. Particularly if the radio is our Spotify Discover Weekly, or the Pandora channel based on the band whose T-shirts we wore in college. We can let a moment pass us by if prime time is a Netflix binge, and the Tonight Show hour is spent on one more episode before bed. But we shouldn’t. “Honestly, I think it’s history that we’re living through with BTS,” Fallon says. “It’s the biggest band I’ve seen since I’ve started late night, definitely.”

THERE IS ALSO THE SMALL DETAIL THAT, UNLIKE THE BEATLES AND literally every other worldwide sensation to break in America, BTS don’t particularly need to go to the trouble. They are massive all over the world. Thanks to the recent IPO of Big Hit Entertainment, of which each member is a partner, they are all now incredibly wealthy. (Hitman Bang is the first South Korean entertainment mogul to become a billionaire.) What good is a culture in decline to a pop act this much on the ascent? “When I dreamed of becoming an artist, I listened to pop and watched all the awards shows in the United States. Being successful and being a hit in the U. S. is, of course, such an honor as an artist,” says Suga. “I feel very proud of that.”

They’re breaking out in a country that either worships them or fails to notice them. So do they feel like they’re getting enough respect in America? “How can we win everyone’s respect?” Jin asks. “I think it’s enough to get respect from people who support us. It’s similar everywhere else in the world. You can’t like everyone, and I think it’s enough to be respected by people who really love you.”

Suga agrees. “You can’t always be comfortable, and I think it’s all part of life. Honestly, we are not used to getting a ton of respect from when we first started out. But I think that gradually changes, whether it be in the States or other parts of the world, as we do more and more.”

There is, without a doubt, one colossal, unmistakable sign of respect for a musician: a Grammy. They’ve been nominated only once, and even then it was for best recording package. But their sights are set on a big one next year. RM puts it out there: “We would like to be nominated and possibly get an award.” Dragging the hoary, backward-looking, and Western-focused Grammys into the gorgeous, global world of the present through sheer force of will, talent, and hard work? Stranger things have happened. “I think the Grammys are the last part, like the final part of the whole American journey,” he says with a smile. “So yeah, we’ll see.”

The Recording Academy’s seal of approval is one thing. But BTS have already conquered the world, clowned tyrants, inspired individual fans to perform the small and achievable acts of activism that have collectively begun to save the planet, challenged toxic masculinity by leading with vulnerability, and, along the way, become bajillionaires and international idols. Whether the Grammys are paying attention matters about as much as what an Ed Sullivan audience member expected to see that night in 1964. BTS have already won.

#bangtan #jungkook #jimin #v #suga #jhope #jin #rm #o:esquire #o:interview #201123

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afaimsarrowverse · 4 years ago

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Arrowverse Update 2021:

I am doing one more of those before the new Seasons are rolling in, because we got major news about one project and some more bits about everything else, so… let’s start with the bad news and then continue with the rest:

Green Arrow and the Canaries

Is officially dead. It is currently unknown if and how we are going to get a resolution of the cliffhangar from the Backdoor-Pilot and its other open plot-threads. Yes, we were promised that all of this would get resolved somwhere else, if the show would not get picked up, however that was one year ago. Since then a lot has changed.

The main problem is that the project was just buried a couple of days ago, meaning that there is no chance for anything of this to be resolved in this TV-Season, which is already completly planned through for all the Arrowverse-Shows (and even half filmed already in some cases). The other problem is that a good portion of the people responsible for „Green Arrow and the Canaries“ is not a part of the current Arrwoverse anylonger. Yes, Marc Guggenheim could come back just to do a Crossover that resolves all that is still open, but why would The CW want its next Crossover Event to revolve around a never picked up show? There would have to be something else in that Crossover Event, provided one of those could even happen any time soon. As for doing just a singular episode the problem is where. The shows with ties to „Green Arrow and the Canaries“ might not be around any more or be in their final season by the time such an episode could be made, and all of the shows might again get shortened seasons, so the producers are going to have other priorties for their own shows in the next year.

So we might not get a resolution to „Green Arrow and the Canaries“ at all. On Televison that is. There is the alternate route though: A Comic Continuation.

As of now however it’s way to early to know anything for sure though. They are looking into it, but as I said, things are a lot more complicated right now, then they were a year ago.

youtube

Batwoman

Season two is rolling around in a few days, therefor they released a new accurate synopsis and The CW has been and is still putting out a lot of promo material. You can watch most of it on Youtube.

A couple of days after I wrote my last one of these, it was reported that Christina Wolfe will be part of the main cast this season. In other news, we also were told that we will get yet another version of Victor Zsasz. The Arrowverse-Version will be played by Alex Morf.

Also David Ramsey will guest star as John Diggle and also direct an episode (but probably not the same one). And yes, this might be the Crossover Episode. However is has to be said that is has become awfully quite around that illusive „Batwoman“/“Superman&Lois“-Crossover. Given the news about David Ramsey being in all shows, it might have been replaced by a Diggle-Storyline that goes through all the shows including „Batwoman“. We will have to wait and see.

The Season opener will go into Kate Kane’s fate (without her being in it though) and Gotham will have to confront the False Face Society and new drug called Snakebite in the opening episodes. The tone of the new Season might be drastically different from before, there are hints for that, and I am not speaking about BLM instead of LGBT-issues. The words „goofy“ and „fun“ are kind of present, if you know what I mean, however this could just be promotion.

As for the episodes:

2.01 „Whatever happend to Kate Kane?“ (Directed by: Holly Dale, Written by: Caroline Dries, Airdate: January 17 2021)

2.02 „Prior Criminal History“ (Written by: James Stoteraux & Chad Fiveash)

2.03 „Bat Girl Magic“

2.04 „Fair Skin, Blue Eyes“ (Directed by: Menhaj Huda, Written by: Ebony Gilbert)

2.05 „Gore on Canvas“

Black Lightning

Everyone is still very tighlipped about the final Season of „Black Lightning“. So I have nothing new, apart from titles (which are in line with the previous seasons and therefore not telling us anything, if we are honest):

4.01 „The Book of Reconstruction: Chapter One“ (Airdate: February 8 2021)

4.02 „The Book of Reconstruction: Chapter Two“

4.03. „The Book of Reconstruction: Chapter Three“

4.04 „The Book of Reconstrucion: Chapter Four“

4.05 „The Book of Ruin: Chapter One“

4.06.

4.07 „Painkiller“-Backdoorpilot

The Flash

So, yes, someone on the Production Team was tested posivite, and they had to shut down the production for a short period of time because of this, but it remained a pretty isolated case (or so it seems) and the production did resume. To make up for the lost time the Christmas Break was shortend, and they are back to filming already, so no need to worry, everthing is on schedule.

This season will see the return of John Diggle to Central City. David Ramsey will also direct an episode (but probably not the same one). We will also see the return of the Meta-Human Task Force, which will clash with Frost. This storyline will also involve Joe. Eric Wallace has hinted before that there will be a storyline involving the police and abuse of power with Joe in it, and I did assume it would be BLM-storyline, however this is „The Flash“, so this storyline might be what he talked about instead, and we might get a Meta-Human are being hunted and abused-Storyline as a substiute.

As for the first couple of episodes:

7.01 „All’s Wells that Ends Wells“ (Airdate: Feburary 23 2021)

7.02. „The Speed of Thought“ (Airdate: March 2 2021)

7.03 „Mother“ (Airdate: March 9 2021)

7.04 „Central City Strong“( Airdate: March 16 2021)

7.05 „Fear Me“ (Airdate: March 23 2021)

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Superman & Lois

The new Morgan Edge is in and it will be Adam Rayner, who will inherit the role from Adrian Pasdar. We also learned that Joselyn Picard will play the other Cushing-Lang-Daughter Sophie. Reporters we will get to meet on the show not only include Ron Troupe but also Chrissy Beppp played by Sofia Hasmik, while Leslie Larr played by Stacey Farber will be a cold former idealist, probably tied to Morgan Edge, and presumable an antagonist.

David Ramsey will guest star as John Diggle somewhen this season and will direct an episode as well. He will make his way through most of the shows (as Diggle) and might be the Crossover-Factor of this season. Even though the „Batwoman“/“Superman & Lois“-Crossover is not officially of the table, we haven’t heard anything about it in a while, so maybe this actually is it.

We got a proper look at the new suit and also the first real trailer, which is … unusal. More artsy then revealing, but is around one and a half months until the season starts, so there will be another trailer coming out soon.

The first couple of episodes:

1.01 Pilot (Directed by: Lee Toland Krieger, Written by: Greg Berlanti, Todd Helbing, Airdate: February 23 2021)

1.02 „Heritage“ (Airdate: March 2 2021)

1.03 „The Perks of Not Being a Wallflower“ (Airdate: March 9 2021)

1.04. „Haywire“ (Directed by: James Bamford, Airdate: March 16 2021)

1.05 „The Beacon“ (Airdate: March 23 2021)

Legends of Tomorrow

Aliyah O’Brien will guest star as Kayla a fearsome deadly alien warrior in this season, who won’t be to happy about the Legends, because she is a pro, and they are …. well … the Legends. David Ramsey will also guest star this season, however he won’t be playing John Diggle, but another role instead. Who or what this other role will be remains a mystery. He could play Diggles ancenstor or descendant, if time travel is still an element in Season 6, or a shape shifting alien or an illusion, however they could also go full prosthetics and have him playing a character with no connection to Diggle at all.

David Ramsey will also direct an episode this season. Caity Lotz did already direct an episode, Episode 5, and given that she tweeted about the strain of directing and acting at the same time, we will see more of Sara in this episode than in last year‘s „Mortal Khanbat“. However still expect less Sara in Episode 4 and 5 than usual.

There was an early air-date floating around for „Legends“, which proofed to be a mix-up. Don‘t expect Season 6 (or any mid-season replacement for that matter) before the end of May, and even that would be early.

As for the episodes:

6.01 „ Ground Control to Sara Lance“ (Directed by: Kevin Mock, Written by: James Eagan & Mark Bruner)

6.02 „Meat: The Legends“ (Directed by: Rachel Talalay, Written by: Matthew Maala & Morgan Faust)

6.03 „The Ex-Factor“ (Directed by: David Geddes, Written by: Grainne Godfree & Tyron Carter)

6.04 „Bay of Squids“ (Directed by: Sudz Sutherland, Written by: Phil Klemmer)

6.05 „The Satanist’s Apprentice“ (Directed by. Caity Lotz, Written by: Keto Shimizu, & Ray Utarnachitt)

6.06 „Bishop’s Gambit“ (Directed by: Kevin Mock, Written by: James Eagan & Emily Cheever)

Supergirl

Here we are again, with crumbs only. I still can’t tell you anything with value that happens this season. A couple of casting tapes leaked, one involving a prison break plot, however there is no telling if this isn’t just a single scene that leads to something totally different or the beginning of an actual sub-plot. We do know however that Young Alex and Young Kara will make their return this season.

We also know, that „Supergirl“ is about the only show on this list that does not have a finished Episode 1 as of now. They might have one or two finished episodes around Episode 5 or 6, but that’s it.

The reason we know this is that even though they are up to Episode 6 with filming, just like the other Vancouver-based shows, they did start a lot later, meaning they did not film whole episodes. The other reason we know that is that Melissa is just returning to the show this months. And there is no way she won’t be in Episode 1. She might sit out a couple of episodes that star Young Kara and Young Alex instead, but there is no way she won’t be in the first six episodes at all.

We will also get less Alex this year, or tob e more accurate less Chyler. She is having her directorial debute this season. Episode 6 is her episode, and this is the one with Young Alex und Young Kara in it. However present day Brainy und Nia are also in it, so it won’t be a total Flashback Episode. However, expect Chyler Light Episodes 5-6. Episode 7 will be directed by David Harewood. David Ramsey will also direct an episode this season and will guest star as John Diggle, however probably not in the same episode.

Also Odette Annable is back for the final season in some capacity. Wether as Sam or as Reign or both and for how much is unknown at this point.

And yes, „Supergirl“ is also the only show on this, where I can’t give you an episode list, because this is all we know.

Yes, it is the final season and they are extra-tight-lipped because of that, and also as I said they don’t really have finished episodes at this stage, but still it would be nice, if someone up there in Vancouver or someone from the Writer’s Room would give us anything. But it seems like they are holding back with any kind of promotion at least until Melissa starts filming if not longer.

#Arrowverse #green arrow and the canaries #Batwoman #Batwoman Season 2 #Black Lightning #Black Lighting Season 4 #The Flash #The Flash Season 7 #superman & lois #legends of tomorrow #Legends of Tomorrow Season 6 #Supergirl #Supergirl Season 6

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takaraphoenix · 4 years ago

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Buffy Season 8: Review

It’s bad. It’s just... really... bad. That’s the TL;DR of this review. There was one (1) good thing about this season and that was the return of Oz. So if you’re looking for something that hypes season 8? This is not it. If you are confused, angry or salty about season 8? Hi, yes, me too.

Starting at the beginning. At first, I was really happy that they introduced more characters of color, with Renee and Satsu. And when Renee was then even “promoted” to Xander’s love interest? Nice. The two were even cute.

But no. That was all just the set-up to fridge her. Which, I am so very tired of that trope. And that is what that was. That wasn’t just a slayer dying during a fight. The entire issue of her death focused on her and Xander, building up to their relationship, setting them up for their first date, having her be prominently featured, just to then kill her off and have Xander avenge her.

What made it feel even worse - worse than just the fridging - was that they really had to fridge one of their very few women of color. And, to top it off, spend the entire issue in which she dies having her subjected to racism. Just great. Really, you managed to make an already shitty trope even worse. That’s impressive.

The racism itself too. Dracula. They just decided to make Dracula totally racist now, huh? and it doesn’t get a pass just because Xander points out in the comic that he doesn’t remember Dracula being this racist. Because he wasn’t. This Dracula just throws around slurs left and right in a way that feels more like the writers just really wanted to use slurs. Because the character? He was suave, charming, heck he charmed the straight men and the lesbians too when he was on the show. He was a smooth talker. This Dracula? He just... He was just racist and rude in general. Why.

Moving on from the racism to the next failure in rep. The gays. At this point in time I am simply convinced that Joss Whedon is entirely unfamiliar with the concept of bisexuality.

I know I’ve already made a separate post complaining about this, but it needs mentioning in the review of the season too. Having Buffy hook up with a lesbian twice, but #NoHomo, just a straight girl in her “experimental phase”. That’s just cringey and also offensive. Just... make her... come out as a bisexual? It’s not like the writing in the show hadn’t already set her up with quite the bi vibes.

Instead, the narrative made it sound like the only options would be to be straight or to now suddenly turn “into” a lesbian. Which is also offensive on itself, because - as this very show had proven on screen - lesbians can come out later in life and genuinely, I adore Willow’s arc. For her narrative, it fit to have her come out as a lesbian, the circumstances and her life fit for that. I absolutely agree that it would have been weird for Buffy to have a sudden coming out as a lesbian at that point in her life and after everything, but referring to it as turning into a dyke was just not great.

And lesbian wasn’t the only option. Though, I’m unsure Whedon knows that, considering that 6/6 canon queer characters are homosexual and 4/4 wlw are lesbians. They just keep introducing more lesbians - which, as a lesbian I am always in favor of more lesbians. However, when you have a very small number (2) of queer characters, it figures you can not cover all the sexualities and it’s even fair that even with two, you still choose to have them both be the same sexuality. But... the more you add? The more questionable it becomes that you limit it to one sexuality only.

This arc would have so beautifully set up for Buffy to come out as bi. But no.

And while we’re on the wlw; one of the things I always loved about Buffy was that the lesbians weren’t just there for the male gaze, they weren’t oversexualized. They desired each other, they even had sex. But... in a normal frame work, to a normal amount, meaning equal to how the straights were handled. I always liked that, because especially in early days, lesbians were usually just there to look really hot and have hot sex that straight men could get off to. Well, consider me very unimpressed with the comics, because... man are lesbians sexualized now. Willow gets a hot constantly naked snake goddess girlfriend whom she can only contact by - and I am not making this up - having an orgasm. So we prelude the trip by her having sex with Kennedy, before waking up all nude in snake goddess’ realm and usually having am makeout session or sex with her too while doing whatever business she has with her. So much nakedness, so much oversexualization. Really... disappointing.

Staying on the romance but turning to the other Summers sister, I truly can’t believe they made Xander/Dawn canon. Like, I can not comprehend they decided to make that a canon ship.

Sure, Dawnie’s had a crush on Xander since the literal beginning of Dawn. And that was... cute, honestly. Fifteen year old girls have crushes on cute older guys who are nice to them. Figures. Adorable. But she kind of... grew out of that over the course of the show? Or so it seemed...

And Xander. One of the things I loved about Xander was that Dawn was always a total no go. She was Buffy’s sister, heck, she was kind of every Scoobie’s little sister. He had always had brotherly advise for her. Heck, in this comic he points out that it’s weird since he’s known her since she was little - and yeah it is. It’s not weird when two people were both little together, but when one was sixteen when the other was eleven and one has babysat the other? That’s weird.

Getting infinitely more disturbing by the fact that she... literally... just turned eighteen. If they had put this into a rather later season, or a bigger time skip, had Dawn been A WomanTM for a few years now and Xander had gotten around to separating the idea of kiddo!Dawnie from the woman she has become, but Dawn is only eighteen, she hasn’t become a woman yet. She just turned legal to bang and thus, a switch was flipped in Xander’s mind, putting her on his radar. And just... no. Why.

And even beyond this decision; Dawn spends the first third of this season being slut-shamed in ridiculous ways. Which is also tiresome. I am the last person to defend cheaters, but there’s a difference between “You cheated and are being held accountable for it” and “You cheated so now you are cursed to be a giant, a centaur and then a porcellain doll for weeks at a time, being publicly humiliated and having control over your body taken away from you”. That was... sure a choice.

Moving on to the actual main problem of this season. The plot.

Starting with the incomprehensibly dumb idea of “hey let’s retreat to Tibet, put a huge target on Oz’s new home and get rid of all of our magic. surely that will not come to bite us in the arse when the bad guys find us”. Naturally, it came back to bite them in their collective asses. This was just... No one objected or pointed out how dumb that plan was? Really? No one? Really?

Anyway, let’s talk villains. And work our way up there. The return of Amy and Warren. Once again, I ask why. I’m still salty about the 180° Amy did from sweet Wiccan to wicked bitch after her stint as a rat, but having her now... hook up with Warren, the second biggest misogynist on this show, who is also skinless. She used a spell to keep him alive but she couldn’t... give the spell a color? Anything? Anything to not make him look flayed? Because this was just unnecessarily gross body-horror.

Not to mention the... lack of reaction? Sure, some spoke grumpily against working with Warren. But... this is Warren. The guy who killed Tara when he was trying to kill Buffy. There really should have been more breather-scenes of the Scoobies talking about this, digesting the fact that the guy was still alive and more so when they worked with him.

But nevermind them, because they’re working for Angel. Because Angel’s the villain behind this season. I mean, he was manipulated into that by Twilight, but manipulated means he still chose to do it.

Now let me preface that I might not ship Angel/Buffy, but that really only factors marginally in here, because this plot would be bullshit even if it were my OTP.

We now retcon the creation of the Slayers as not just being something dirty old men did in a cave, it was now all the greater plan of the universe. Which. Might have worked had Slayers been... naturally occuring. And not created by men, forcing this upon a young woman. Sure, what people do can be seen as the greater plan of the universe too if you will, but that seems like a cop-out that absolves bad people of their bad choices and deeds.

Anyway. The universe created Slayers and vampires and the ““balance”“ between them (which is bullshit anyway because 1 Slayer vs thousands of vampires... not balanced at all), including the now supposedly destined romance between Angel and Buffy.

Both get rewarded with super-powers now so they can super-fuck and thus give birth to a new universe. That universe is called Twilight and manifests as a burning, winged, green lion who can talk (because that sure is how I always headcanoned Angel/Buffy’s children to look like /s) and who, through time-travel shenannigans, has been manipulating Angel into his own creation.

The magic pull between them is so strong that it overrides the “Angel just caused the death of over two-hundred Slayers” so Buffy fucks him.

At which point I just... this season was flat-out character assassination of Angel? He was manipulated by the bad guy. Not controlled, manipulated. He caused the death of hundreds. He threw everything he stood for and believed in out the window for the promise of a paradise where he could be with Buffy, when the real Angel has chosen other things, higher goals, over being with Buffy over and over again, because that’s what they do. That is their whole thing, they choose the good of the world over being together. They have always been a “will they/won’t they?” where the answer is they won’t, because they know they are needed elsewhere, by others. But now Angel just... doesn’t care about all that anymore, or heck about his own son and his friends, ready to abandon everything for this.

And then when Twilight is born and consequently abandoned by Buffy, who still prioritizes her friends, family and the world over being with Angel, Angel actually... needs convincing in the abandoning? Because, again, character assassination. Ultimately, Angel gets controlled by Twilight and used to kill Giles and try to kill Buffy.

But thanks to the Deus Ex Machina of Spike dropping in in the final arc, they know how to stop this. He hasn’t been in this season so far, because - truly in line with this season - he was off being the king of a race of alien bugs, traveling in their space-ship.

To stop this all, they go back to Sunnydale, where of course the “heart of the Earth” is located, the seed that contains all magic, and destroy it, and with it all magic. Also, the Master was apparently always just there to guard that seed. He is now back from the dead!

Let me summarize that once more, just for emphasis: The universe wanted Buffy and Angel to fuck so they can give birth to a new universe that personifies as a green, winged, burning lion but before it can destroy our universe, Spike, now king of an alien bug race, delivers the solution to go back to Sunnydale and destroy the seed of all magic that is being guarded by a resurrected Master.

How do you read that with a straight face? How do you pitch that? This is just so incomprehensibly stupid.

We end the comic with Buffy as a waitress, hated by many, Xander and Dawn now have an apartment and are playing house, Willow broke up with Kennedy because she realized she is in love with the snake goddess she will now never get to see again, Giles is dead, Faith somehow inherited everything from Giles and she is also the designated Angel-sitter now.

#Buffy Season 8 #Buffy Review #Buffy the Vampire Slayer

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dirtydragonthoughts · 3 years ago

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Orion Pax: Free Fall (IDW2 Issue 6 Review)

Summary: Optimus takes the spotlight! Even a bot as wise as a leader of the Autobots needs guidance now and again, so Optimus turns to Codexa—a Cybertronian who has grown into the very planet itself. Will she help Optimus settle his problems with Megatron or will she lead them both to ruin?

Review

After the introductory miniseries, we take a step back and get some back story on Orion Pax and Megatron, and their early friendship. If you are reading this through in a collection now, this would be a good place to stop and consider what happened in the last issue, and gives you a breather before the story moves on. But when it was released, it was a strange segue into the next phase of the story: we ended on a cliff-hanger in issue 5, and step away from those events.

Orion has gone to speak to Codexa about what's troubling him (specifically on how to proceed, especially in light of the troubles with the Rise and the Ascenticons). But most of the issue is flashbacks of his friendship with Megatron: the two of them working to clean up Cybertron after the war, and Megatron doing some (probably illegal) extreme sports shit on a whim.

Overall, this issue seems to be setting the groundwork for the history that Megatron and Orion had, to set up what happens next.

Favourite Panel

I wrote a fic inspired by the text in this panel.

Culture

Megatron mentions the arena that is being built as part of the reconstruction, and Megatron plans to participate in the bouts, "getting everything back to how it was before the war."

Also I was amused by the apparently automated assistant on the space elevator. It sounded very polite, exactly the sort of thing you'd hear on something like the SkyTrain in Vancouver.

Megatron also tosses in an offhand comment that they won't be allowed to do things like "jump out of the space elevator" when they're a senator and head archivist. Propriety is apparently a thing.

Planet

As Orion and Megatron fall towards the surface, we get a good aerial view of the planet. Megatron tells Orion to aim for the Lechate Lagoons, which end up being pools of greenish liquid or muck. (The pools must be pretty deep, because he fell into them from a pretty big height!)

Physiology

This issue starts getting into the idea of immersants. We get a few more dribs and drabs about this later on, but... Apparently some Cybertronians, when they've decided they are done with everything, let themselves get reabsorbed by the planet. It's a conscious choice, based on a comment Orion made. Gradually the immersant's consciousness becomes one with the planet, and they drift off that way peacefully. We see Codexa in a cave, surrounded by others who have also gone immersant, so there might be specific areas where they can do this.

Immersant Cybertronians apparently become less and less "present" as they get absorbed, as Orion implies when he asks whether Codexa is still there.

Politics and History

We get some ideas of how much time has passed: the scene with Megatron and Orion helping clean up after the war was two megacycles ago, while their jump from the tether was three hundred kilocycles ago.

Megatron says he'll stand for the Ascenticons as a Senator, and Termagax was their founder. Orion does not agree with their policies.

We also get another hint about the War for the Threefold Spark, in that someone named Exarchon was their leader. Orion called Exarchon the Threefold Spark, and mentions that there was something unique about him. Interesting...

But most importantly we get the (abbreviated) text of the Nomimus Edict. Basically, it seemed to be passed in reaction to what happened during the war: No expansions, no energon harvesting anywhere there are already inhabitants, rationing and energy conservation, and a ban on weapons that aren't part of your body. This is what the Ascenticons are rallying again.

Final Thoughts

I'll probably say this again later, but Ruckley is a deft writer. He seems to be trying to tell a VERY big story, but the best issues (including this one) are the ones that focus on a smaller cast of characters and their relationships. I'm sure there's a way that could be balanced (possibly in editing), but the stumbles out of the gate really coloured some people's perceptions of the comic, which is a shame.

Overall, this was a good issue!

👍

#idw2 review #idw2 spoilers #transformers #maccadam #world building stuff

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thanksjro · 4 years ago

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Dark Cybertron Chapter 1: Welcome to Comic Event Hell

You know what readers love? When the stories they’ve gotten invested in over the course of a couple years get interrupted for some pseudo-crossover bullshit.

And you know what writers love? When the story they’ve been crafting over the course of a couple years get interrupted for some pseudo-crossover bullshit.

Did I say love?

Because I didn’t mean it.

“Dark Cybertron” was penned by John Barber and James Roberts, with collaboration with comic writer and artist Phil Jimenez, and was published from early November, 2013 to late March, 2014. Atilio Rojo, James Raiz, and Livio Ramondelli did the art, each responsible for scenes in specific locations, with Robert Gill filling in as needed. Alex Milne, Andrew Griffith, and Brendan Cahill would also contribute pencils to the first issue and the back half of the series. It was a celebration of the 30th anniversary of the franchise, and the second birthday of Phase Two... which went on for over four months, but never mind that!

Both "Dark Cybertron” and its preliminary materials were made to go alongside the Transformers: Generations toy-line, each issue being included as a toy pack-in with whatever character was being featured… or, at least, that was the plan. Sometimes it didn’t work out. Regardless, this storyline was created to sell toys directly, as opposed to the MTMTE/RID series being made to sell toys more through the power of suggestion. It’s a small distinction, but important, because it will help explain any lack of soul one may perceive while they read “Dark Cybertron”.

“But Hannz!” you cry out, reaching to grab me by the throat and shake me like a rag doll, because to you I’m merely a faceless voice on the internet. “Surely by calling this specific storyline soulless, you’re completely ignoring the very nature of this franchise that you’re almost uncomfortably invested in!”

To which I’ll say this: look, I’m pretty realistic about where my giant space robots came from; Transformers as a franchise would not exist the way it does without Ronald Reagan introducing the Free Market to literal children and fucking up how we interact with media for the rest of time. There is no ethical consumption under capitalism, and that rings especially true when I’ve got a Spinister on my bookshelf staring me down as I write this, that was likely made out of plastics which either involved blood oil or unethical labor practices, if not both.

However!

The choices of a company to have their comic license holders to cook up an entire plot that derails what they’ve already got planned out for toy tie-in comics is a completely different animal than what IDW had had going on up to this point. Phase Two had been about exploring different ideas that hadn’t been able to be explored during the war, and seeing what happens when you take away a third of the logline for Transformers G1 as a whole. Being a part of a brand of toys was almost inconsequential to how the stories were being told; even the Spotlights, which were also toy tie-in comics, had plenty of charm to them, if only because there weren’t quite as many constraints placed on the writers, and they were stand-alone issues.

Of course, being tie-in comics isn’t the only reason that “Dark Cybertron” is a bit of a slog, considering everything IDW itself was trying to get done within this storyline, but we’ll cover the publishing company’s/Simon Furman’s/Transformers’ tumultuous relationship with the concept of gender identity and expression later on, when it becomes relevant to the story proper. This point also ties into the interesting origin of Windblade, who we’ll meet in a few issues, and what happens when you let your fanbase have a taste of power and forget that people might like to see themselves represented in the media they consume.

“Dark Cybertron” is what ended up making me stop reading MTMTE the first time I tried it in 2015. A big part of it was because it forced the reader to need so much information from RID and even events prior to Phase Two, it wasn’t very fun to try to parse what was going on, on top of the writing beginning to flag because of obvious constraints to what Barber and Roberts could actually do, both within their deadlines and the rules put in place by their higher ups for the event.

“Dark Cybertron” is the result of the sort of executive meddling that kills reader enjoyment by requiring writers to cram their two worlds together as quickly as possible, without the option to go for nuance because there simply isn’t time. The reason we have four separate artists for the front half of this story is because Milne and Griffith didn’t have time to draw both their current workload and “Dark Cybertron” at the same time... but sales probably went up due to the nature of how the story was published, so I’m sure they didn’t really see a problem with it.

That’s a general “they”, not a Milne and Griffith “they”.

In short, we’ve got license contract obligations, fan-poll obligations, and gender stuff fighting for space within the next 12 issues, which will be published in the span of roughly four months. Things are probably going to be a little bloated and sloppy.

Regardless of any of these points, this is what we’ve got. It’s not like it’s all bad- “Dark Cybertron” has the benefit of being written by two people who had been working closely before it had even been conceptualized. Barber was the senior editor for MTMTE, and IDW as a whole until he left in 2016. It also isn’t a proper crossover- y’know, where two completely separate titles get mashed together for a bit. MTMTE and RID exist in the same universe, just have their own things going on, so a decent amount of things still carry over without you needing to have read every single thing in both. The writing, while not quite up to par with pieces that had more creative freedom and breathing room between scenes, is still recognizable as being Barber and Roberts’. Their voices are still here, they’re just strained under the weight of everything that has to be said inside of 12 issues.

With all THAT out of the way, let’s dive in to Dark Dawn: Dark Cybertron Chapter 1.

We get a quick rundown of the most basic information you’ll need for this entire story to make sense, as we reintroduce the fact that Shockwave is an ecoterrorist with more agendas than a daily planner factory on meth, and also that he grows magic crystals. I don’t care what he says, the Ores are fucking space-magic. If you don’t want to read through all of RID for everything else, please see Robots in Disguise (2012), #1-22- A Recap, For Reference Purposes. We also get a quick rundown of the Lost Lighters’ deal, as Swerve potentially has a meta-episode.

Be careful what you fucking wish for, bucko.

Our story proper starts with a flashback to the shittiest road trip Cyclonus ever went on, as the Ark 1 finds itself at the edge of a mysterious portal. This is likely why he wasn’t super thrilled when the portal to Luna 1 showed up- portals are probably a touchy subject for him.

Jhiaxus doesn’t know what this portal is- surely this means that science has failed us, and it’s time to call in the religious crowd to try and suss out what’s going on here.

It’s moments like this that make me wonder what exactly happened in the Dead Universe that made Cyclonus’ cheek meat just pack up and leave.

Now, we know that Cyclonus is correct here, because we as readers have more knowledge than the characters at this point, but Jhiaxus tries to write off this theory as hogwash, because he is a man of rationality and science. This is a slight removal from his character in the present, whose most notable traits seem to be a lack of ethics and screaming.

Everyone here seems to be slightly different from their current iterations, actually; Galvatron doesn’t say a word as he steps between Jhiaxus and Cyclonus, only using his body to communicate that the scientist might want to back off. Cyclonus himself is certainly the wordiest we’ve ever seen him to be, droning on through his actual thought process before he comes to a conclusion on what exactly they’ve found. Compare this to the Cyclonus of today, who only deigns to grace everyone with his voice if they outright threaten him, have something he wants, or are Tailgate. If he were to ever pull this verbal meandering on board the Lost Light, people would probably assume he’s having a stroke.

Nova Prime- you remember him, don’t you?- gives not a fuck about the Dead Universe, only what it means for him personally. And what it means for him is more locations to subjugate, because he is cartoonishly evil. His character is the least removed from his present-day iteration out of everyone. He tells the crew they’ll be getting a little closer, only for the portal to do the work for them, by way of dark energy tentacles.

Wow, the pilot for the Ark 1 really is just straight-up named Butt, isn’t he? And what the fuck is that face you’re making, Cyclonus? Are you- oh my god, are you emoting? Oh my god, he’s emoting.

As the Ark 1 is pulled to its doom, Jhiaxus makes a quick phone call to Shockwave to tell him he’s his favorite, and to keep up the good work.

In the present, Shockwave reflects on just how friggin’ long this whole ordeal has taken. Fortunately, Waspinator and the Titan are almost here, and he can hardly wait.

Not, uh, that he’s got emotions or anything. It’s been established that he doesn’t have those anymore. Is impatience an emotion? Does that count?

Shockwave seems like he’d be really frustrating to write for.

Anyway, the Titan shows up, the Ore inside him and the Ore in the underground Crystal City combine, and the Titan starts screaming because everything hurts. Shockwave’s about as thrilled as he can be about the situation, given his lack of emotions.

Above Crystal City, we finally get back to that nonsense about the early sunrise, as someone- maybe Starscream, given the color of the narration box- waxes poetic on the planet of Cybertron, wartorn and wild in its rebirth, ruled by paranoia that has nothing to bounce off of, and so creates its own walls.

Then we get a detailed shot of Rattrap’s mug, and the moment is broken.

Rattrap’s character is a lot of fun in everything he gets tossed into, but you’re a goddamn liar if you think he’s pretty to look at. You are lying to yourself, and I won’t apologize for saying it.

Starscream walks out of his room in his hot new body, feeling fine and ready to take on the world. We’ll check in on him later in the day to see how that positive mentality is working out for him.

So, the sun hasn’t moved, and it’s way too early for the sun to even be up right now. That’s weird. Because I guess he didn’t know how the sun works, Starscream’s only just realized that this is perhaps a problem. He does some computer work and realizes that this is indeed a very bad thing, and asks that Rattrap call the Autobots. Not the ones who fucked off into the wilderness, the other ones. The gay, space ones.

Up in space, Orion Pax and his pals have found themselves in dire straits, the collapsing Gorlam Prime sucking their ship back down as the Death Ore consumes everything.

That’s not how engines work! And I think it really says something about the “Prelude” issues that I completely forgot why Wheelie was down an arm for a solid five seconds.

It turns out that Orion was the narrator the entire time, which I should have known- since when is the once and future Optimus Prime not the primary voice in any media he appears in?

It’s looking rough for the fellas, but luckily we’ve got to get the plot rolling, so the Lost Light VZZZZTs into existence and picks up the Skyroller to place it gently into its belly.

Orion isn’t exactly jazzed about the fact that Rodimus didn’t listen to what he told him, not even bothering to thank the guy for saving his life. I say y’all keep going on your Thunderclash Quest and leave this ungrateful loser behind. No space yachting for you, Orion.

The rest of the Pax Posse enter the Lost Light proper, and Hardhead reveals that he nearly joined the Quest, before he saw who all would be coming with, while Garnak has a tearful reunion with Rodimus. The fact that he’s calling him Sir- which I don’t recall him doing in Transformers (2009), at least not in a way that seems reminiscent of an unfortunate Antebellum Period Romance- feels rather weird, but I’m glad someone’s fucking happy to see Rodimus at least. Ultra Magnus asks Orion if he’ll be assuming command of the vessel, as Rodimus tries not to look horrified by the thought alone, but fortunately Orion’s not going to pull his “I’m Optimus Prime and I Can Do What I Want” Card just yet.

Smash cut to the bridge, as Rodimus tries to make himself sound competent, when Starscream calls. Orion doesn’t like that Starscream has their number, Perceptor almost reveals the fact that this ship technically doesn’t belong to a faction, likely due to being purchased after the war, and Cyclonus gets brought in for his professional opinion.

As it turns out, that early sunrise isn’t a sunrise at all, but a portal to the Dead Universe. This is a problem, because the Dead Universe really sucks, and you don’t want to go there, especially if you enjoy being alive. Orion seems more concerned about the fact that Starscream is ruling the planet, and Bumblebee is nowhere to be found.

Speaking of Bumblebee, he and all his camp buddies are psyching themselves up for a confrontation.

Swoop, please, this is hardly the time for crudeness.

The Dinobots, sick of Bumblebee’s dithering about, decide they’re going to fight the fucking sun and gear up. Prowl, though generally disliking their brand of problem-solving, does share his begrudging respect of their can-do attitude.

Their can-do attitude over fighting the fucking sun.

Then an earthquake happens and the ground rips open to reveal that Titan that Waspinator showed up with.

Shockwave takes over the narration at this point, and we get artsy, as we see events that haven’t transpired yet over musings on the nature of... time? Maybe? It would be in line with Roberts’ go-to topics, but honestly the whole thing’s kind of vague so I couldn’t give you a solid answer. Shockwave gets awfully introspective for a guy who shouldn’t care, I know that much. The point is, he is inevitable and is super good at logic and science.

Also, Nova Prime and Galvatron are back, which is cool, I guess. Not sure where Galvatron had gotten to exactly after the events of “Chaos”, but he’s back now, so it doesn’t matter too terribly much. Shockwave serves them, which we’ll probably get an explanation for at some point.

God, you can practically taste the desperation to pin all these plot points together before the entire thing implodes on itself.

#transformers #jro #dark cybertron #issue 1 #maccadam #Hannzreads #overthinking about robots #incoming analysis #text post #long post #comic script writing

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beevean · 4 years ago

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SEGA and the eternal issue of “Sonic’s girlfriend”

[Translator’s note: here is the original article written by @latin-dr-robotnik, originally written on the 18th of May 2020]

Today we’re going to talk about one of the aspects SEGA is more secretive about: Sonic’s relationships.

[Translator’s note: this article was written to celebrate Seaside Hill Paradise’s 200th entry. If you’re fluent in Spanish, I highly recommend you to check it out! And if you aren’t, go follow Latin’s Tumblr blog if you haven’t already and you’re into Sonamy, analyses, gushing about music and shitposts.]

This article concludes my Sonamy trilogy, and I recommend you to read the previous two articles: “SEGA and the eternal issue of the Sonamy dynamic” and “’I love you’ – forbidden words in Sonic”. This means this is a shipping article – if you’re not interested into another essay about the love life of a blue hedgehog, I can redirect you to other articles such as “Sonic and speed: are we misunderstanding them?” and “What went wrong with Classic Sonic’s music in Sonic Forces?”.

Everybody else, welcome to today’s article!

It should be noted that this article focuses more on the semi-official and strictly official aspects, since there is really not much to say about the fandom. Nowadays the fandom has a relatively peaceful coexistence, creating art, fanfics and more, for all kind of ships; sometimes there’s an occasional fight between ships or a ship that clearly is not appropriate… but besides that, everything seems relatively calm, at least in my experience and compared to other fandoms.

Too cool for relationships...

Few things are as mentioned and yet silenced by the official SEGA media as the fateful words “girlfriend” and “Sonic” put together. In official terms, Sonic has always been this young, cool hedgehog, with a pure love for nature and never too worried about life, but with a moral code that makes him fight against injustices. During his first years, Sonic was almost impatient and a little emotionally distant, although as it was the ‘90s and things were not so clear for the young SEGA star, different interpretations would take the character through different paths - some more radical than others. As the years went by, and going through many redesigns, certain aspects of his personality would be perfected, exaggerated, or even flanderized. His position on relationships, on the other hand, would remain relatively constant over the decades, with a few particular exceptions.

The this is that Sonic, in the words of his own creator Naoto Ohshima, has always been considered “a young man with a child's heart”, which has helped to substantiate and understand why the character would remain relatively distant from his feelings, and much closer to his own interests associated with the life of adventure.

... or is he?

Despite everything I just said, they tried in many occasions, if not succeeded, to give Sonic a girlfriend, with various results.

As carefree as Sonic is, and as much as SEGA tried to clarify this point over and over again, the people behind his character have always tried to introduce one or more relationships into his life. Even Naoto Ohshima himself has made his own suggestion as to who might be a hypothetical partner for his character. The different interpretations I’ve mentioned have tweaked Sonic’s character to make it more apt to certain types of dynamics, and the cultural gap between the East and the West (which I analyzed a few years ago with the first article of this “trilogy”) also has a considerable impact on the type of relationships that would be established for Sonic from very early in his history until today.

Author’s note: the concept of “Sonic + human woman” of 1990 wasn’t completely forgotten, no no, it was brought back 16 years later, in… well… the worst way possible.

Let’s see an example. Going back to his very origins, in his pre-Sonic 1 sketches Sonic was often depicted with a stereotypical damsel in distress, Madonna, his own “Princess Peach” that ended up being scrapped for many reasons, including the similarities with Super Mario. As the years have gone by, this concept has not disappeared, but rather the writers and directors of the series have taken it down different paths over time. While Madonna was too cliché, other candidates for the role of “Sonic’s girlfriend” would quickly appear to try different dynamics, directly or indirectly endorsed by SEGA.

Sally Acorn

For many years, Princess Sally was for Western fans the first person who came to mind when they thought of “Sonic’s girlfriend”. Since 1993, and for 2 more decades, her relationship with Sonic has gone in many directions, but fundamentally the most amazing thing about this whole situation was that she was Sonic’s official girlfriend (at least in the Archie Comics canon). It was also one of the many headaches for SEGA in the last decade.

Originally a fellow fighter against the macabre Robotnik from the 1993 animated series Sonic The Hedgehog, Sonic and Sally’s relationship was always marked by their opposite personalities; while Sally tends to plan ahead and is much more focused on the seriousness of the task, Sonic was the type to destroy robots first and think later. “Opposites attract,” they say, and by the (premature, I might add) end of that series both were already more than friends. They had already kissed a couple of times.

At the most critical moment in their relationship, Sonic, after a year of being missing in space and presumed dead by everyone, returns to Mobius only to end up back in potential danger, decides to ignore the wishes and warnings of Sally, who’s clearly emotionally traumatized and stressed by both the general situation and the responsibilities she had to carry out for her kingdom in the absence of her parents. The result of this explosive cocktail was one of the most infamous scenes in all of Archie Sonic, "the Slap", where Sally finally reacts violently to Sonic's selfish statements. The hedgehog's response? Well, a long exposure to the screams about her experience - also traumatic - up to that point. In the end, both end up screaming and crying in front of virtually everyone.

What followed in the next decades was an expansion of that original SatAM canon in the Archie Comics, in which its various writers introduced varying degrees of drama and increasing conflict to demonstrate the strong bond between them, destabilizing or even stabilizing it again, multiple times. They would be together for some time, then they would be apart, eventually rekindling the flame of love passionately, until a final sacrifice on their part and the eventual resetting of the entire Archie Sonic canon.

In their last years, after the Super Genesis Wave, Sonic and Sally’s relationship went back to being platonic. a good friendship with the advantages and disadvantages of their personalities - Sally’s leadership and Sonic’s extreme confidence - while the focus was put on the flourishing relationship between Sally and her best friend (and old computer!) Nicole.

Regardless of the way their relationship ended, it's undeniable that Sally has left a huge mark. Being a product of the West, her existence was never really accepted by the Sonic’s Japanese creators, but because the bulk of the fandom is here in the West, Sally's presence has been strongly associated with Sonic, the Freedom Fighters, the comics... and also the ship wars between her and the character we’re going to talk about next. Her very existence was a living contradiction to the Japanese central canon, an official girlfriend who broke all the ideas that existed for Sonic in terms of his conception of relationships and lead him through unique paths. Whether for better or worse, Sally broke the mold.

Eimi. Rosy. Amy Rose.

On the opposite side of the spectrum there’s Amy, a character that was originally conceived as the Minnie to Sonic’s Mickey, but with her own dynamic.

Despite Amy’s existence being strongly tied to Sonic’s, once again Sonic Team tried to avoid the classic cliché (in this case to copy Mickey and Minnie), opting then to establish Amy as the one interested in a relationship, while Sonic runs away from this idea. For this dynamic to keep working, Sonic’s feelings have to be kept hidden, with excuses like his “shyness”, which leads to ambiguity, or because, as said before, of his “child’s heart”.

The most interesting thing is that Amy kept her canonical status of “self-proclaimed girlfriend” since 1993, which makes her “official” and “not official” at the same time, but there are some traces left from the Sonic manga of 1992 (which in turn influenced Amy’s original design), where a prototype version of Amy (or, as it was spelled there, Emi/Eimi) played the role of Sonic’s girlfriend (or Nicki’s, to be more precise). With this detail in mind, Amy can be considered, at least in the East, the very first “Sonic’s girlfriend”, even before Sally – but her situation is much more complex.

Sonic Mega Drive (top) and Sonic Boom (bottom), representing some differences in different Sonic continuities.

In any case, the manga would be the first and only time Amy was officially considered “Sonic’s girlfriend”, because in the following decades and in several continuities the core of their dynamic shifted to Amy chasing Sonic. Both would get closer or further away depending on each case (in Fleetway, for example, Amy ends up marrying another character, while in Archie Sonic there would be only a few instances of potential interest, quickly overshadowed by convenience or other things directly or indirectly related to Sally), but generally no continuity would establish an official relationship. In some cases, such as Japan, it wouldn’t even be necessary to clarify the state of the relationship, since their cultures accept more easily the dynamic that Sonic Team proposed as an “official relationship”. Just looking at the artwork highlighted on Sonic Channel (run by SEGA of Japan) shows how much more accepted the relationship is, even though Sonic Team’s official artwork still avoids any kind of public confirmation. (Author’s note: I’ve written more about Amy according to the East and the West in the first article of this trilogy)

Unlike Sally, there is no “opposites attract” situation between Amy and Sonic, and, at first, there is no prior friendship from which a potential relationship could flourish. We witnessed their dynamics from the first moment they met, and it would not be until years later that there would be a minimal basis for interaction from which various official continuities would bring both characters closer together.

Technically Amy already knew that her destiny was tied to Sonic and the events of Sonic CD on Little Planet, thanks to her tarot cards (an element that has disappeared since then), but for Sonic it was just another day of adventure, and although we’ve seen how Amy's feelings have progressed, mostly in Adventure 1 and 2, Sonic has never reflected on his personal feelings; it’s an aspect of the hedgehog that to this day remains a mystery to the audiences.

Also unlike Sally, Amy has appeared in multiple continuities of all kinds and because of that her relationship with Sonic has been affected in various ways. The main videogames canon has remained ambiguous and unchanged for 25 years: Amy would stay close to Sonic and offer some good moments to reflect on her feelings about him (some of which I mentioned in my post about Sonic Unleashed and Amy’s emotional support), while Sonic would remain distant, uncomfortable, shy, and, more recently, potentially affected by her apparent loss.

Sonic X is the first official attempt (by Sonic Team no less) to offer an expanded view of our characters. There’s a lot of discussion about how Sonic is slowly opening up to Amy’s advances, and these developments follow a line that we discussed in previous articles of this trilogy, and how, during the 2000s, the Japanese writers of the series kept slowly deepening the interactions between the two, reaching very important symbolic moments like Sonic X Ep. 9, 52 and 76, among several others. I am purposely leaving out specific details to direct your attention to this fantastic thread by Yvanix Rose that highlights some key details about how this continuity worked the Sonic-Amy dynamic. [Translator’s note: the thread is in Spanish]

Sonic X, episode 76.

Another essential continuity for the development of this dynamic was Sonic Boom, since, despite having been a separate continuity with its own interpretation of the characters, its existence managed to influence the main canon in some way in the years that followed its original release in 2014.

Sonic Boom made two important changes in the dynamic: Amy did no longer externalize her feelings with the same frequency or intensity (speeding up a process that already started in the main canon in 2008), and Sonic was noticeably more nervous and insecure of his feelings for her, even being jealous in several occasions. These changes got the dynamic closer to the “friends who have secret feelings to each other but they’re too shy to admit it” trope, and in the second season it could even be said that there are signals of the “secretly dating” trope. Nothing was officially confirmed yet, but the changes to the dynamic offered a fresh perspective to work from: winks and inferences about a relationship that was not talked about but seemed to happen behind the scenes.

Sonic Boom S1E16.

Sonic Boom’s approach also opened the door to working a little more on the characters’ new personalities. Taking a little inspiration from the original foundations of Sally and Sonic’s relationship, Boom now presented situations where Sonic and Amy’s perspectives actively clashed with each other, leading to discussions and moments that showed a little more of the mundane details of the friendship they had, rather than appealing to more classic behaviors of the main canon, like Sonic leaving the scene in a hurry. Considering the way things turned out the last time we saw this kind of dynamic on screen, it was pretty safe to assume that their new opposites were now attracted; the implied secret dating and so on only helped to give it more sustenance - which the fandom would eventually take to the extreme.

And lastly there’s IDW Sonic, the comic series that replaced Archie Sonic after its cancellation in 2017, and the most recent arc that offers an interesting perspective. Starting its continuity from the end of the events of Sonic Forces (which at the same time took on certain characteristics from the post-Boom era, particularly as far as Amy is concerned), IDW Sonic didn’t waste any time in presenting the way in which it would carry out its dynamic between Sonic and Amy.

Amy makes her feelings for Sonic very clear, and he is surprised but unable to match them. However, Sonic doesn’t want to outright reject her, and suggests that she come with him; she refuses, claiming that she has duties to the Resistance, setting the tone for the rest of the series. (IDW Sonic #2)

“Sonic’s girlfriend” today

As I mentioned earlier, after the reboot Sally was no longer considered Sonic’s girlfriend, and her disappearance after the cancellation of Archie Sonic in general is a sign that we may not see her ever again, even as a friend. As of today, in 2020, only Amy has been left in her “unofficial, but…” state, with various minor events taking place both in the main canon and in IDW Sonic:

In 2018 the official SEGA shop wrote a description for a piece of Amy Rose merchandise that said “celebrate 25 years of Sonic’s girlfriend”; the mistake wasn’t immediately corrected, despite the fandom pointing it out immediately.

The video game canon has remained dormant, with Team Sonic Racing in 2019 featuring more of a regular friendship between Sonic and Amy, sharing rivalries and quiet moments alike.

On the other hand, since IDW Sonic and Sonic Boom laid their foundations, we've begun to see a certain shift in the way the two characters are presented. While we’ve talked about IDW Sonic already, Sonic’s social medias have done multiple “Twitter Takeovers” where Sonic characters answer questions from fans, and Sonic has always answered more like his version of Boom to the inevitable question about Amy and his “feelings”.

Recent official animations like Sonic Mania Adventures and Team Sonic Racing Overdrive have shown Amy flirting with Sonic in a more casual way.

The current dynamic seems to be pointing towards “Sonic’s hidden feelings”, and I think we are at a perfect point to change the approach. SEGA in general seems more open to the idea of bringing these characters closer, probably as a marketing strategy, but without yet separating themselves from the central ideas that defined the dynamic for the last two and a half decades.

Conclusion

The idea of “Sonic’s girlfriend” has been one of the most experimental and controversial in the almost three decades that this series has been around for. SEGA has opened the door to all kinds of ambiguities, developments and interpretations, all with their pros and cons, instead of settling on a definitive position. As iconic as these characters, conceived as Sonic’s “romantic interests”, have become, they have also had their share of criticism and controversy, especially in the fandom.

The presence of Amy as the only “official but self-proclaimed girlfriend” today says a lot about the control SEGA (specifically SEGA of Japan) regained over the characters, after decades of interpretations that offered different alternatives with various degrees of success. At her best, Sally represented an ideal relationship with Sonic, much more complete and profound than the back-and-forth game between Amy and Sonic. But at her worst, this same relationship represented everything wrong that could happen by associating Sonic with the emotional spiderweb of a romantic relationship. SEGA hardening its control over the characters seems to have put an end of this type of situation where Sonic ends up being involved in a romantic telenovela, but at the same time it has revitalized the flirting game and the implicit associations that give fuel to the fandom fire.

From my humble interpretation, I think we’ve reached a point where Sonic and Amy have shared enough stories and moments to solidify the core aspects of their personalities and their friendship, allowing them to take the next step, which is to play around with the idea of “something else”. 25 years ago it was hard to see how these two characters could work together beyond “it’s SEGA’s word”; today there’s enough of a story to find a rhythm and chemistry for them, and the series of situations they've put themselves in (e.g. IDW Sonic’s plot arcs) are increasingly helping this case. The topic of “Sonic's girlfriend” may be a controversial one for SEGA and the fandom in general, but the doors have slowly been opened for this debate to develop and be investigated with interesting results, and I think that, in this new decade of 2020, there’s a unique potential to explore this kind of discussion, without sacrificing in any way the central principles of Sonic as a character. Thank you for joining me in these 200 entries, and hopefully we’ll see each other for many more.

#sonic the hedgehog #amy rose #sonamy #translation #analysis #long post #happy birthday latin!#this one was so hard #i had to cut a lot of shp-related parts sadly #but this whole project was very fun and enlightening

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stranger-who-writes-fiction · 3 years ago

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Still a few weeks out from issue 4 of Supergirl: Woman of Tomorrow and DC’s solicit schedule is exceedingly wonky so WHO KNOWS when those will drop...THUS. A tiny bit of art appreciation, to tide us (read: me) over. XD

Potentially (?) spoiler-y art tease below!

FIRST UP, issue 4 variant by Rose Besch! The September solicits had a bunch of variant covers listed without previews, so I think this only started showing up in the last few weeks? Regardless, check it ouuuuuttttt:

First of all: So sparkly. :D

Second, MMMMM, look at that CMY(sans K) color palette! I also think the artist’s style of coloring is just very neat--like, refracted light through a prism, if that makes sense? Very geometric. And of course, always dig a cool, shojo manga-esque look for Supergirl. I think, of the variants released thus far, this one and the Amy Reeder cover are my favorite.

The other little bit of art comes courtesy of Evely, who is back to posting in-progress snippets. As always, I recommend following her and colorist Mat Lopes on their various social media sites because 1.) they are both INCREDIBLY TALENTED and post that Good Good art and 2.) you get to see stuff LIKE THIS:

HNNNNNNGGGGG.

I will go through my usual happy art shouting: HAIR! FACE! BODY LANGUAGE!!!!!!

This is the potentially spoiler-y bit, though without text/additional panels for context, there’s not much it’s actually spoiling? Still. Just want to be extra careful.

I continue to be so completely, utterly thrilled to have eight--EIGHT--issues of Evely’s Supergirl. I mean. Just look at that. Beautiful.

Can’t wait to see the whole page, and Lopes’ colors. Aaaah. S’gonna be GOOD.

Another quick social media account recommendation: Evely’s represented by Felix Comic Art. Even if you aren’t an original art collector, the site usually has decent scans of the original black and white pages. (Watermarked, natch.) But it’s so neat getting to see the original art vs. the colored pages.

And, okay, on that subject of inks vs. colors, I had not originally planned on including this but HERE WE GO, MORE ART, BECAUSE I CAN ALWAYS RAMBLE ABOUT ART.

This time, from Lopes’ twitter; he shared the colors for this page from issue 3, and then later posted Evely’s initial inks:

It’s maybe a little hard to tell, scrolling, but when you check these out on Lopes’ twitter, and toggle back and forth, you can actually see that the colors ever so slightly soften Kara’s expression.

Which I find FASCINATING, because it really illustrates the wild game of telephone that is comics creation.

You’ve got the writer and the editor, who work sort of in tandem to figure out how best to tell the story that the writer has in mind. That then goes to the penciller, who puts their own spin on the script, then it goes to the inker who has to interpret the penciller’s lines and choose what lines to keep and how best to highlight them (though, in this case, Evely is inking her own stuff so there’s less chance for any drastic changes between these phases) and then FINALLY (at least on the art side of things) it goes to the colorist who adds a whole NEW layer (literally and figuratively) to the art by selecting palettes and color holds and so on and so forth.

In fact, I was just reading the coda in the most recent Fire Power issue, (a comic by Robert Kirkman--of The Walking Dead fame--Chris Samnee, and Matt Wilson) and Samnee said he’d imagined a particular scene taking place at night, but got the colors back from Wilson, who had set the action early in the morning. Samnee drew the pages for a night palette, but Wilson totally made the morning lighting work, and Samnee felt the storytelling was better that way, as it made the time-skip more apparent. (The previous scene also took place at night, which would’ve been confusing for readers, had they both been set at night.)

ALL OF THIS TO SAY! You have multiple storytellers working on any given book, and here, specifically, I think it’s very cool that Lopes choices enhanced the acting that Evely already put on the page.

(Though, disclaimer: it occurs to me that this is entirely subjective, and some folks might feel that there WASN’T any discernable change between inks and colors. *Shrug* ARRRTTT!!!!)

Caught a Felix Comic Art stream a few weeks back when he unboxed the art for these issues, and someone in the chat mentioned wanting an Artist Edition for Evely.

And may I just say: Yes.

Like. I don’t think it’ll happen, but I really wish this book would get the usual King trade treatment--a special edition hardcover with a bunch of backmatter, so that we can just DRINK IN THE ARTWORK.

(Would also love to see the script for any of the issues! They did that with Strange Adventures and much like seeing inks vs. colors, it’s always cool to see script to pencils.)

Actually, what I’d really love is an unlettered version of an issue, to highlight Lopes’ colors in particular.

Don’t get me wrong, I think Clayton Cowles is doing a great job on letters, but this is a very wordy book! And sometimes you just wanna push those caption boxes and word balloons aside and see the entire panel, free of text. XD

Sadly, as I said, this probably won’t get too many bells and whistles in the trade release. Maybe a little bit of Evely’s design work? Hopefully?

She actually posted her initial sketches of Kara, a while back! I think they should be on her IG somewhere?

Anyways. I would kill for a large format of ANYTHING by Evely. Seriously, just. Do it DC! Take my money! (Or, IDW? Who handles the oversized editions for DC? ...I think it’s IDW. Either way! Do it! Come on! XD)

(Again, someone in that same art unboxing chat mentioned they don’t really do large format editions for contemporary artists, BUT. They totally released a Samnee Daredevil book! That’s pretty contemporary! Or, it was. At the time of release.)

Okay, I will stop now. For real.

That’s it, I think, in terms of art teases and updates! Until solicits and/or preview art, I guess!

#supergirl: woman of tomorrow #DC comics #long post #kinda #comic thoughts #comic opinions #ARRRRRRRRRRRT

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traincat · 4 years ago

Note

I’ve read Waid and Hickman’s FF runs and am currently reading Zdarsky’s 2 in One. I’m planning on eventually reading the Lee/Kirby run. Can I ask, what other runs would you recommend? Is Claremont’s good? Sorry for bothering.

I LOVE Waid and Hickman’s Fantastic Four runs, and Zdarsky’s Marvel Two-In-One was excellent to the point where one of my lingering disappointments is that Marvel brought the Fantastic Four back in a way that prematurely cut off Zdarksy’s 2n1. I know I said I wanted them back but wow did we all get monkey’s paw’d on that one. Zdarsky did really excellent stuff with both Ben and Johnny and the multiverse hopping was honestly fun and interesting. Lee/Kirby is also, in my opinion, just a really terrific run -- it lays the groundwork for not only the future of the Fantastic Four but a lot of big concepts for the Marvel Universe in general, and I think it holds up really well by modern day storytelling standards. Lee’s sense of humor works well with the retrofuturistic vibe and Kirby’s art is always wonderful. In particular I think it’s interesting to look back on The Galactus Trilogy (Fantastic Four #48-50) as the granddaddy of all event comics, for better or worse.

Claremont -- okay, I love Claremont’s run, let me start off by saying that. Claremont’s run follows on what is in my opinion one of the worst periods of Fantastic Four canon, and I mean bad to the point where the literal canon at that point was that to get things back on track the Fantastic Four had to be put in a bubble universe. Claremont’s run kicks in one or two issues after their return to the main Marvel universe and it’s so fun. I think Fantastic Four is one of those series that kind of flourishes in adversity and Claremont’s run starts off with the Fantastic Four trying to regain their footing in a world that had assumed them dead, their Baxter Building gone, living in a warehouse property. Claremont, in my opinion, also has one of the best if not the best handle on characterization for a lot of key Fantastic Four figures, including Johnny, Reed, and Sue. His Ben is also very good, but I think Ben in particular tends to be an easier sell for a lot of comic book writers -- the outcast, the gruff man, the comic relief. He’s easier to identify with than Reed, the Smartest Man on Earth, or Johnny, defined by his youth and beauty and queercoded since the ‘60s, or Sue, by sheer factor of being a woman. So I think a lot of writers identify with Ben first and foremost and put the most love and care into his depiction, whereas the others are a little easier for them to leave by the wayside. Which isn’t a bad thing -- I love that one of the most beloved comic book characters is also one of Marvel’s few canonically Jewish characters, but there is a wealth of truly excellent Ben canon in comparison to the other three. Especially with Johnny, there’s no one else who has written for Fantastic Four who has put nearly as much thought and detail into Johnny’s relationship with his powers, both the positive and the negative, as Claremont has, even reworking the origin story from Lee and Kirby’s joyous scene of Johnny flaming on for the first time into a deeply traumatizing incident -- being sixteen and traumatized and bursting into uncontrollable flames.

(Fantastic Four v3 #11) There’s also a lot of women in Claremont’s run! A valid criticism of Fantastic Four canon is that by its initial core team makeup it tends to be lacking in female characters compared to some other big Marvel staples, but Claremont brings in a ton, from Reed’s college friend and fellow genius Alyssa Moy (who has been done dirty by pretty much every other writer who’s ever touched her, including Waid and Hickman) to multiversal bounty hunter Bounty to the most platonic of Johnny’s gal pals Caledonia to Valeria Von Doom, a “time dancing” teenage incarnation of the baby Sue lost back in Byrne’s run, who sets up baby Val’s eventual return. Claremont is also king of Reed vs Doom setups -- if you haven’t read his Fantastic Four vs X-Men miniseries, I highly recommend it, and he brings a lot of the two sides of the same coin energy from that into his Fantastic Four run.

The downside of Claremont’s run is that the plot is always there and always running and I could not explain half of it if you paid me. Things certainly happen! Like all the time! For seemingly no apparent reason! Stuff gets set up and then it’s not resolved and now we are in Latveria! I don’t think this is necessarily all that detrimental -- the run is still massively fun and the characterization is always fresh and interesting. It’s just that sometimes you have no idea what’s going on and you have to roll with it. And then sometimes you do know what’s going on but in the way where you know Claremont was just writing it because it’s his kink. Which is like, whatever. As authorial ids go, you can pretty consistently do worse than Claremont’s, I’ll give him that. So I do recommend on it the whole, as long as you’re not going into expecting the kind of plots either Hickman or Waid brought the book. Claremont’s is kind of like “stuff happens and it’s either weird or fun so just don’t pay too much attention to it.”

Aside from Claremont, I feel like I generally like far more Fantastic Four runs than I dislike -- but also I don’t hate Millar’s run, which is honestly bad, so it’s possible I’m just very forgiving with the Fantastic Four. I really like Robinson’s run, which is the last run before the Great Fantastic Four Drought of 2015-2018. It’s short, self-contained, and devoted entirely to one story, so it’s pretty tightly written, with good characterization and some very shiny art by Leonard Kirk. Straczynski’s run is decent enough for the fact that it intersects with Civil War -- I think he does his best to get into the heads of the characters re: their actions in Civil War -- and it leads directly into Dwayne McDuffie’s run, another brief one where Black Panther and Storm take over for Reed and Sue. Very fun. Marvel Knights 4 is also a fairly recent run that’s got some strong moments in it, although I feel it’s a little inconsistent in its handling of the characters. It’s still fun, though. For an older, longer run, I like Simsonson’s -- the art is very dynamic, even if the storyline kind of gets too involved with itself.

(FF #337)

I recommend Byrne’s run with the caveat that there’s plenty to dislike about it and plenty of reasons to avoid it, not the least of it being Byrne himself as a creator and a person. It’s heavily sexist in how it deals with Sue, it retcons a huge age gap into Sue and Reed’s relationship, and Byrne’s early departure sets up my all time least favorite Fantastic Four story. (Though that one is Roger Stern and later Tom DeFalco’s fault.) It is historic as Fantastic Four runs go, though, and there’s a lot in later runs that’s built over it or references it or borrows from it. So it’s a rec with a lot of caveats and I also understand why people might give it a skip -- I think it’s more important for an understanding of the greater body of Fantastic Four canon and the impact it had than for the actual run itself. I do think Byrne has some very interesting subtext with Johnny, although it never come to fruition, and while his Sue falls victim to a lot of sexism, I really like what he does with the character of Frankie Raye, who like poor Alyssa Moy I don’t think has ever gotten really good treatment ever since.

I have mixed feelings on both Millar and Fraction’s runs, not in the least because I think they end very similarly -- and that Millar did it better, which doesn’t say great things. Millar’s run is kind of like a trashy popcorn flick version of Fantastic Four; it’s not actually good, but I can’t say I don’t like the terrible eldritch monster in Scotland Christmas arc (Fantastic Four #564-565) and I’m sort of into future Sue. Fraction, on the other hand, takes a space road trip and makes it boring, which is the greatest Fantastic Four sin of all. He’s one of the rare writers who I think actually writes a bad Ben Grimm -- not the least because his run goes out of its way to try and label it Ben’s own fault that he was transformed into a monster. I do really like his FF (just the initials) though.

The only Fantastic Four runs I can say I really truly dislike are Tom DeFalco’s and Dan Slott’s, which sort of unfortunate because DeFalco’s is both long influential (I have no idea why because it’s honestly terrible like in terms of storytelling) and because Slott’s is happening right now. DeFalco comes onto the book on Fantastic Four #356 and stays on until Fantastic Four #416, at which point Marvel hit a literal retcon button to get out of the mess he’d made. (This leads into Fantastic Four v2, which is largely skippable -- it’s basically a mid-90s retelling of a bunch of early Fantastic Four stories that leads back into the FF heading back to the main universe.) DeFalco’s responsible for the Skrull retcon in the JohnnyAlicia marriage and for dragging that out for over 50 issues, the entirety of which feel like he was writing without a plan or outline or literally anything, and I have never felt like a comic book was attempting to gaslight me through its own incompetence or refusal to commit to things it set up itself as badly as I do with DeFalco’s run. (I like other non-Fantastic Four Tom DeFalco runs. I just hate this one.) Dan Slott’s run is just 25 issues and counting of badly written emotionless unfunny pages blandly stapled together and I so badly want Marvel to kick him off the book for its own good.

#almosteverythingnerd #fantastic four #traincat talks comics #comic recs #long post/

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