#but i guess its not his book so joker wins i guess????????

[hauntingblue]

Damn how does he know all this

[boyfridged]

Have you seen this yet? Thoughts? Feelings? Predictions? Etc etc…

i'm worried. mostly i hope there is some twist and it is not jason who killed the joker.

or rather: i don't think it's the worst thing in the world if that happened and i do believe there could be a story of that which, handled in a certain way, would be interesting. but so far it seems that we have jason, age 15, wake up in some revenge-seeking frenzy.

and i'm just fundamentally against a jason lives story that is nothing more than a revenge story. i think it's completely besides the point of everything we know about robin jay even as of aditf and just reinforces the idea that he was doomed from the start... which i obviously do not agree with, for how it's laced with classism and cynicism that in my opinion does not serve the narrative of batman as a whole.

there is of course much to say about injustice that jay is against and which made him desperate no matter his own death; and all of that should be accounted for in any jay-lives scenario. but what we see so far is awfully reductive; and while these panels are quite nice and i like them because they focus on jason's pain, i think it is easy to guess, especially based on what the covers look like, that the story that so narrowly focuses on it, does not truly focus on jay. it's about bruce. it's about bruce reckoning with jason as a "consequence" and about his horror at what his son "has become." and i said it a hundred times and will it say another hundred: of course i do know that this is bruce's world and everyone else just lives in -- or survives in it, like in the premise of this story -- but where are all the other themes and motifs from aditf?

something else here that is a concern -- the idea of killing the joker itself, which we know has been established as something impossible... would that win perhaps be surprising and fresh? that cycle ending? yes, but in this specific case that's an easy way out... the point of batman as a story in its whole grandiose, is, always, that evil preserves -- what do we do in face of it? as epictetus said, and le guin after: there are no ends, just means. what do we do with them?

though i suppose there is hope for this story, given that it seems the scene takes place after the joker's end, and yet we see jay crying...

but again, overall: a jason lives story that focuses so strictly on the joker is not something i'm overly interested in... and actually something that i aim to challenge in my own writing; i think it's easy to forget that while if jason survived, it would be the most traumatic occurrence in his life to date, it would be one of many. there were plenty death scares suffered before; there are many plotlines that culminate into his desperation; and there are the fundamental matters intertwined into it all, like family and the fact that as of aditf, jay seems to be growing (if it could be called growing; since it's a much sharper, from a lack of better wording, course of action, and not "progressive") into a decision of leaving vigilantism behind (if that could grant him love of a kind he is seeking). if robin lives does not deal with all of these, or hint at their further importance, if it does not justify the decisions it takes on these grounds; it will fail.

but to leave it off on a more positive note: i am very interested in how they handle jay simply remaining robin after these events... if there was a certain time when everything went as it did; that false space of "as it was" before the events in ethiopia, if him getting into revenge was not a thing linear, i could perhaps enjoy it.

this is a lot of words for a book that we don't really know much about. but i am fundamentally wary of it because i think jason deserves a story that is beyond the scope of the red hood and its retroactive effect on his legacy... which is a trap that dematteis seems to have obviously fallen into. the question is to what extent it will prevent him from actually seeking to continue the story as it was in the 80s, and take on the motifs from that time. because even though aditf was bad, it also did ask so many interesting questions forever lost to retcons later on.

[itsprjc]

Well, Season 2 of TDI Reloaded (TDI Rematch) has had its first four episodes out for about a week. I figured I’d share my thoughts about what we’ve gotten so far:

-The challenges are a little more fun than in Season 1. They have a good amount of variety and the often led to really fun moments between the characters. From the Skunks clogging the toilet slide, to basically all the Rat Faces being carried by Caleb, and of course the AB questions challenge. My girlfriend and I straight up paused the episode each question to try and guess the answers. (We got over half of them right.) As for my personal ranks on the challenges:

-Taking it to the Rim Reaper (Ep. 2): Memorable concept, without going too overboard with it. Also, I’m a bit of a simpleton sucker for the pratfalls.

-Choosin’ for a Bruisin’ (Ep. 4): Great challenge for both character insights and just playing along with it during a first-time viewing.

-You Poor Saps (Ep. 3): I technically prefer Ep.1’s challenge, but this one led to so many gold character moments.

-The Pink Painter Strikes Again (Ep.1): Solid start. Simple challenge, nothing too crazy.

-Animation is pretty much on the same level as Season 1. The facial expressions are GOLD! I’d argue some parts feel more dynamic than Season 1, like the slide moments in Episode 2, but overall, no complaints.

-The characters feel like they never left:

-Priya: I kinda get why she’d fall hard for Caleb, as keep in mind, she’s been stuck with this training with hardly any friends. This also explaining why she instantly jumped to befriending Millie when it seemed they got along. It’s clear that she does value the friendship as she was the only one to give Millie a chance after Episode 2. She also did work as an effective leader in the same episode, instantly taking advantage of the challenge’s slide order rule. Overall, I’m okay with Priya.

-Bowie: I dig his plot. Bowie made it clear at the end of Season 1 that he’s willing to bend the rules…and it’s clear that he probably cares about Raj more. Since people are more weary of him after the finale, it makes sense to have his conflict be more about whether he’d play dirty again. Also, this joker in Episode 4! As a captain (assuming those roles are official) I feel Priya’s more effective, though.

Millie: It’s clear she had alot more learning to do about being a good friend. (I still say both her and Damien could have taken the two-point slide together if they were both weary on the third.) Though her elimination was pretty anticlimactic, unfortunately. I do prefer her in Season 1, but I’m not against the plot they gave her.

Julia & MK: I’m putting them both together because they’re basically a package deal this time around. Overall, live their dynamic. It was a sudden jump from animosity to friendship, but that’s just because they know game when they see it. They have so much fun just being underhanded together, and it’s honestly a refreshing take on villain alliances. While I’d say MK is the breakout of the two, since she’s the brains of the whole alliance, Julia’s dialogue is so on point that it hurts. My hopes is that MK does succeed in backstabbing Julia, but she doesn’t even get mad. She just respects a player and roots for her to win…underhandedly, of course.

Emma: Compared to Millie…honestly not that mixed. I’m glad she cut the chord with Chase early and she got him booted in a clever way. The one thing that’s kinda backwards is how she ends up being a poor judge of character in Episode 4 when she basically red Chase like a book in Episode 2. But then again, I guess that’s just chalked down to being used to his sorry butt the most?

Chase: Everybody (including me) called that he’d be an early boot…and he was. I’m perfectly content with that, as it’s clear that character development was never the end-goal with Chase. And the moment he left, the Skunk Butts became the de facto best team. Props on his ballsy attempt to outrun the balloons in challenge 1, though.

Zee: All I wanted from Zee in Season 2 is for him to still be Zee…Good news, Zee is still Zee. I honestly got worried the “soda influencer” plot would be a cheap and easy way to make him an early boot…and they make him Papa Zee instead. I love this lanky boy.

Ripper: My one complaint on Ripper is that he feels like he’s really not there that much. In Episode 2, he disappears for a good while until the mid-end. And he doesn’t really get to interact with his new team that much. The only real time he interacts with the other skunks is when he asks about how to approach Axel. Let’s talk about Ripaxel…I honestly really wanna see what they do with it! It is a little sudden how it starts, but in its defense, so was Rajbow. Their interactions in Episode 3 were fun to watch, and that POEM. Hey, fanfic writers…Raj and Ripper having a poetry battle…think about it. Despite him disappearing sometimes, what we do get from him is enjoyable. Here’s to more!

Wayne and Raj: My boys are untouched! The one blessing is that they NEVER went for some stupid jealousy plot! (Wayne cares too much for Raj for petty stuff like that.) And they are arguably goofier than in Season 1. (Shoutouts to them wanting burgers after seeing the slides and the “Cyclone-Spin Cycle”) It is funny how many people (again, including me) wanted to see their mischievous side more, but instead the boys are even bigger boy scouts with their understandable disgust at cheating. While I still think one leaving earlier is more likely, I really, REALLY hope that they stick for a little. Imagine them against Julia and MK for at least an episode or two! And while I still would love a Damien VS. MK finale, Wayne or Raj VS. MK works great! Fair and honest player against a crafty cheater. It would be gold!

Damien: I’m really holding out for him since he’s pretty much jogging in place a bit. Sure, he wants to take more risks, but it’s not to a great extent. Then again, the season’s only gotten started. I just hope his crafty side comes out more later. He’s not too afraid anymore, so now he needs to push his brains to the forefront.

Scary Girl: I dig the “Lauren” design. Unfortunately, the “normal” bit wasn’t really used all that much, as she barely had a presence in Episode 1. She had some small scenes, but nothing outstanding until she got herself eliminated. Though given how she was enjoyable, but pretty one-note last season, I feel she works well as a first-boot. Will she return to stalk everyone? Who knows. Probably.

Nichelle: I dig her more confident attitude. Part of me wishes we saw her gaining that confidence DURING the season, rather than all that development being off-screen, though. It makes sense for her to train beforehand, but I would have just as easily liked her having a bit of fire in her and then training throughout the season. As she is, I like how she’s so done with her old Hollywood life. Hopefully she does interact with Damien more, as they seem to have a friendship growing.

Axel: Besides MK, Axel was the biggest relief of the S1 pre-mergers. She’s still hostile and hardcore, but I find her showings of care towards the team being well-needed additions. Examples being her helping Damien back to camp after the four-point slide, and her warning her team to be cautious about getting stuck with the sap. I already said my piece on Ripaxel, so my personal hope is that there is a survival or stealth challenge where the two have to work together. (Ala Hide and Be Sneaky, Eat, Puke, and be Wary, or Hurl and Go Seek if you wanna count the “zombie” thing.)

Caleb: Caleb was simple, and he still kinda is. I like how paranoid he was in Episode 1, but overall he’s just a more effective Justin. I do prefer him over Justin, as he can be a massive asset to the team, as shown in Episode 3. Like Zee, I’m fine with him as is, and can only wait and see what he does in later episodes. Will his alliance become genuine romance or just a tool for Caleb to outlast Priya? Probably the ladder, as he doesn’t seem to show any romantic interest in her that feels genuine.

And that’s Total Drama Island Rematch so far. Tomorrow should be the debuts of Episodes 5 and 6, so here’s to a great season. I was honestly shocked at how much I loved this cast, and how refreshing it felt seeing the show after a seven (eight if you ignore Ridonculous) year hiatus. I will be making sure to watch the series again when it comes to MAX in seventy years. As for whether or not I wanna see the Gen 4 cast again…I’ll probably be content with them stopping their run after Season 2. Reloaded and Rematch work as just two halves of a nice little package, and I really don’t want them to risk having this lovable cast go through what Gen 1 did. If we do get a new season, I’d be fine with them having a new cast. Fans will probably like them as much as they do with Gen 4.

[godstaff]

Been awhile. Hope everything is cool with you. If you rewrite the infamous Dark Knight Rises "fight" between Superman and Batso, how would you do it?

I think it was Stan Lee. Yeah, Stan the Man. After been asked for the Nth time which hero would win in a battle with other hero, responded "whomever the writer wants to win"

Wise old man.

Truthfully, there's no other explanation. Whomever the writer wants or needs to be victorious at the time to make the point of his/her story.

David defeated Goliath to make the biblical statement that even a skinny shepherd could win against a giant with divine help. It obiously was part of a best seller, so the story conviced many bullied kids they must oppose oppresion because their cause is just. History doesn't say how many of those kids ended up in ER or pushing daisies. God wasn't with them. But that's not relevant for the message of the story.

TDKR is a good story. It didn't need to humilliate Superman to make its point. Having so many other metahumans working for the government, like Captain Atom, there was no need to use another fundational hero to make Batso shine.

I often say everybody remembers Superman's defeat at the hands of Batso, but no one even mentions Batso killed Joker in that same book. Selective memory: Kal-El's beating became canon, Joker's demise was conveniently forgotten, because it would've paint Bruce under a negative light. Batso doesn't kill.

Besides, DC and everybody hates Superman and loves and needs Joker.

That's the detail I'd change in what I consider an overall good story of an elder vigilante who's tactics become more extreme and radical because he can't no longer control the outcome of everything as he did in his youth.

People remembers it as a seminal Batso story. I consider it a clear sign of his downfall.

Miller was getting old and he put many of his own reflexions about old age in his book. Frank Miller was the "old man yells at a cloud"

Different points of view, I guess.

It shows how much willing you are to look the other side for the love of your hero.

What other think as the ultimate tale of heroism, for me is the clear sign of "Okay, Grampa, go insult the kids stepping on your lawn, but leave heroics to more capable people." It also shows how ineffective his initial crusade was, since his city, the one he was sworn to save, turned up to be a cesspool of decay and corruption even worst than before his initial tenure as Batso. A sign of insanity is doing always the same expecting different results, so Bruce decided to do the same as before, more violently and ruthlessly this time, to make it work.

Sure, why not?

It was an Elseworld story. DC made it canon because they were desperate to save their hero, which was suffering of bad writing and a clownish image. It was a life boat for them.

Aside for the Superman incident, I would not change anything. I won't waste my time writing for Batso.

You just don't mess with my hero and we'll be okay. Forty years later, I'm still waiting for Superman's life boat. Nobody else is interested.

[tarantula-hawk-wasp]

while i decide on formatting you get the sneak preview of my two first reviews of my deeply deeply deeply subjective opinions about batman and movies. these are not objective value critiques these are my personal taste

batman returns (1992) - as with the first michael keaton movie, the style of these is just so different from what i like in the storytelling of a movie and what i like about batman that is hard for me to open my heart to it, but this one is much more coherent than Batman (1989). The focus on the origin stories of catwoman and the penguin was interesting, and I liked Shreck as an asshole ceo type antagonist. The hard thing with the penguin is that while i know this predates always sunny and i know that danny devito can act with range, everything he says as penguin just registers as frank reynolds to me. Catwoman did do the important furry behavior of licking her glove and cleaning her face for no damn reason which is important to me but I wish her dialogue was more than just zingy one liners. Bruce feels like he is barely in this one tho. that's what having two villains does i guess. And i don't like that Penguin beefed it at the end. I don't feel like Batman was concerned enough with the sanctity of life in this one tbh. It does get points for committing to a strong aesthetic and campy vibe. It has personality. It does feel like a world that can handle a man dressed as a bat. Also made me realize that this is what the lego batman games draw heavily on for batcave design, gotham design, and soundtrack so that was a pleasant familiar surprise. A good alfred portrayal as well. Visually, I don't love michael keaton as bruce, he just doesn't match in my mind. Also the rubber cowl is so stupid.

Batman (1966). my beloved, my childhood friend, my joy of joys. This movie makes me want to throw up it is so funny in a specific way. The absurd lines delivered with the most serious gravitas. It makes me want to hurl its so perfect in the contrast. The riddles make less than no sense, they are incoherent. The plot holes are gaping and the dialogue full of shovels to enlarge them and it just keeps plowing ahead. Burt Ward is honestly an amazing dick grayson for the balance of immediate rage and cracking his knuckles ready for violence with Holy Sitting Ducks Batman sparkle to him. Joker with his painted over mustache also serves. The plot makes no sense. Not a damn thing makes sense. It is beautiful it is a work of campy sixties art. It is a parody of the much earlier serials that does not register as a parody today. It is a comic book come to life. The aesthetics, the costumes, the sets, the vehicles - chef's fucking kiss. This movie is absurd and is acted with seriousness. The villains almost win bc Dick doesn't want to watch his father figure make out on the date they're surveilling. Alfred however is down to voyeur. Everyone should watch this movie at least once with an open heart. downside is 60s batman is best buds with the police and operates in broad daylight most of the time. but i can forgive that for such glorious lines as an abrupt cut to

Robin: Gosh, Batman, the nobility of the almost-human porpoise. Batman: True, Robin. It was noble of that animal to hurl itself into the path of that final torpedo. He gave his life for ours.

[sedge-yells-at-comics]

Reprinted below, in case the link implodes.

Flash #27 Reveals Why Reverse Flash Is a Truly Unique Villain                

The finale of "Running Scared" provides a gut-wrenching Rebirth update to one of DC's most complicated villains: Eobard Thawne, the Reverse Flash.

By Meg Downey Published Jul 27, 2017               

If you’re a fan of the Flash, you’re probably pretty familiar with the concept of the Reverse Flash, a man named Eobard Thawne who, like Barry, has super speed and wears a flashy costume. Of course, the “Reverse” might sound like he’s the literal opposite of the Flash -- maybe someone who slows things down instead of speeding himself up? Or maybe someone who runs backwards?

There are a lot of obvious and incorrect guesses pretty readily available for casual or newer fans to throw darts at. The reality of the Reverse Flash is, however, pretty complicated. Mostly because his “reverse” status is actually ideological at its core. Flash media, be it print, animated or live action, has traditionally made this apparent by painting Eobard as someone who is essentially pure evil -- a sort of manic, time traveling serial killer who is motivated solely by his endless need to destroy Barry Allen from the ground up.

At that point, the problem then becomes finding a way to make Thawne’s homicidal drive, well… unique in the scope of the DC Universe, a place that just so happens to be populated by enough over-the-top villains to populate a decent sized Midwestern town. Why is Reverse Flash someone that’s specific to The Flash? What differentiates him from any of DC’s other iconic arch rivals, like Lex Luthor or The Joker?

Well, The Flash #27 has the answer, and it's probably not the one you expected.

Running Scared

The rebirth of the “classic” Eobard Thawne (as opposed to his New 52 revamp) began in the Flash/Batman crossover mini-event “The Button” back in April, a four-part storyline which connected the original Thawne to the events of last year’s DC Universe: Rebirth one-shot.

Since, then, Thawne’s taken up residence as a perpetual thorn in Barry’s side in the hero's own ongoing series, stepping directly into the spotlight for the three-part “Running Scared” arc which served to highlight Thawne’s Rebirth status quo. For the most part, it’s a story that fans will be pretty familiar with, borrowing heavily from elements of stories like The Flash: Rebirth and Flashpoint. Thawne’s from the future, he time traveled to kill Barry’s parents, he’s connected to a negative form of the Speed-Force, and so on -- But that’s where things start to get their Rebirth-specific legs.

It’s not that creators Josh Williamson, Howard Porter and Paul Pelletier are trying to reinvent the proverbial wheel with “Running Scared” -- just unlock a different side of it by shining a light on one of the most unique aspect of Eobard and Barry’s relationship.

Reverse Flash doesn’t hate Flash the way Lex Luthor hates Superman, or Bane hates Batman. It’s actually (appropriately) quite the opposite. It’s the reverse. Eobard Thawne loves Barry Allen, obsessively and vengefully, which is where his endless, destructive need to ruin Barry’s life comes into play.

“Running Scared” highlights the fact that a young Eobard grew up alone (though Williamson was quick to confirm that that particular story element came out of an earlier Geoff Johns Flash issue) with only his idealized and imaginary version of Barry -- a character from his history books -- to keep him company. Barry was, for all intents and purposes, Thawne’s only friend, confidant, and emotional anchor, despite the fact that the two of them wouldn’t actually meet for years and years.

It was plenty of time for a very troubled and very lonely Thawne to fall in love with a version of The Scarlet Speedster that existed only in his imagination...and, well, it’s pretty obvious how that particular emotional endeavor actually went down. Actually meeting Barry and subsequently being forced to deal with the fact that he was just a guy and not the cartoon character Thawne had built in his head for years, proved to be too hard a stress test for Thawne’s fragile psyche.

Fatal Attraction

Meeting and being disappointed by a personal hero is a rough experience for just about anyone, but rather than allowing himself to move on -- or even allowing himself to simply decide to hate Barry instead, Thawne’s obsession only doubled down.

As issue #27 hurtles to its conclusion, Thawne’s real motivations become abundantly apparent. As Barry, infected with Thawne’s own inverted Negative Speed Force thrashes Thawne within an inch of his life, he presses him with a question - Why, if Thawne has always been so inspired by him, has he gone out of his way to ruin Barry’s life at every turn? Why has he done all of these terrible things, from killing Barry’s parents to beating Wally within an inch of his life, to kidnapping he and Iris and hauling them to the future?

Thawne’s answer is as unexpected as it is heartrendingly honest: because these horrible things are the only way Thawne understands how to make Barry spend time with him.

It’s that simple.

Thawne’s love for, and obsession with Barry Allen has permeated his life so deeply and completely that he is even willing to count his time spent being pummeled half to death by Flash as a win. He’s completely unable or unwilling to differentiate between Barry’s affection and Barry’s hatred, and he’s ready to do whatever it might take to put himself at the center of either emotion in Barry’s mind.

“A few years ago, it would have really hurt my feelings to hear you say that,” Thawne taunts after Barry threatens him, “but now to think that I caused you that anger? That I could get under your skin like this? It warms my heart.”

It’s deeply troubling, of course, and horrifyingly uncomfortable to get a look into the head of a villain who is, essentially, the personification of a fan gone terribly, terribly awry -- a theme that only gets more difficult to swallow when you begin to think about the increasingly complicated relationship between fans and their idols in actual, genuine, non-super heroic world around us.

This subtle reworking of the Reverse Flash has made him one of comic’s most poignant ruminations of the idea of toxicity in fan communities, idolization of strangers, and self destructive obsession, and it did so in a way that boldly allowed Thawne to win at the end of the day.

The issue closes, and the arc completes, with Barry exactly in the position Thawne wanted him in: completely alone, just like Thawne was as he built Barry into a hero of mythological perfection in his head. Now, where Barry will end up, and whether he’ll be forgiven by Iris, Wally and the roster of people he’s been manipulating as he leads his vigilante double life, is still largely a mystery.

It’s clear that Thawne didn’t expect, or even really want, Barry to come running into his arms to start their life together the second he succeeded in isolating him -- he makes that abundantly clear as he warns that he’ll just return again and again and again, de-powered, killed or otherwise hindered. Iris may have added an exclamation point to the end of the story arc by “vaporizing” Thawne with a Black Hole gun, but it hardly matters.

Reverse Flash will be back, somehow, at some point, and it’s doubtful that his love and obsession for Barry will have wavered in the slightest. We know now that’s just now how his mind is capable of working. It’s unlikely that Thawne will ever feel anything for Barry beyond his own supremely twisted adoration, no matter how many times the Flash pummels him into the ground. It’s just not the way Thawne’s brain is able to process information anymore.

It’s complicated, messy, and uncomfortable, but it’s also one of the clearest articulations of exactly what makes Reverse Flash such an interesting villain in the scope of not just the Flash family of books, but the DCU as a whole.

[sora-of-uranus]

I haven't read the series nor learnt anything about the rest of it as I’m waiting till their either translated to English or the show comes out so I can have my heart ripped to shreds completely virgin to what the series holds but I’m just so interested in the cards. I mean there's 52 normal playing cards but there's also 2 jokers building it up to 54 cards. Now I know logically the show isn't going to use the joker cards but they are rather interesting  I mean when they were first written into the rule book (although they had existed long before that) their status was actually above all the cards. obviously now its used in other contexts depending on the game you play (example it may be used to skip a players turn, it may also be the lowest ranking card or some other ability.). Its main purpose throughout is to be a wild card.  obviously all the important characters relate to a Alice in wonderland character- which ones are somewhat up to interpretation since how one reads Alice in wonderland and also how one interprets the characters motives of Alice in borderland varies vastly. But I mean come on the cards are such an integral part of the series- as well as Alice in borderland- so it only makes sense for the characters to relate to the cards as well.  I could probably rant about the characters and their cards, how perhaps their card are the ones we first meet them in, or the ones they die in, maybe the ones they held the most impact on. But then there's certain characters that we meet that do hold enough purpose in the show to be memorable yet either don't fit any of those descriptions or meet multiple. Perhaps its only the face cards- the jack, queen, king and ace- that hold characters dear to them. I mean Mira is the red queen herself no? in both characterisation and card references and yet that seems to easy. For it to only be the face cards when we meet so many influential characters.  I mean heck playing cards I’d find myself winning ( or rather losing since I always guessed wrong and would win to many games) on something as stupid as the 2 of trumps. So its not like the normal cards are something to scoff at- used correctly and their more useful then the ace for crying out loud.  But I'm getting off track, the most obvious character for the Joker would be hatter, I mean dudes insane and basically made for the role. But I mean, come on, the even more obvious choice is Arisu. Dudes build to be a wild card. From a nothing in the real world,  a shut in who plays games all day. Yet he seems to be one of the best game players in the series for things like hearts and Diamonds. his innocents, ability to make characters love him or feel sympathy, quick wit and much more make him stupidly good at the two heart games we’ve seen in the show so far. He’s a wild card within the universe. A trump card.  but I mean theres two jokers in most decks. A red and a black one. balance and all that. If we go with Hatter being the joker then obviously its Aguni. but then I didnt go for hatter so fuck that. I think Chishiya would be the other joker. Their both working for the same thing, both playing off each other in diffrent ways and both great at the same games ( although both will deny being good at heart games). In the end I could only ever see those two ‘beating’ borderland. how they’d do it would be diffrent but they’d do it together or not. 

their the trump cards in the deck that is borderland. or maybe I’m really fucking sleepdeprived and lowkey havent had a coherent thought in like 2 weeks and am trying not to post about Hatter being a furry. its probally that one.   eitehr way I want a joker game and I want it to be heart breaking. 

[cherubcow]

“Invincible”, Season 1 (2021) Review

Somehow both very cool and very fucking stupid :D

About Created and written primarily by Robert Kirkman (principle writer for The Walking Dead comic and TV show), this Young Adult cartoon basically synthesizes a number of comic book characters (e.g., Superman, Batman, Green Lantern, Hellboy, Wonder Woman, Gambit) and tries to balance their heroism with cynical twists and dark realities. It's an exercise like Brightburn (2019) in that it mirrors existing comic writing all too closely in order to make violent twists. The cool stuff arrives pretty much immediately. You can tell right away that the physics have some level of realism, and it quickly gets serious because of this. The easy comparison would be to The Boys (also by Amazon, also about violent heroes, and also very well-produced). So, if you like The Boys (2019–), you'll probably like Invincible only a little less.

(( Some spoilers but nothing too specific ))

Wrong Focus But, the stupid stuff comes from the same error that the Kick-Ass movie (2010) made: it focuses on the wrong person(s). In Kick-Ass, the error was focusing on.. well.. "Kick-Ass", an irredeemable loser and waste of screen time. Invincible makes the same mistake, focusing on.. well.. "Invincible", a (so far) irredeemable loser and waste of screen time. So, despite its virtues, this show cannot escape that it made the decision to go for the Young Adult viewing demographic. It reminds me of Alita: Battle Angel (2019) in that way too: some very cool adult concepts ruined by the dramatic devices of unrepentant teenage stupidity and irrelevance. I didn't even like that stuff when I was a teenager, though Jordan Catalano gets a pass.

Main Cast and Characters The supporting characters were also very stupid. The most annoying was definitely Amber Bennett (voiced by the otherwise cool Zazie Beetz from Deadpool 2 (2018) and Joker (2019)), 

who is supposed to be attractive somehow to Mark Grayson ("Invincible", voiced by Steven Yeun, who played Glenn on The Walking Dead) 

despite the fact that she constantly judges him, fails to understand him, often fails to give him any kind of benefit of the doubt, and continues to scowl at him and be hurtful towards him even when she has information that should change her outlook towards him. And because she is part of the love triangle shared between herself, Invincible/Mark, and "Atom Eve"/Samantha (voiced by the awesome Gillian Jacobs from Community (2009–2014)), 

audiences simply have to bear with it that Amber's annoying character will be present and wasting time until Mark can realize that Amber is in fact toxic and that Eve actually understands him and can improve him in more positive directions. That love triangle should have been a 20-minute distraction, but I'm guessing that it will eat up a season or two more, especially if the writers become cowardly and fail to change things for fear of messing up a perceived "winning" formula. In my ideal story line, they would skip ahead 10 years, drop the teen drama, the love triangle, and the stupid jokes and have Invincible and Eve paired in defense of Earth, with the main tension being from their worry that the other would be horribly gored in front of them during lethal fights against cosmic enemies ;)

Aside, I am aware of Amber’s motivation for being a bad person, I just think her justification is not based in understanding, empathy, and a regard for the gravity of Invincible’s situation. In a strict political sense, Invincible should not commit a lie of omission by keeping her in the dark about his identity — even if for the “noble lie” reason of protecting her — but in a real sense, he is a fucking teenager who just developed his super powers. For her to pretend that he should reveal his entire identity to her — a potentially transformative and even dangerous decision — after a few months of teenage romance paints an absurd portrait of her mind. It does, however, align her with Omni-Man, because where Omni-Man forces Invincible to become an adult in the fighting sense (pushing with full force early on), Amber forces Invincible to become an emotional adult by getting him to understand that toxic people such as herself need to be given boundaries — and he needs to learn to clearly delineate and communicate his real desires. By knowing that he does not want Amber, people who regiment his free time, or people who do not suit him, for instance, he can realize why Eve was an obvious decision: Eve understands, can make time when they have time, and will let him find his decisions. Part of a coming-of-age story tends to be realizing what one actually wants, and Invincible’s hesitation in telling Amber his identity shows that he does not truly want her. This separates Invincible from, say, Spider-Man, who avoided telling Mary Jane his identity not because he did not want her but because he wanted at all costs to protect her.

The next most annoying character has to be Debbie Grayson (voiced by TV-cancer Sandra Oh and who luckily was not animated to look like the real Sandra Oh and who should have been voiced instead by Bobby Lee due to Lee's successful MadTV parody of Sandra Oh). 

Debbie basically fills the role of Skyler in Breaking Bad, except that Debbie's character tends to be slightly more understanding before her inevitable and toxic Skyler-resentment and undermining behavior. Despite having an 8-episode arc of change, Debbie's character flips too quickly and lacks the empathy and Omni-Man motive-justifying that would make her interesting (the comic's development may vary). For instance, if she refused to believe that Omni-Man meant his own words, that would make her empathetic and perhaps virtuous even if misled, but instead she dropped their "20 years" of understanding after viewing Omni-Man in action, which makes her appear shallow, easily manipulated, and unsympathetic. That was a definite "Young Adult" genre move because it shows immaturity by the writers to break apart a bond of 20 years so quickly. Mediocre teens might accept such a fissure because their lives have not yet seen or may not comprehend that level of time, but adults know that even long-standing and problematic relationships (which, beyond the lie, Omni-Man's and Debbie's was not shown to be) take a lot of time to break — even with lies exposed.

Omni-Man The biggest show strength for me was of course Omni-Man, who in a success of casting was voiced by J.K. Simmons in a kind of reprisal of Simmons' role as Fletcher from Whiplash (2014). 

The Fletcher/Omni-Man parallel shows through their being incredibly harsh but extremely disciplined and principled, forcing people to become beyond even their own ideal selves (this via Omni-Man's tough-love teaching of Invincible — comically, Omni-Man was actually psychologically easier on Invincible than Fletcher was on Whiplash's Andrew character). Despite the show's attempts to villainize Omni-Man, he, like Fletcher and also like Breaking Bad's Walter White, becomes progressively more awesome, eventually representing a Spartan will, an unconquerable drive, and a realistic and martial understanding of a hero's role.

To the show's credit, while it wrote Omni-Man to be outright genocidal and from a culture of eugenicists (again, Spartan), they could not help but admire him and his "violence" and "naked force" (for a Starship Troopers reference), giving him a path to redemption. That redemption comes in part because — despite the show's attempt to be often realistic and violent — its decision to be directed at young adults via dumb jokes, petty relationship drama, the characters’ reckless lack of anonymity and security in their neighborhood (loudly taking off and landing right at the doorstep), and light indy music also made the portrayed violence far less literal. With a less literal violence, the real statement becomes not that Omni-Man really did kill so many people (though he certainly did kill those people within the show's plot) but that he was symbolically capable of terrible violence but could be reformed for good. That's the shortcoming with putting violence under demographic limitations. If it's a PG-13 Godzilla knocking down cities, the deaths in the many fallen skyscrapers don't matter so much (the audience will even forgive Godzilla for mass death if it happens mostly in removed spectacle), whereas if it's Cormac McCarthy envisioning a very realistic fiction, every death rides the edge of true trauma.

By showing light between the real and the symbolic, it is much easier to identify and agree with Omni-Man. For instance, when Robot (voiced by Zachary Quinto of Heroes and the newer Star Trek movies) 

shows too much empathy for the revealed weakness of "Monster Girl" (voiced by Grey Griffin), the audience may have thought, "Pathetic," even before Omni-Man himself said it. And this because Omni-Man knows that true and powerful enemies (including himself) will not hesitate to use ultra-violence against these avenues of weakness. "Invincible" can make his Spider-Man quips while in lethal battles, but he does so while riding the edge of death — something that Omni-Man has to teach Invincible by riding him to the brink of his own.

Other Cast/Characters and Amazon's Hidden Budget It was impressive how many big-name actors were thrown into this — a true hemorrhage of producer funding. Amazon has so far hidden the budget numbers, perhaps because they don't want people to know that the show (like many of its shows) represents a kind of loss-leader to jump-start its entertainment brand.

Aside from those already mentioned, the show borrows a number of actors from The Walking Dead (WD), including.. • Chad L. Coleman ("Martian Man"; "Tyreese" on WD),

• Khary Payton ("Black Samson"; "Ezekiel" on WD),

• Ross Marquand (several characters; "Aaron" on WD)

• Lauren Cohan ("War Woman"; "Maggie" on WD)

• Michael Cudlitz ("Red Rush"; "Abraham" on WD)

• Lennie James ("Darkwing"; "Morgan" on WD)

• Sonequa Martin-Green ("Green Ghost"; "Sasha" on WD) 

There were also connections to Rick and Morty and Community, not just with Gillian Jacobs but also with... • Justin Roiland ("Doug Cheston"), who voices both Rick and Morty in Rick and Morty,

• Jason Mantzoukas ("Rex"),

• Walton Goggins ("Cecil"),

• Chris Diamantopoulos (several characters),

• Clancy Brown ("Damien Darkblood"),

• Kevin Michael Richardson ("Mauler Twins"), and

• Ryan Ridley (writing)

That's a lot of overlap. They even had Michael Dorn from Star Trek: TNG (1987–1994) (there he played Worf) and Reginald VelJohnson from Family Matters (1989–1998) and Die Hard (1988), and even Mark Hamill. Pretty much everyone in the voice cast was significant and known. Maybe Amazon got a discount for COVID since the actors could all do voice-work from home? ;)

Overall Bad that it was for the Young Adult target demo but good for the infrequent adult themes and ultra-violence. Very high production value and a good watch for those who like dark superhero stories. I have heard that the comic gets progressively darker, which fits for Robert Kirkman, so it will likely be worth keeping up with this show.

[davidmann95]

Thoughts (if any) on DC's April 2021 solicitations?

Let’s take ‘em in order! I should be able to muster up a comment on just about everything one way or another.

Green Lantern #1: Oh this is gonna be bad. Heard only the worst about Thorne’s Future State: Green Lantern, and I assume Jo Mullein’s DCU debut will be wasted here to either function as some kind of ridiculous ‘popularity contest’ with Teen Lantern for who gets the bigger push, or as a way to put TL over with a few “good work kid, you got a future” comments. Also, and granted I don’t know how Morrison will end or this will begin, is the New Guardians angle being immediately dropped?

Robin #1: Dope suit, art, and premise, but it’s Williamson so I don’t care.

Batman: The Dark Knight #1: I’ll read this and I expect to like it, but between this being Kubert’s first big Batman project since Master Race, the ‘old but not quite retirement age yet’ angle, and the title, I’m concerned the shock ending here is that it’s actually a stealth DKR prequel.

The Next Batman: Second Son #1: So they really are committing here, though weird that this kinda makes Ridley’s Future State book basically a longform teaser for this. And I’ll get it as it comes out since it turns out this won’t be in that John Ridley’s Batman collection after all - sorry Dustin Nguyen, I love your stuff but I won’t buy an entire trade of material I otherwise already own just for one new story by you.

The Batman & Scooby Doo Mysteries #1: I got that whole great-looking Scooby Doo Team-Up run by Fisch for free on Comixology, I should read that sometime and see if this’ll be worth getting too as well, because it sounds like a hoot.

Challenge of the Super Sons #1: Glad people who want it are getting it, I do not care.

RWBY/Justice League #1: WILL BE GETTING A POST ALL ITS OWN

Action Comics #1030: His powers waning definitely won’t help the standard pre-run fuming by a lot of Superman fandom, but it’s an interesting pairing with PKJ apparently doing mainly cosmic Superman adventures so I’m curious where he’ll go with it. That it’s particularly cited as being tied to Death Metal might validate my suspicion that the new ‘everyone remembers their entire mainstream publishing histories’ thing will play into Johnson’s description of Clark really feeling his age at the start of the run. And Janin on covers even before he gets in on the book proper! And that Midnighter description!

Superman #30: This sounds like where Johnson’s gonna start with that worldbuilding he touted, and I’m curious; definitely reads in this instance like him shoving Clark and Jon into some swords-and-sorcery-esque territory he’s familiar with.

American Vampire 1976 #7: Not reading, don’t care.

Batman #107: I assume ‘the events at Arkham Asylum’ are the ‘A-Day’ ominously brought up in Future State solicits. Tynion Batman, Jimenez as the regular artist now, whatever the Unsanity Collective is, all entirely my shit. More importantly than any of that though, GHOSTMAKER BACKUPS. And drawn by Ricardo Lopez Ortiz, artist on Steve Orlando’s excellent The Pull! Dope!

Batman: Black & White #5: Any other issue and ‘Jamal Campbell doing a life story of Nightwing’ would probably be the highlight, but in case you somehow hadn’t heard Gillen/McKelvie are making their DC debut on a Batman vs. Riddler story here, absolutely wild.

Batman: Urban Legends #2: Even more excited for this now that I’m onboard for the Grifter and Outsiders stuff given how much those features pleasantly surprised me in Future State.

Batman/Superman #17: Injecting it isn’t enough anymore, I need to be on some kind of constant IV drip with this book. I was wondering whether it’d take the premise to further generational riffs or follow a history of mass-media Supermen and Batmen, but instead it’s veering off in a direction I never could have guessed and I couldn’t be more excited.

Batman vs. Ra’s Al Ghul #6: NOTHING CAN STOP THE ADAMSVERSE. NONE MAY DARE TRY.

Batman/Catwoman #5: Wondering how this Harley involvement plays in - I don’t imagine it’s quite what it seems given how King’s written her before. And love that Joker by Mann on the cover, major Clown at Midnight vibes.

Catwoman #30: No reason to assume this run won’t continue to rule.

Crime Syndicate #2: Dammit, I don’t think this book is going to be good, but I’m kinda tempted.

Detective Comics #1035: Wouldn’t be psyched, but Dark Detective was another pleasant surprise so I’ll give this a chance.

The Dreaming: Waking Hours #9: Again, not reading.

Far Sector #11: Sucks a little knowing we’ll never see that little ‘Young Animal’ label in the corner again after this wraps. At least it’s going out on its highest note.

The Flash #769: In a vacuum this would sound dope but I have less than no faith in this, and goddamn that’s a terrible cover.

Harley Quinn #2: I’m sure it’ll be fine, no interest.

The Joker #2: I wanna believe Tynion will be able to make this work, he keeps talking like he has more freedom on this than he has some other books, but everything about this reads like the price he has to pay for relative post-Joker War freedom on Batman.

Justice League #60: It’s Bendis/Marquez on Justice League, lots of people will complain but I’ll mostly dig it. More interested in Ram V briefly getting to write the main crew in the JLD backup.

Man-Bat #3: I’d ask why this exists - and as a matter of fact I still do - but checking out some of DC’s digital-first output recently I see Dave Wielgosz has something on the ball, so maybe he’ll be able to make this work? Perhaps I’ll check it out in trade someday if worth-of-mouth is on its side.

Nightwing #79: I maintain, this is gonna be huge. And clever move to make for how to justify Nightwing keeping up his standard way of business after Bruce loses most of his money.

Rorschach #7: A comic I will purchase and let’s continue leaving it at that.

Scooby-Doo, Where Are You? #109: DC’s highest-numbered comic (that hasn’t gone through an interim renumbering), astonishing. Not getting it myself, but respect.

Sensational Wonder Woman #2: Can’t say this sounds like my thing.

Suicide Squad #2: I’ve been swayed into checking out the Future State debut, but that’d have to really blow me away for me to follow into the main book.

Superman: Red & Blue #2: Sadly if unsurprisingly DC’s clearly not stacking this with AAA attention-grabbing names in the same way as this latest version of Batman: Black & White, but there do seem to be some interesting names from outside the usual big two roster here. And the main and Bolland cover may disappoint but holy cow that David Choe variant.

The Swamp Thing #2: I have no doubt it’ll be incredible but time and again I learn I simply don’t have it in me to care about Swamp Thing regardless of the objective quality of the effort put into him.

Sweet Tooth: The Return #6: Another one I’m not interested in.

Titans Academy #2: Oh lord so this is where they stuck Billy Batson.

Truth & Justice #3: I continue to have no idea what if anything the unifying idea of this anthology is supposed to be.

Wonder Woman #771: Wonder Woman as troubleshooter for mythological mishaps isn’t a permanently sustainable or desirable status quo but I’m down for it for as long as it lasts if it’s any good (though that Immortal Wonder Woman preview...concerned me, in spite of Jen Bartel’s jaw-dropping art).

So that’s 19-23 out of 37 I’ll be getting - if DC’s standard for success with Infinite Frontier is the proportion of their line people will be checking out, I guess it’s winning with me.

[cometcrystal]

favorite & least favorite scooby monsters by series

stipulations: the racist ones (zen tuo, the witch doctors, etc) would all get “least fav” by default so i’m gonna exclude them from this list so i’m not being redundant. we all know the racist ones are the worst. so these are my least favs that aren’t like. problematic.

ALSO it has to be a person in disguise OR an actual monster. it can’t be a villain that’s grounded in reality. so while i love professor huh, he doesn’t count here cause he’s a human and just Like That. likewise, i hate pericles, but he doesn’t count here cause he’s a bird and thus neither a guy in a mask nor a monster

sdway

fav - honestly a tie between the space kook and charlie. literally the GOATs. legends. 

least fav - THE ZOMBIE. FUCK THAT THING I HATE IT SO MUCH IT DOES NOTHING AND YET IT GETS MERCH

new sd movies

fav - moat monster. its just a big ol frog!

least fav - the ghost of redbeard. come the fuck on guys

the rest under the cut

tsds

fav - 10000 volt ghost and the technicolor ghosts. ik theyre just recolors of the giggling green ghosts but THEYRE ICE CREAM THEMED!! the creepy heap from the deep is also scary to me like if i saw him i’d run. honorary mentions are the skeleton men bc theyre cyclops but scooby doo doesnt care about calling stuff what it is and i think its funny and also i like the pterodactyl ghost. this show had a lot of good monsters

least fav - the rambling ghost. i dont dislike him but i dont rly DISLIKE any of the monsters from this series so i just picked the sports-themed one

scooby & scrappy

fav - the star creature. this thing is SO damn cool and unique. i also like the neon phantom because... what a weird concept

least fav - the blue scarab. BORING

new scooby & scrappy

fav - i guess the great white shark wins be default because i dont really care abt any of the others from this series. this show’s strength was daphne being back, not the monsters

least fav - phantom of the soaps. what a fucking loser

new sd mysteries 

im gonna keep it real with you chief! i was looking over the list of monsters and i literally dont remember a damn thing about any of them so i must have been disassociating for this entire series

13 ghosts

fav - DEMONDO. a comic book monster??? GOD thats so cool

least fav - nekara. dont take van ghoul away from his kids they need their dad

pup

fav - stinkweed cause i think its one of the only plant monsters scooby has had so far. also the design is very good

least fav - headless skateboarder. simon seville voice marijuana an unlawful substance used to experience artificial highs

wnsd

fav - the leeland brothers but i think its just because i love the chase song from that episode. also the mystery machine because i like when the mystery machine becomes evil and twisted. AND the toxic terror because fight capitalism + good design

least fav - headless snowman. it’s not even headless for god’s sake

sdmi

fav - the entity is honestly a shoo-in. name another scooby villain more evil and with as much impact. honorary mentions are the ghost truck, junk, the horrible herd, and the cicada monolith for some truly unique and scary monster concepts, and to the manticore for being marcie. sdmi had a TON of good ones

least fav - daphne’s writing wakka wakka. for real though fuck the dandy highwayman

bcsd

fav - the ghost of mother wins by FAR. probably the only tv scooby monster that actually legit creeped me out. also the rebooted space kook bc he’s had a glo up. bcsd also has a ton of good monsters!

least fav - the yeti bc the joke about it making no sense was funny but also the yeti itself doesn’t really do that much

guess who 

fav - i love the just so fucked up and twisted sia. its just sia but now shes evil. ALSO the screaming skulls of london & the dinosaurs in weird al ep are very good

least fav - the man-bat because it’s not even the actual dc man-bat it’s just the fucking joker again

scrappy era movies

fav - mirror shaggy. WAY better than werewolf shaggy imo

least fav - i wish i could bash in the skulls of reluctant werewolf’s version of count dracula and his two minions

zombie island era

fav - giant turkey :) & phantom virus! extremely cool monster he’ll zap ya!

least fav - as much as i LOVE the visceral horror and discomfort when fred rips off the zombie’s head cause he thought it was a mask, i just dont care about any of the monsters in zombie island

wnsd movies

fav - the loch ness monster. GENUINELY impressive. also the ghost of cleopatra bc god queen shit. bonus points go to everything in the goblin king

least fav - the chupacabra because THE CUPACABRA IS A DEMON DOG, NOT A BIGFOOT!!! and the yowie yahoo because THE YOWIE IS A BIGFOOT, NOT A VAMPIRE!!! literally how hard is it to do a google search before you design a monster

2002 & monsters unleashed

fav - its gotta be the 10000 volt ghost again. he’s my man

least fav - THE ZOMBIE!!!!!! FUCK THIS THING AAAAAAAAAAAAAAAAAAAAAA

cartoon network live actions

fav - the ghosts in the first movie SO good guys theyre SO good

least fav - shelma

2010s dtv movies

fav - THE PHANTOSAUR!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! HELL YES & the red ghost from the bobby flay movie is also extremely good imo i LOVE its design. & the multiple phantoms in stage fright. literally name something more iconic than the multiple phantoms

least fav - the big top werewolf.......scooby doo one of the things i love most dearly about you is when you make out-of-place monsters WORK (ex. a gryphon in a stage magic movie) but i really want something more exciting for a circus movie

dtv 20min shorts

fav - cornfield clem is my boy because i never cared about scarecrows before i saw this and he made me care. he and the scarecrow in scary stories to tell in the dark both showed me scarecrows can be interesting. thank u clem i love you.

least fav - i like all these monsters but ill list the sea monster here because just drink him up lol

[garak]

BATMAN THE LONG HALLOWEEN PART ONE REVIEW:

as a known long halloweener i feel i have the right to say this one should have stuck closer to the script.

jensen ackles as batman sucks shit. he is putting on a really bad fake deep voice

the cityscapes are very nice and the opening credits are mwah. perfect

they switched out the irish racism (mild and largely inconsequential) for asian racism which seems like an. absurd choice. especially when the gang they swapped out are established batman lore characters afaik

they did not understand what made catwoman’s design good and gave her a very default catsuit AND got rid of her cool hair AND samefaced her. what the fuck

the joker kisses a man onscreen AND gets to keep his new years kiss line so i count it as a win for gay coded joker enjoyers

also in regards to the joker i’m glad they kept some elements to what made his long halloween design so memorable. mostly this movie stuck to the modern batman animated style which is fine, but i was glad to see more elements of the original designs

they made calendar man sexy

i love jim gordons design and how they play more into his drama with his family and how it contrasts with dent even if it is a little heavy handed

roberto my friend roberto .... they made him sexy as well

they pronounce it falconey in this movie? is that real? i always read it as falcohn and gotham said it that way too... italians let me know

robertos romance subplot thing. what was that. 

whyyyy did they reveal him so early too!!! where is the riddler! where is scarecrow! where is mad hatter! i assume they’ll come in in part two but like why would you reveal him so early especially when it doesn’t make sense that batman OR the joker would know this! 

why with the unknown masked assailant when roberto faked his death in the original? and with the super conclusive death. like how is he supposed to come back from this. are they changing the main villain? why? that ruins the whole set up of the story!!!!!

also batman listing his original motives and then him being like “what? no!” is such a punch in the face for people who genuinely liked the original plotline. like why are you saying its stupid or unfounded its literally the plot of the book.

my prediction for part two is they’ll switch to gilda being the holiday killer, which is fine i guess but theyve made her even more sympathetic this movie and it’s just sort of a stupid and cliché take on what was a complex story, especially now that roberto is gone.

selena and bruce knowing each others secret identities is also a boring change and only used for shock value. stupid. i will not forgive them for what they have done to catwoman

also robertos killer was a blonde guy so who the fuck was that. 

CONCLUSION: good for if you like long halloween joker. bad if you like long halloween catwoman or the plot of the long halloween. we will see how part two plays out. hoping for more grundy 

[rosecorcoranwrites]

Heroes and Villains are Not the Same

That's right, I hold the controversial opinion that heroes and villains are, in fact, not the same thing. Crazy, I know, but I stand by it. Let's step back a bit. Recently, I've come across a few writers and commentators saying something along the lines of "who the hero or villain is depends on who's telling the story". This sounds provocative, I guess, but it disregards a lot of standard terminology surrounding storytelling

Let’s talk about four types of character.

First, you have your protagonist and antagonist. The protagonist, obviously, is the main character. The antagonist is the character who works against the main character. Wikipedia puts it rather eloquently: "The protagonist is at the center of the story, makes the key decisions, and experiences the consequences of those decisions. The protagonist is the primary agent propelling the story forward, and is often the character who faces the most significant obstacles," while "an antagonist is a character in a story who is presented as the chief foe of the protagonist".

It is true that who the protagonist and the antagonist are depends on who’s telling the story. If Les Miserables were from Javert's perspective, then Valjean and all the revolutionaries would be antagonists. If there were a book series starring Draco Malfoy and his two cronies, then Harry, Ron, and Hermione would be the antagonists. And, yes, in these two instances, I think you could call Javert and Draco heroes; the first has a classic Greek heroic flaw, while the second goes through a long redemption arc.

Let's look at another example. If L were telling the story of Death Note, he would be the protagonist. And yes, the hero. Unlike in the other examples, he already was the hero. If you're unfamiliar with Death Note, it features a high school student, Light Yagami, who obtains the book of a Grim Reaper. If you write the name of an individual in that notebook, that person will die. Light, deciding to rid the world of horrible criminals, goes to town with it. But lest the audience see him as some tragic hero who goes down a dark path, it's made clear early on that he has a god complex—assuming the name "Kira"/"Killer"—and is willing to murder anyone who gets in his way, including the famous detective, L, who has been brought on to catch Kira. L is the antagonist to Light's protagonist, specifically, his villain protagonist.

That's why the idea that the villain and the hero are just the same thing from different perspectives is so confusing to me. We have villain protagonists. That is the other perspective. Though I feel like the insistence on heroes and villains being the same stems from our relativist culture, I think it also comes from a misunderstanding of what "hero" and "villain" mean.

A hero is a character who, generally speaking, struggles with some flaw or conflict. Their main arc deals with either overcoming this conflict or eventually capitulating to it. Greek tragedies are built around a "heroic flaw" that undoes the hero no matter how much they struggle against it. Modern superhero stories do the opposite, where the hero fights against internal vices or external foes, eventually winning the day, proving that virtue wins out over vice.

And that is the important thing about heroes: virtue. Whether or not a hero follows the path of virtue to its conclusion or ends up failing and falling off it at the end, they are at least seeking it. They are trying to be good. This is why you can essentially say that a hero is the Good Guy. The Good Guy might fail at the end, but that doesn't mean he wasn't trying his hardest until that point.

What makes a hero different from a villain? Well, obviously, the villain is the Bad Guy. No, really. A villain is "a character whose evil actions or motives are important to the plot", “a cruelly malicious person who is involved in or devoted to wickedness or crime; scoundrel; or a character in a play, novel, or the like, who constitutes an important evil agency in the plot". While a hero concerns himself with trying to lead a virtuous life, even if they fail, the villain doesn't. Maybe they actively pursue selfish and evil ends. Maybe they just don't care. Maybe they do think they're the hero (a popular idea in writing circles that will get its own blog post later), but are willing to do evil actions to achieve those good ends. The point is, while the hero pursues the good, a villain pursues evil.

So, with these as our criteria, let's look at a recent example: the 2019 film, Joker. Is this protagonist a hero or a villain?

I'll go ahead and say spoilers, but I actually don't think spoilers matter for this movie. I watched about two dozen reviews of the film before seeing it myself—to see if it would be too intense for me—so I knew every plot point going in. It was still amazing! The way those plot points were presented made them intriguing and fresh. Nevertheless, if you want no spoilers, I would bow out now.

Joker is the story of a man beaten down by society and circumstance. Arthur Fleck, as he is named at the beginning of the story, is a mentally ill man working a low-paying job at a clown-for-hire agency. His life is pretty awful: he gets beat up by teenagers, his coworkers don't respect him and even fear him due to his illness, he lives in a somewhat shabby apartment with his elderly mother, his therapist doesn't listen to him, and so on. All this pressure and anxiety finally come to a head when three jerk businessmen on a subway start assaulting Arthur while he is still in his clown costume. He shoots two of them in self-defense, then runs down the final one and shoots him in the heat of the moment.

Due to the swirling unrest in the city—there's a garbage strike going on, the social service budget has been cut, businesses are closing down, and so on—this nameless clown striking out against three rich men starts a movement. The unhappy masses don clown masks. Then they start protesting. Then they start rioting. While all this is happening, Arthur soaks it in. Though he states that he’s not political and doesn't believe in anything, he clearly likes seeing people imitate his look. He likes seeing the story of the killings in the news.

Eventually, through several more dark turns in the plot, he learns that his mother has lied to him about who his father is (maybe? The story kind of suggests that maybe his birth certificate is forged? And there's the writing on the back of that photograph? I don't know...), and that she allowed him to be mercilessly abused as a child. He makes a speech here, about how he has never in his life been happy, but that he realizes his life is not a tragedy, but a comedy. Then he smothers his mother with a pillow.

This is truly the moment he throws away "Arthur Fleck" and becomes the Joker, underlined by him dyeing his hair green and donning an orange and purple three-piece suit. He kills again, on television nonetheless, then basks in the rioting and burning he has caused. He thinks it's funny. Now, we not only have Arthur Fleck turned into the iconic Joker, but we have the city turned from an admittedly grimy and unjust place into the mask-clad-murderer infested burning hell hole that is the Gotham we know.

So, is the Joker a hero or a villain? Does it matter how you look at it?

One of the reasons this movie was so popular—aside from being about the most famous comic book villain ever—was that different sides could see what they wanted in it. Those in favor of movements like Antifa could point out the economic injustice that led to the riots; the movie makes no attempt to hide how unjust the society in Gotham is. People who see such movements as dangerous can say that, even if there were reasons for the protesting, at the end of the movie innocent people were murdered and the city is literally on fire, which the film also presents as a pretty bad thing. Maybe if Arthur was helped to get proper medication and counseling, he wouldn't have felt so hopeless, and thus wouldn't have become the Joker. True. Maybe if Thomas Wayne or child protective services had stepped in—since they both apparently knew Arthur was being abused as a child—and removed him from his mother, his life would have had a totally different trajectory. Yep.

No matter what particular political message you want to take from it, the fact is that Joker, the movie, is about the failure of society to address wrongs and about the chaos that comes when no one does anything about it. Remember, at this time in Gotham, there is no masked vigilante looking out for the little guy. Not yet, at least.

It's also a movie about one of the most iconic villains ever. The fact is, Arthur does not care about starting a movement. He likes that he did, because at least people are noticing him, but he doesn't care. He doesn't care that people are rioting and that the city is on fire, but he likes that the rioters look up to him. He doesn't care that he killed three businessmen on a train, or smothered his mother, or hacked up a colleague and got covered in the guy's blood, or that he shot a talk show host on live TV, or murdered his doctor at the end of the movie, because he liked doing it.

Yes, he does have a motive beyond that: revenge, for being lied to, or made to take the fall, or for being made fun of. As he says: What do you get when you cross a mentally ill loner with a system that treats him like garbage? You get what you deserve. He has a point, and he's bitter, but he also really likes killing people. Throughout the movie, he laughs uncontrollably at inappropriate times— almost always when he is nervous or uncomfortable with the situation. But what does he do after he kills? He dances. Because he likes it. He may not be happy, but he still thinks he's in a comedy.

And that is why we can say that he is not the hero of his own story nor the hero of a Batman movie where it's told from the Joker's perspective. Because as sad as Arthur Fleck's story is, he's never trying to be virtuous, he's just trying to get by. In the end, the way he chooses to get by is through murder. It's tragic, but, as he himself says, it's not a tragedy. He's not a tragic hero. He's a comic villain. The only thing that depends on who’s telling the story is whether or not you get the joke.

[coffeeandcalligraphy]

Teeth Marks, Empty Nest, Picking Ritual | Writing Update

Hey People of Earth!

It’s been a hot minute since I last wrote a Moth Work writing update, and so here we are again for the final countdown! Today’s post will be covering everything related to chapter 12, 13, and 14. Let’s start with Teeth Marks, which I wrote probably sometime in February.

Teeth Marks marks the third part of Moth Work, called Wings, and the first chapter back in Harrison’s POV. I honestly can’t remember much of the writing process as it’s been a while, so let’s dive straight into the scene breakdown!

Scene A: 

We start in the doorway of Eliza’s apartment where Harrison stands shook because a) his boi Lonan has answered it (scandal) and his mother, who he has been estranged from for the last four years, is also in this apartment (EXTRA scandal). Eliza ushers Harrison inside (and this is probably the only *nice* interaction they ever have, spoiler alert!)

Harrison is very shook, and also a little angry, and also a little confused! He doesn’t know why his mother is here, and doesn't understand why Lonan wouldn’t contact him to tell him she is here.

Him and Eliza get into a bit of a scuffle where Eliza is protective of Lonan and is like “who are you mate” and Harrison’s like hahahHA pardON. This leads to Lonan kicking them both out even tho this ain’t even his house!

Scene B:

We now move to the stairwell right outside Eliza’s apartment where she and Harrison have been sitting in awkward silence! Harrison notices she’s wearing his guardian angel necklace (which Lonan mistakenly took back in chapter 6).

This scene is instrumental in setting up how these two interact, which in short, is not! fun! for! either! They try to be civil but can’t help but be protective over Lonan for different reasons. Eliza because they are now sort of in a relationship, and Harrison because hahaha he’s been there, and also because Eliza is Lonan’s father’s ex! Why!

Lonan interrupts this conversation and him and Harrison have a lil private moment even tho Eliza is standing right there aahaha. Eliza leaves which prompts Lonan to go after her, and we end with Harrison all alone in the stairwell like a proper sad boi.

Excerpts:

I previously wrote some mean things about this chapter and am editing it out cuz we tryna be positive! Here’s some tender romance because why not! For context, Harrison has asked Eliza how much she knows about the nature of the boys’ relationship (she knows nothing!!)

He could tell her the truth. About the polaroids left back in Boston. What it felt like to kiss him underwater. What it felt like to dance with him, his clumsy instep. What it felt like to trace each notch of his ribs in the off moments he’d sleep and how wonderful it was, to touch the places his hunger would go. 

Some more romance because yesss:

He pretends they’re alone at the cabin, somewhere on the water, sharing a sleeve of crackers, looking at the moon like it’s the other’s iris, somewhere where constellations read less like hieroglyphics and more like sonnets. 

Let us move onto chapter 13, Empty Nest!

Scene A:

Harrison sits alone at the dinner table watching a TV show in a language he doesn’t speak. His mother interrupts this *chillin* and they get into a heated conversation.

This ends badly for Harrison, to which Lonan (who is presumably arguing with Eliza in her bedroom) comforts him and yeets the two of them outta that apartment! Knight in shining armour babyyyy

Scene B:

Lonan takes Harrison to chapter nine’s beautiful place (the cove).

They chat about their (fallen) relationship and Lonan + Eliza’s relationship that is apparently now flourishing (hahah it actually isn’t)

This turns romantical very fast!!! I am guilty of self-indulgence!!

Excerpts:

EDIT: I originally had an edit in here saying I didn’t have the mental spoons to edit this chapter which is why I wouldn’t share a lot of excerpts! This was very true haha, as I was amidst the worst mental health week I’ve had in years, but guess! who! tried! to! edit! anyway! This obviously was not the best idea and I pushed myself too hard. This led to me doing some crying and beyond that, a decision to take a few days off of writing (despite the fact that I didn’t want to). I’m feeling great now which I’m so grateful for, but just a note! Anyhow!!

This excerpt makes me laugh because it gives me “lonely man sitting on his porch in the prairies” vibe:

No one eats together. Lonan and Suzanna have already taken their pick, and Eliza eats in her room. Harrison hasn’t seen Lonan since he followed Eliza’s empty trail back into the apartment, and he hears him now, between the drone of infomercials and advertisements on the Spanish TV station he doesn’t even understand. Coming from her room, he can picture him, the way Lonan argues, competitive like he’s trying to win something. Suzanna sits on the balcony, maybe hiding a smoke, or something more ridiculous, new age, like an essential oil pen. Ribbons of grey luminescing in the neon lights. Maybe it’s more accurate to say Harrison eats alone. 

This is the excerpt that I had a breakdown editing lmaooo I think it’s cute tho!!

Somewhere better is a beach. Hidden in a cove, the stones arched over seafoam. In the moonlight, sand glitters, water trills, a night owl in the distance wails. Lonan leads him to the cove’s heart, a bullet of clearing that reveals constellations neither recognize. Lonan’s brought a basket with him, unfolds the checked blanket across the shore. Harrison sits first, and observes as Lonan travels the cove’s perimeter, collecting driftwood as he goes. He stacks them into a pyramid at the shore’s lip, pulls out a lighter.

He starts the fire easily, cups the flame like it’s a jittering organism, coaxes it until it expands. The flame tints his jaw gold, glares in his eyes so they look like blue fire. The night halos around ­Lonan, burnishes the cove walls, turns the sand into a mirage. As Lonan nurses the fire, Harrison traces his face, the violet impasto around his eye. Lonan has always looked like a masterpiece to him, damp black hair that almost looks navy blue, a smile so subtle, it’s almost acquired. He holds the fire so it toasts his chin, his focus a delicate, paternal thing.

Picking Ritual is chapter 14 of the book! I wrote this during reading break, and it’s one of my faves a) because of the title and b) because Harrison and Eliza FIGHT (I’m here for the tea).

Scene A:

Lonan and Harrison get back from their self-care-gone-romantical escapade to drunk Eliza creepily sitting in the dark!! Harrison’s mother has left, which Eliza uses as cruel ammo (don’t we love her)!

This is where we really get to see Eliza’s other side as she gets gaslighty as a response to Harrison’s very true callouts

Scene B:

Later, Eliza may or may not purposefully leave her bedroom door open while mildly unholy matters occur that’s all I’m gonna say about that!!!

Scene C:

Eliza leaves her room to “get some orange juice” (she’s trying to get a rise out of Harrison, which works). They roast each other endlessly until Harrison asks her to play a game with him.

Scene D:

This game is a game of cards, which is actually Harrison choosing four cards (king of spades = Lonan’s father, queen of hearts = Eliza, the joker = Lonan, and a jack = Harrison) so he can learn more about each one he chooses for her.

This is where the chapter title comes from!

Excerpts:

The following is a self-roast because my house does all the following (besides magnets on ALL four corners of dishcloths, there’s currently just one. ;) Lonan in this scene is Fiona in that scene in Shrek 2 where Shrek and King Harold are arguing over dinner (CW: there’s a description here that could be potentially triggering for self-harm!).

Suzanna is gone when they get back to Eliza’s apartment. No jacket on the coat hook. No shoes on Eliza’s straw-woven welcome mat. The kitchen has been picked over, each plate, fork, back in its strangely correct place. Eliza keeps her cutlery in jars, and her pans in the oven, her dish cloths magnetted to the fridge by all four corners, a pristineness that feels chemical.

Just as he’s about to comment on it, a light from the living area flicks on, and underneath sits Eliza, paging through a book in the dark. Spots like wine stains on her cheeks shine glassy under the harsh lightbulb.

“She has a place twenty minutes from here. By the public gardens,” she says, running her fingernail against the ribbed spine of the hardcover. Harrison can’t make out the title. When he stares blankly at her, examining the patches on her skin until he’s memorized of their surface area, she clears her throat and shuts the book. “Your mother?”

“I know,” he says.

“That your mother has a place twenty minutes from here?”

“That you were referring to my mother.”

“So you didn’t know?”

ugh I love Harrison and Eliza arguing it’s my fave dynamic:

Eliza stands, and smooths the silk of her night dress, though one crease continues to bunch. She folds her hand into a fist, and brings it to her mouth, biting on her knuckles as she paces. Harrison and Lonan watch her, and Lonan’s about to step toward her when she nods and directs her gaze straight at Harrison. “Did that upset you?” she asks, peeling a sliver of skin up between her teeth, letting it snap back. “The way I spoke of your mother.”

“I don’t care about anything you have to say.”

Oof oof tensions be RISING:

Lonan knocks on Eliza’s door a half hour later and doesn’t come back out. Harrison watches the shut door like he can break through it from the couch, how heavy it sits in its frame like they’ve taken turns smearing caulking in its seams.

The nightglow decolours his chin, his eyes, and he stares at the stars as he did an hour ago with Lonan. He touches his lips, hoping something divine will reappear on his fingers, something divine enough to anoint himself with. Nothing does, of course, but he tries, dappling each groove of his mouth. 

Here’s some Eliza being Eliza :)

He should tell her to buy some curtains. The sliding door’s glass opens to her balcony where his mother stood, pouring onto the busy street below her apartment complex. He can almost perfectly replicate the image of his mother with just his fingertip, a familiarity of her unknown, but unconsciously memorized by him. Suzanna has traded her only pair of shoes—a dingy set of floral flip-flops—for boots with silver zippers, steel toes, heels perfected by a designer she has a connection to. He thinks of his mother with sour precision, a sugary glumness that makes his mouth heavy.

He still wears the angel Lonan re-fastened around his neck and examines it against the belly of the two-seater Lonan once slept on.

She’s lost a stone from where he threw it, almost unnoticeably in the corner where her wings meet her back. He runs his finger over the empty spot, a nearly undetectable groove, and wonders how difficult it would be to find it in the tooth of Eliza’s hardwood.

Just as he’s prepared to get up and find out, the heavy door jars open. Wider than he’s expecting, so he can see Lonan from the couch. Arranged against a pillow, his hair disappearing into the dark wood of Eliza’s bedhead. His eyes closed, a tremor that rocks through his forehead every few seconds. And then quickly, Eliza shuffling through the opening. She wears a kimono patterned with koi fish, the fabric rustling against her bare thighs as she enters the kitchen.

Harrison watches her through his eyelashes, her half-up hairdo falling toward her face, the flash of skin pale, like the peel of the moon.

She grabs a glass he washed and fills it from the sink. Once a bulb forms across the surface, she tips it to her lips, and swallows deliberately.

Harrison watches as she checks the sink for unwashed dishes she knows aren’t there. As she adjusts a placement on her table that doesn’t need adjusting. As she spins herself on her toes around the kitchen island, her kimono splaying so he sees flashes of her thighs again. She dances like this back to her bedroom, where she sets her water glass on the dresser, and keeps the door wide open. 

I can’t not share this part I apologize there is some spice but also Harrison’s iconic Gay (TM) takedown at the end brings me so much joy:

Eliza exits the room a half hour later, except this time, doesn’t dance. Still, she steps carefully, her toes taut as she patters against the floorboards. Harrison watches her with his arms crossed, and stays like that, even when they make eye contact.

She startles and re-adjusts her kimono, so the clip of her skin disappears. She’s combed her hair since she and Lonan finished, and it sits gauzy over her forehead.

“Have you ever thought of buying a deadbolt?” he says, watching carefully as she turns and grabs a glass from a cabinet.

The refrigerator thrills when she opens it, a wash of gaudy tungsten yellowing her face. She sucks on her lip as she pulls out a bottle of orange juice, glugging a cupful into her mouth first, and then into a glass. 

“A deadbolt,” she says, a lightness in her voice—false innocence. “Why?”

“I’ve heard good things. Security. Privacy. You live alone, don’t you?”

She juts the orange juice to her lip fast, her chin bucking like she’s taking a shot. “I do.”

“You’re planning on keeping it that way?”

Eliza drains the last of the orange juice and rests the glass in the sink. She flicks on the tap so a stream splashes into its mouth like somersaults, diluting the juice until the glass cleans.

“There must be someone,” Harrison elaborates. He shifts, so his legs hang off the couch’s edge. The hardwood is cold, and for a moment, he feels like he’s stepping on water. “You’re seeing people, aren’t you? You live in Las Vegas. Good job. Decent apartment.”

Eliza shakes off the wet glass and sets it on the drying rack. “Are you interested?”

“I’m gay, but thanks. How does that work, anyway? Dating you. Would I send in an application? Self-addressed stamped envelope and all? Email?”

ugh more iconic Harrison I love him:

Harrison’s eyes focus on the lip balm and he imagines Lonan putting it there, his finger moving across her mouth and then down, like an anointment. “Isn’t that such a coincidence, then? You’re so selective, yet you manage to date two members of the same family.”

Her smile fades. Eliza clucks her tongue and wipes her mouth quickly with the back of her hand. Thoughtlessly, she refills the clean glass with more orange juice, and only realizes her mistake after the liquid sits precisely at the rim of the cup.

“Shit,” she says, wringing her hand out. “Shit.”

“I’ll drink it,” he says, and is already up and at the kitchen island before she puts another hand on the glass. Eliza almost scowls, but chews on her gums when she catches herself. She slides the glass across the granite, and a blip of orange juice jitters onto the surface. Harrison dabs his pinky in it and sucks it into his mouth. “I want to ask you a favour.”

“I’m not doing anything for you.”

He puts a hand against the fridge before she can move past him, and Eliza sighs, weaves her arms haughtily over her chest. “Cards.” The fridge rumbles to life under his fingertips, and Eliza jumps. “Play a game with me,” he says.

Sharing because of Harrison’s roast at the end, it’s really just one of those days:

Eliza’s a good shuffler. Easily, she dices the cards, the hard split of their edges when he usually shuffles almost non-existent. He’s only ever met one other person who can shuffle like her—his mother.

Harrison sips the orange juice as she shuffles the deck. In all truth, he doesn’t need the cards to be shuffled—he knows exactly which ones he needs. But her ease intrigues him, and he can’t help but feel mesmerized with each flitter of the deck.

“Where did you learn how to do that?” he asks after another long pull of juice.

She cuts the deck and continues. “My father.”

“I didn’t know you had parents.”

“I didn’t know your mother had children.”  

“I don’t think she knows either.”

Eliza rests the shuffled deck onto the countertop and nudges it toward him. He hasn’t told her what game they’re going to play, and as Harrison searches for his necessary cards, the prickle of her gaze deadens. He keeps at task, combing each card and pulling out the needed.             

“I would’ve liked to know.” Eliza says this nimbly. “You look like her.”        

Another pick. “Every son wants to look like their mother. What a dream.”      

“I meant that as a good thing.”

“And I meant what I said as a bad thing.” 

What a way to end this update lol! 

I’ll be back soon with an update for the final chapter in this book! I hope y’all have been okay in these times, I know it’s not easy. Let me know what you’re working on!

--Rachel

[popwasabi]

Lockdown Lookback: Catching up on the past months’ Pop Culture

Aaaaannnd we’re back!

It’s amazing what a little pandemic can do to shake you out of your creative cobwebs but if we’re all going to die, I want to make sure all my pop cultural hot takes are up to date at least.

Many of us are already on lockdown and many major movies including “007,” “Black Widow” and ummm I guess “Mulan” are all getting pushed to the backburner as no one is leaving their God damn homes unless they’re told to!

(Didn’t realize the thing I wish I had more of in the apocalypse would be sweatpants...)

But there’s still plenty to talk about from the previous months and other hot topics I have been meaning to write about but just hadn’t found the time or energy for. Life has been hard I think for just about all of us these days thanks in no small part to this pandemic. For me personally, I’ve had two different vacations canceled because of the virus and currently working understaffed at my job which is considered essential. Not to mention my therapist is on call only at this time and both my martial arts schools have been suspended, so I can neither talk nor punch my feelings out of my system.

So, I might be just a LITTLE on edge at the moment.

(My internal monologue for most of these past few weeks, more broadly years...)

Anyways, I digress, you come here because you like to read my highly unprofessional takes on pop culture and genuinely to those who have cheered me on from the beginning thanks, you guys are my prime motivators. But anyways let’s talk about all the shit I was supposed to write about these last two and a half months.

 “Birds of Prey” was a hot, but needed, mess

Earlier last month I got to see the sort of sequel to the much-maligned “Suicide Squad” in “Birds of Prey and the…waaaay too long of a title for me write here.” I had cautious optimism for it because it looked strange and off the beaten path of most comic book movies and seemed to promise at the very least a fun time at the theater but it’s still also a DCEU movie so the floor was pretty low on its possible quality as well.

In the end, the movie is kind of bit of everything; the best and worst parts of the DCEU. 

In terms of the good, it’s definitely outside the box, a sort of fem Deadpool first person story as told frenetically by Harley herself. Margot Robbie is, of course, still quite great at this role and you can tell she’s having a blast as this character. The humor is mostly good and visually the bright colors and cinematography pops on each screen and on that front there isn’t much to complain about.

But as a DCEU movie it does suffer from some narrative imbalance partially due to it’s psycho storyteller but mostly, and more than likely, due to corporate editing that probably axed an entire dance number that I was honestly looking forward to from the trailers.

(Seriously, I actually wanted to see the full unedited version of whatever hell this ended up being.)

It’s definitely in the “could’ve been better” camp of comic book movies but you know what? I’m still glad it exists. You know why? Because comic book movies dominate our blockbuster culture right now and if the genre wants to survive, at least artistically, it needs some outside the box films like this. I HATED “Joker” but I appreciate that it opened the door for stranger, more unique takes on a genre that is getting increasingly more stale. This movie falls into that unique category too.

(Also, to all the faux-intellectuals and alt-right nerds making a culture war out of “Sonic” vs “Birds of Prey” *kindly* reevaluate your lives please...)

We’re at the point now where comic book movies should be getting weirder, not more formulaic, and that means swinging for the fences even if a couple don’t quite make it out of the ballpark. If it takes a few not so stellar takes on the genre for Hollywood to greenlight a truly fantastic one I’m all for it.

In any case “Birds of Prey” doesn’t quite end nor continue the DCEU’s recent hot streak but it is enjoyable enough to where I would be more than open to a sequel. It’s worth a watch.

 The Mandalorian and The Witcher: Two shows about violent mercenaries and fatherhood

Both these shows are old news at this point, but I did want to talk a little about both for a bit if you would have me.

First, “The Mandalorian” which was Disney+’s flagship production to begin its streaming chapter late last year is definitely a more than welcome addition to the galaxy far, far away. It’s pretty easy to feel fairly jaded about Star Wars these days given how flat the new trilogy ended but for what it’s worth “The Mandalorian” was a good mix of nostalgia bait and something new and interesting for fans to chew on. Its production value is obviously top-notch, no doubt because of all the Disney money pumped into it, it’s well-acted and thrilling and fun from start to finish. It plays heavily on the genres that influenced the series, primarily westerns and old samurai flicks, and fans of those will certainly enjoy the homages to them all.

The series was something of a coming out party for Deborah Chow who directed two of the season 1’s best episodes. Her steady hand, eye for details and tributes to Asian cinema throughout really gave the series an extra kick at times and showed how Star Wars can evolve still. Chow is set to helm the upcoming “Kenobi” series and one can only hope that she *really* leans into the samurai genre for that show.

(Hopefully, there are some “Yojimbo” vibes in there somewhere...)

The Mandalorian’s best and worst parts though are its semi episodic nature making each episode easy to digest as a one-off but also lacking some narrative tension between each. It plays kind of like a Saturday Morning cartoon to both its benefit and detriment with bite-size easy to digest plots and dialogue for the viewers but not offering a ton of depth beyond that.

The Mandalorian himself is also kind of a Gary Stu. His armor is basically impenetrable and far and away the best killer onscreen typically, making more than a few action scenes lack real stakes and tension. Baby Yoda certainly helps at times to make him more vulnerable and puts him in precarious positions plenty of times but outside a few moments (mainly episode 2 and to a lesser extend the final episode) he’s just a little too overpowered to be a more interesting character.

But this show and frankly the Star Wars series as a whole is meant for kids, no matter what the neckbeards try to tell you (violence =/= adult), and that’s not necessarily a bad thing either. Plenty of kids productions can be both great and even sophisticated and while I wouldn’t say “The Mandalorian” is either of those it’s a good and fun kids show for the fans.

(And yes I’m aware that the books, some comics, and games have touched on more adult stuff, you weirdos. But how would you describe the overall tone and presumptive audience of the movies and TV series as a whole, guys??)

As far as “The Witcher” goes it also has a bit of an episodic style to it as well with an overarching, albeit, convoluted story that runs parallel to it. The first 3-4ish episodes can be classified as a quasi “Game of Thrones” clone leaning perhaps a little too heavily into the tropes of that series. Once the series finally starts leaning into its real identity, a dry-witted hack and slash fantasy, the series is much more consistent both tonally and narratively.

Henry Cavil is solid as Geralt of Rivia and the supporting cast of Joey Batey as Jaskier, Freya Allen as Ciri and even more so Anya Chalotra as Yennefer are all great in their respective roles delivering some great moments throughout the season.

(And lest you forget this earworm...)

“The Witcher’s” early season struggles keep it from being as tonally or narratively consistent as “The Mandalorian” but where the monster slayer beats the bounty hunter is that it has overall more compelling drama and has more to say, leaning much more heavily into the thematic greys of the plot. There are tons of problems with “The Witcher” on a story-telling level but you can definitely say it cares more about adding some depth in between the more pulpy aspects of the story which is something you can’t say as much for in “The Mandalorian.”

Of course, I’m partially overselling “The Witcher” a bit here, it’s not anywhere near “Game of Thrones” best (yet at least), and on the flipside one could argue that “The Mandalorian’s” more subtle sense of story-telling does its themes better. But when it comes down to these two shows you get somewhat similar story-telling ideas, mostly involving both characters and their smaller counterparts, in two very different genres with equally diverging conclusions to their respective seasons. 

(🎵 Toss an “Oof” to your Witcher...🎵)

All in all, they’re both good and worth a watch and I think they deserve a chance to evolve and hopefully showcase more of what they have to offer moving forward.

“Parasite” wins Best Picture! Many people have some hot takes, including the president...

Last month one of my favorite films of 2019 “Parasite” won Best Picture at the Oscars. It’s a movie that is becoming increasingly relevant as elites and celebrities alike are getting front of the line testing despite being asymptomatic in the middle of pandemic and think they can assuage our concerns and dread by poorly singing “Imagine” together within the comfort of their McMansions.

It’s about as a good time as any to revisit this movie, I mean where else are you going to go during this timeline, and at a later date I’ll write something more extensive about it eventually (hopefully) but first here’s a helpful video on one particular thing that came out after director Bong Joon Ho took home the night’s top honors:

 “Cats” is still a fever dream of madness

Back in late December, I watched “Cats” for science, as I had AMC A-List and a friend crazy enough to join me. I figured it would be bonkers and unlike anything I had seen before in the worst way but even then, I don’t think I was truly prepared for what I ended up seeing that fateful night.

I remember quite vividly going to the bar inside the theater and ordering a stiff drink beforehand to numb the pain and the bartender asking “So what are y’all watching tonight?” and beginning to laugh manically like an insane asylum patient at the innocuousness of the question. Walking into the theater was like that feeling you get before getting on a particularly scary-looking rollercoaster at Six Flags but instead of the pre-ride jitters eventually subsiding to the eventual fun and joy of the ride, only a deep sense of existential dread built up and sustained itself through what felt like six hours of the most baffling thing put to screen in front of my eyes ever.

(The music that played in my head as I exited the theater...)

Have any of you watched the Stanley Kubrick movie “Eyes Wide Shut” before? You know the scene when Tom Cruise is walking around in his mask observing the strange occult sex orgy going on around him at the mansion? That’s kind of what “Cats” felt like except way more terrifying, somehow MORE sexual, and definitely crazier.

(Is...this some type of...intepretative dance to summon an eldritch horror??)

There’s a voyeuristic terror that comes from sitting in that theater room as you watch bipedal humanoid looking felines dance to confusing songs about “Jelicle” cats (whatever the fuck that means) and all other manner of things that should NOT take human form throughout it’s near-endless runtime. A lot was made about Rebel Wilson and the disgusting roach people she consumes but NO ONE warned me about the frankly HORRIFYING mice children in the same scene!

(I am not perusing the internet to find that image again for y’all. I have enough nightmares each night...)

The saddest thing about the whole movie is everyone, save for Ian Mckellen who seemed to be acting as if a gun was pointing at him offscreen and Judi Dench who looked 100 percent like a geriatric in her digi fur, was giving the movie their fullest effort in what can only be described as a Titanic-sized level of hubris by all parties involved. This movie really needed a “Chaostician” involved in evaluating the production for studio heads and shareholders because there were definitely NOT enough people on this project wondering whether or not this film SHOULD exist...

(Dr. Ian Malcolm coming to Universal Pictures to access the film.)

What has “Cats” wrought upon this world? The universe has been clearly out of balance since this movie came out and while I’m not saying it’s director Tom Hooper’s fault, I’m not saying it isn’t either.

“Cats” is one of those things, much like The Matrix that cannot be simply described but must be seen to believe. It’s one of the worst things I have ever seen onscreen but with the right group of people and a few stiff drinks it’s certainly an experience you won’t forget. Consider it for your next Google Hangout during this apocalypse.

  Anyways, that about wraps up my thoughts on the last few months. Going to try to be more consistent going forward especially given how much more time I have now to write, for better and worse. But more importantly, just want to say stay safe y’all. It’s going to be a process to get through this and while things are more likely to get worse before they get better there will be a day when this all ends and some normalcy may yet return to our life but in order for us to get there we need to remain vigilant. 

So stay at home, wash your hands, and if you want to watch movies just order it online for now and we’ll just wait until aaaallll this blows over…hopefully.

Don’t panic...

[au-tumn-al]

So after 110 hours, I finally beat Persona 5 Royal. Before going into complete FFVII mode, I wanna lay out all my thoughts.

Blah, blah, blah, spoilers for everything under the cut.

To start off, I loved Royal. The gameplay was so much fun and it felt like such a natural evolution from vanilla P5. Probably my favorite change was what wad done with Baton Pass. Trying to pass to your entire party was very fun and very satisfying, especially if Joker got the ×4 or even ×3 and got to abuse a possibly charged Hassou Tobi lategame. It was pretty broken, but I don't mind things being broken once you go to the effort of figuring things out. Speaking of broken things—

Showtime attacks are super cool. I didn't know what to think of them at first because of how stupidly strong they are, but after I got to some harder boss fights where doing about 1k damage per attack would only get rid of about a small fraction of the shadow's health, I wasn't complaining.

(Also, I never actually got to see Joker and Violet's showtime. Oops.)

The fact that the damage scaled like that was really good, especially once you get into the third semester where party members have severe and colossal damage moves and even healer Morgana can do 150 damage per basic attack without buffs on an enemy without debuffs. The enemies' damage output remained kind of sad though, but uh....you can't win 'em all ;;

To finish showtime talk, Joker and Crow's showtime was heccin' great. I never skipped it. It was Batman in my animu JRPG so it was 10/10. It also did way more damage than most of my party members' showtime attacks so ey. It finished off that Yoshitsune request boss too with around 2.4k damage so I'm obligated to like it. On that note, how is showtime damage calculated? Do certain showtimes do more damage, or does it just depend on the offensive stats of the party members using it?

Technical damage was beefed up too, and I probably should have tried to take advantage of it more than I did but I never figured out how to make technical damage reliably knock an enemy down. I know that there was a way to do it but I never figured it out. Yes, yes, I know it was because I skipped tutorials but everything else was so busted, I never felt the need to go back and read said tutorials. I did read that book about technical damage though in-game, but it just added more technical combinations.

Onto other changes though, it could have been because I was playing on hard, but status ailments became about 10 times more useful. ...Actually, no, it was definitely because I was playing on hard, but even so, I felt like more bosses were weak to them when compared to P5. They went back to being mostly immune to them, especially in the new semester, but during and before October or so, status ailments became invaluable. It could have been because I sucked that much, but my party members, and even sometimes Joker, would get left with double or even single digit HP by near everything, even if I debuffed and buffed. Queen got regulated to a forget bot, but man it carried me through some boss fights. ... i.e., Kaneshiro's fight. Well, that and Mona's confuse.

I liked the Will Seeds too. They were a fun way to kind of change up the palaces and for me to hunt down. Even though yeah, they are pretty broken (especially with the accessory you get from the 2nd palace being able to get rid of elemental weaknesses for whoever has it equipped, not to mention the ability to give charge or concentrate to another party member), I still can't say I used them over my SP adhesives most of the time. I used the one that got rid of elemental weaknesses on Crow, but that was just because I could only use him and Joker at the time and did not want enemies to get another move on him to get another chance to hit either of them.

The changes to Mementos were amazing. Like the rest of them, they were pretty busted, but still. Amazing. I feel like I'm in the minority with this, but I didn't mind Mementos. In fact, I kind of liked going through the grind of going through it. Although...tbf, I kind of liked Tartarus too. Its 264 floors were a bit much, but I liked being able to turn off my brain, put on a podcast or YouTube video in the background for me to listen to then go through Tartarus in one or two in-game nights.

Back to Mementos, collecting stamps and flowers for Jose was fun, and being able to change the cognition for Mementos was busted. Since you can get EXP from auto-killing, you get over-leveled very fast. It doesn't help that you have to backtrack floors for stamps since they randomly generate, so you get even more money, experience, and items. On the bright side though, no, I didn't need to wander around singing "I've Been Working on the Railroad" with Mona and Skull for an hour and a half trying to find the materials for the Eternal Lockpick (which was renamed in Royal to Permapick ... I guess???)

Because of the changes you can make to boost item, money, and EXP gains, Mementos became the prime grinding area. Even more than the card shuffle thing in P3. Since you got so much EXP from ramming shadows even without leveling up EXP gain. I put all my stamps into getting more items and money until I couldn't anymore and I had near max every single crafting item, and never had to worry about the cost of anything ever. Combined with the money gains from killing shadows, you can also pick up sellable treasure from the item cubes in Mementos and it can end up selling for well over a million yen. So getting to max didn't even require Joker abusing the confuse status ailment or abusing the shadows with "You can do better than that."

I didn't mind the Mementos music, even when I was playing the game without something else playing for me to listen to, but now that Mementos does have new music, yeah, I realize now how much better it is. I wouldn't listen to it alone like I would Rivers in the Desert or anything, but it was a nice change. I listened to one of the songs before the game had its western release and didn't like it all that much, but actually playing the game while hearing it made me actually like it.

I got to level 99 though before the game was over. It made it so Joker and Crow were able to tag-team the Reaper then kill it in 3 turns. I had thought that trophy would have been a lot harder to get lol. It was pretty weird seeing the Reaper in such clear lighting though due to the new Mementos area though, I have to say.

Onto the bosses though...

I loved the changes to the bosses (except the 5th one but that's just because I hate everything about the 5th palace, even if Royal did make it about a million times more bearable).

Kameshida having cognitive Shiho and Mishima as helpers for the boss fight was such a good change, and made him about that much more hateable.

Madarame's boss fight in vanilla P5 was the hardest boss in the game for me, even on normal mode, but it was made so much easier in P5R. Madarame didn't bring back his painting form, but instead brought back elemental versions of himself specifically so the player can abuse Baton Pass. Baton Pass combos are extremely satisfying to pull off, so I enjoyed it immensely. Honestly, having that as the second boss in the game was so much of a better decision than what was in P5. That, or I'm still salty about all the deaths I had from fighting him the first time.

Kaneshiro was definitely harder, and I was a little stuck when he called his cronies out to guard him. Mona and Queen using confuse and forget while Skull and Joker attacked Kaneshiro made it a lot more bearable though. I also kept using spotlights on Joker so the enemies would attack him. He had Shiki Ouji equipped and they only ever did physical moves when my status effects missed, so I was never at risk for losing the fight. ... And then of course Skull and Queen finished it off with a showtime attack after Mona got yeeted.

Sphinx mom was a lot easier. I didn't know that the right dialogue choices made it so Oracle would guard you until someone told me, so I was sitting there surprised at how much easier it was lol. I did get stuck at the end though because it didn't look like I was damaging it. I thought Oracle needed to bring back the crossbow so I just kept buffing and healing. It took about 10 minutes for me to get bored and start attacking it again and it turned out I could attack it, but it was just that sphinx mom's HP wasn't visually moving before eventually going down. Joker still used Shiki Ouji which had learned an immunity to wind so. Easy victory (ignoring the part where I'm a dumbass).

I switched to easy mode for Okumura. I just did not care at all. I hate his palace, I hate the music, and the enemies could range from being easier to kill than the enemies in the first palace to being a pain in the ass, so I wanted to have it be over. If I didn't have an unreasonable hatred for the 5th palace though, I probably would have liked the change. It was challenging without being complete BS, at least much more challenging than how it was originally in P5. Having the enemies run off though did get pretty annoying when I was trying to beat it legit but I was just so done at that point, it was more on me than the game lol.

Part of the reason why I was so eager to get through Okumura's palace though was to get to Sae's palace. Because I love Sae's palace, and just in general, the entire month of November. It has amazing story bits, still the height of P5's story if you ask me, a great palace, and Whims of Fate is one of my favorite tracks from P5's OST. Sae's boss was even changed to when she spins the wheel, whatever element it goes to, she uses that element and her resistances would change. I loved that, and it was extremely fun to take what you more or less should have learned about enemies' attacks and their correlating weaknesses and use them for a boss fight. So much better than the original where you don't need strategy at all other than "hit her hard lol."

Shido's boss fight was changed to be super climactic. They made it easier for the sake of Joker being able to confront the dude that got him a criminal record and directly ruining his life, and I can't complain. It felt amazing to 1v1 him. The game fixed the possibility of being screwed by it by having him attack in a certain order like the twins do in their special fight, so that was nice at least.

Yaldabaoth's boss fight was the same. Still easy enough, as long as you're careful. Or...not careful but extremely lucky. I wasn't able to finish it off while it was charging up its almighty attack, but my entire party ended up dodging it so it didn't even matter lmao. Now that I think about it, it very easily could have been because of that one Will Seed accessory that makes you dodge attacks but... I don't care. I was still super lucky I didn't get wiped and be forced to start the fight over starting from the Holy Grail.

The new boss... Uhm... It was taking way too long so I ended up cheesing it with Haru's third persona's new move that basically makes you invincible for a turn halfway through the fight. ^^; Noir was a Vault Guardian bot, Queen just healed and took advantage of one of the tentscles' nuclear weaknesses to Baton Pass to Crow when she could, and then Joker and Crow did all the work. Crow's third tier persona's almighty move kicked ass and you know what else kicked ass? Hassou Tobi abuse. The other 2 phases weren't even really fights, so at least that kept it from dragging too much, despite all the phases it had.

When Joker and the boss had that punch-out fight though, I lost my shit. I was laughing so hard I started to cry and my back was hurting. I don't even remember why I thought it was so funny, but I was laughing my ass off. I couldn't even press X to get Joker to punch because I was laughing so hard. Right before it happened, I joked to my sister that a tutorial would pop up and suddenly the gameplay will have the controls from that P4 fighting game and you have to learn that in order to have one last showdown. And then I got the prompt to punch. Then Joker punched. And I started laughing.

11/10 would punch Adam Kadmon man again

On the topic of the new stuff though...

Kasumi/Sumire/Violet was pretty fun to use but badly, badly overshadowed by both Joker and Crow, at least during boss fights. She offered to join the party before Shido's palace and she really should have joined then. Maybe she would just be absent for the Mementos dungeon & Yaldabaoth/Holy Grail boss fights, but she should have been there for Shido's palace. I liked her wanted gimmick of being the crit'er, but when you get her, Mona's third tier persona learns an AOE Lucky Punch, Joker already has high crit, and I would always baton pass to Crow because of his severe almighty AOE ×3. Plus, the way I built my Joker with practically exclusively two personas, Yoshitsune and Kuguya Picaro, he was already the phys and light attacker except with the addition of being able to have an auto-concentrate at the start of every fight (I have no idea why—it's something with Yoshitsune but idk what it is), the charge skill, Yoshitsune's nature of tripling the effect of charge, and the additional electric damage. She should have been a party member before the new semester. Obviously this isn't the case for everyone, but for me personally, I didn't often find use for her, especially since she can't do colossal or even severe magic damage. She is a very good physical party member, but again, Joker already covers that better than any other party member can, including Skull.

Crow was a great party member though. I used him in every request and boss fight after I got him. I was a little salty he couldn't switch back and forth from Loki and Robin Hood but I suppose if he did, he'd make Violet even more obsolete lol. I liked Loki while playing P3, so I'm glad I was able to use that persona again. He had Debilitate which was amazing. Queen learns Checkmate when getting to the third tier persona, which is an AOE version of it, but honestly, whenever I was fighting a boss that I thought needed it at that point in the game, I didn't need it to be multi-hitting. Plus, it costed about 90 SP and no way I was using that over her healing, defense buffs, and nuclear damage.

But anyway, back to Crow, I loved using him. He basically turned into my almighty damage dealer, even with his somewhat weaker magic, at least compared to his strength stat, but considering the final boss fight, it was extremely helpful. It did take up a lot of SP, but I had 5 Somas, a ton of SP restoratives, and had basically asked Kawakami to make me either curry or coffee every single night I was able to, so I pretty much had an infinite supply of it.

It helped that P5R made Akechi a much more likable character too. I liked him all right in P5, but didn't find him all that sympathetic, and thought that the characters treating him so sympathetically was extremely jarring considering all the horrible shit he did (which includes making orphans of both Haru and Futaba). That still kind of holds true, but since you can actually build a social link with him outside of the story, you can see more of his character and it improved him in leaps and bounds. Not to mention that his 8th confidant rank was....something else ^^; having a section of the new story too with just Joker and Akechi, (and kind of Sumire too, but mostly just those two) was awesome. I loved seeing them team up to punch Adam Kadmon man in the face. Plus, having more time with him in the Phantom Thieves without pretense had him going "I am surrounded by idiots" basically the whole time he was there. Like—I even felt disappointed that Akechi was actually dead and he didn't survive. That's a huge improvement over from me wishing one of the dialogue options was "fuck you lmao" during his death scene at the end of Shido's palace when he asked the Phantom Thieves to promise him to change Shido's heart.

For Sumire though, she had a good character arc. Like her gameplay though, she was badly overshadowed by both Akechi and Maruki. Even still, I liked her character arc and everything, and her social link. Even if I ended up liking Kasumi more in the end anyway rip

That's kind of all I have to say about her, oof. She was good, but other elements took attention away from her pretty badly.

Maruki though... Maruki was amazing. He was a fantastic antagonist because I got to punch him in the face, his palace was amazing, I loved the music, the different sections were cool, and I even liked the color maze bridge puzzle thing. I definitely wouldn't like it so much if I ever replayed it, especially if I try to get that final Will Seed, which wasn't hard, but did take kind of a while, but I don't think I will be so it's not a problem.

He had such good motivations, and the fact that he didn't ever actually hurt anyone other than when he punched Joker in the face made him really sympathetic and redeemable to me. At the end of the day, all he actually wanted to do was make people happy and not have to suffer, and was willing to destroy himself in order to achieve it. But just like with every belief, it went too far and he took away people's free will and ability to pick for themselves. The kind of moral question about the entire thing was very interesting, and I kind of wish it was more further addressed. There should have been Sojiro or some other character that was perfectly happy in Maruki's alternate reality so they could challenge the Phantom Thieves in a way Maruki wasn't able to. Still, what was done was really good and I liked it a lot.

...

Even all that said, I have no idea why the hell Joker could not use Satanael. There was such a perfect opportunity to use it once Maruki evolved his persona to Adam Kadmon, a giant persona. Hell, it was still small when compared to Satanael. It's after beating Yaldabaoth so Joker should have access to it. It would have been epic to be able to use a giant Satanael in a normal-ish boss fight. I'm sure there are some explanations as to why, but the game never mentions it or even acknowledges Satanael so it doesn't count and I'm still bitter. The writers forgot that Joker has a persona literally as big as a cognitive god and that kind of broke some immersion for me. Immersion completely went out the window once Joker and Maruki started punching each other but STILL. Satanael's not that great a persona, but having it show up in the story again would have been so awesome to use a persona about as big as Shibuya more than once.

Hardly comparable to my beef about Satanael, but I wish that while the party members were acting as Phantom Thieves, or at least while they're in the metaverse, the names on their text boxes would change to their Phantom Thief names. There's no reason why they didn't, especially since the characters exclusively use their Phantom Thief names to call each other anyway. It's not a huge deal or anything, but I would have liked it.

I loved Royal, and totally think it's better than P5 vanilla. Its new semester kind of takes away from the superb ending of the vanilla game, but the new stuff still makes up for it. Don't get me wrong, you can still get the original ending from the vanilla game in Royal, at least I'm pretty sure you can, but it involves you missing out on all the new content, including Violet as a party member and getting Crow back, plus Joker's showtimes so it's not worth it imo

I wasn't actually looking forward to the game when it was announced, or even planning on getting it, but I had the Phantom Thieves' edition pre-ordered for me as a Christmas present so I wasn't going to...not play it lol. I'm extremely glad I got it though, even if I otherwise wouldn't have, and now that I have finished it, I'm very happy with the game. The gameplay's improved by leaps and bounds, and the new content was all amazing.

... And I got to punch Maruki in the face.

I did end up getting the platinum trophy for Royal too, so despite the Phantom Thieves den thing, I don't see myself going back to it, at least any time soon. It was an amazing experience, but I can set my sights back to FFVII now lol.

...Although, I did hear you can fight the twins and Lavenza so uhhh maybe i won't be shelfing it so soon—

[bigskydreaming]

So there’s that saying about how funerals are for the living, not the deceased. And various related thoughts on similar lines about mourning. That grief for lost loved ones is ultimately most about the people left behind figuring out how to make peace with that. That its not really about moving on or ever being okay with someone’s death, but more about the process of adjusting your reality to being a reality where there will always be a person-shaped hole in the place in your life where that loved one would normally have been found while still alive.

While the mourning period uses a lot of the same terminology as other healing processes, you don’t really ever heal from losing a loved one. With the exception of things like being a child physically dependent on a parent for child, losing someone to death doesn’t make you physically less capable of life without them, it makes life less the life you want to have, with your preference understandably being a life that still has them in it.

Basically, the point is that grief is one of those things that happens to you, that affects you in profound, even fundamental ways, where the thing that actually ‘happened’ didn’t actually happen to you. You the person are not focal point of what changed, no matter how deeply you feel that change.....your life is what is now different. Of course you were affected, of course its about you in that way, but its a difference of focus, not questioning the depth of impact or change itself. 

Whereas recovering from an accident or injury or adjusting to something that results in you having a disability or a lifelong illness, all of these could be described or paralleled to an assault on you, coping with the loss of a loved one would be more akin to that person having been kidnapped, in such a way as to leave most people assuming they’ll never be coming back.

All of which is to say....comic books are notoriously infamous for nobody ever staying dead, though this is more true of certain universes and franchises than others. But even within the DC universe itself, writers, readers and even other characters make similar statements a lot, about taking it for granted that most superheroes or supervillains will return eventually....even though that’s never actually been true. Its that most of the characters who will never return, will never be assumed likely to return at some point, even far down the line...for the most part, those characters are the families of superheroes rather than heroes themselves. The supporting ensembles, whose comic book deaths might have been because they weren’t the star of a title themselves, but who are only even less likely to ever be viewed as justifying a starring role after they’re dead, thus their ‘relevance’ to the larger comic book universe isn’t likely to ever be something other than what effects their life and death had on the characters they were a supporting cast for.

But the question I’m contemplating now is....what does all of that mean in the context of something like Jason Todd’s return? Specifically: in the real world, we understand and even take for granted the reasoning behind lines like “funerals are for the living,” because whatever our individual belief systems and what they have to say about the dead and our particular ways of honoring them....those things are about belief, about faith, that’s kinda the point. 

That we don’t really know for sure, but all we can really do is work with what we think they would want, or what we hope the afterlife holds for them, or what we think we would want if it were us and they were the ones left behind in our place, but even then, there, we’d still be working from assumptions and best guesses, because none of us were actually in their place, seeing and feeling it and being affected by it all through their eyes, rather than from a distance, even if a close, familial one.

But then someone like Jason returns and says guess what, your best guess was wrong. And what does “the dead don’t really want anything, they’re dead,” mean or even matter when someone comes back and says “well guess what, I did want my death avenged, and I’m alive now, and it matters to me?” 

When Bruce says something like how he didn’t kill Joker because he’d spent his whole life resisting becoming that person, and killing the Joker felt like it would be letting him win, like it would be letting the Joker use his son, use Jason, to win his sick game that was always by the Joker’s own claim more about Bruce and the Joker, rather than the Joker and any of the Robins, and in that sense Bruce honestly didn’t ever believe that Jason would have wanted him to kill the Joker, even to avenge him, if it meant letting the Joker win as a direct result....what does it mean then, for Jason to say no, you were wrong, I would have wanted you to kill him, that was what mattered to me, what I would have wanted, you made the wrong call there and what you did wasn’t actually about what I wanted at all.

Its a weirdly distinctive kind of “if a tree falls in the forest” question: if Jason actually wanted the Joker dead, wanted Bruce to have killed the Joker, was Bruce ‘wrong’ to have believed the exact opposite? What does him being wrong even mean, if so - does it mean that he didn’t actually know Jason as well as he thought he did, or does it mean that he wasn’t actually doing what he truly believed Jason would want, but justifying the choice he wanted to make regardless?

Or had he been right that Jason as he knew him wouldn’t have wanted that, but Jason as changed by the Joker killing him, even if just in those last final moments, did want that because even just those last final moments were profound enough to make him want something so profoundly different.....but that Bruce can hardly have been expected to know, with certainty enough to act upon, that this was the specific difference that change those moments wrought in him, to make “what Jason would have wanted” an entirely opposite thing to “what Jason would have wanted, as Bruce believed based on Jason as he knew him just twenty-four hours prior to his death?” 

Because then all that just begs the flip side to those questions, because at the exact same time...look at the exact same questions from Jason’s perspective. If Bruce had done what he did, chosen not to kill the Joker because he genuinely, truly with all his heart believed that by doing so, he would let the Joker win, and that would cheapen Jason’s death and how much he fought the likes of the Joker even to his last breath....then doesn’t that matter, even if he wasn’t actually right about what Jason wanted? If the actions were still in Jason’s name, still born of a father’s love for his son more than they were his own issues and priorities, isn’t that more important than the actual actions themselves? Conversely, what if something like the Earth Jason saw on his multiversal Countdown trip had come about - what if Bruce had killed the Joker, become his worst fear, and kept killing, and Jason had still returned and said no, I didn’t want this....could Bruce still have justified any of that by claiming to have done it in his name, to avenge him?

Or was it always a vicious Catch-22 where the answers were wrong either way, or both were right in their own ways, but whether Jason returned to find Bruce had killed the Joker or not, the ultimate not-funny joke was he was likely to find fault in his father’s actions regardless of what they were, because the true trauma of his death and everything that surrounded it and his return were that what the Joker did to Jason’s life, the impact of it, they weren’t over just because Jason returned from death.....that all of that was still an ongoing process, an open wound that hadn’t even begun to heal because it was still exposed and constantly reopening as soon as it even started to close? That Jason was never going to be okay and vindicated by what Bruce chose either way, because it was never Bruce’s choice or wrong choice that was causing him pain there, it was the fact that he was still traumatized, the Joker’s actions were still wrecking havoc on his life and his mind, and the Joker didn’t even actually need to still be alive to do that, not when Jason might have just have easily ended up railing at Bruce for making the wrong choice and thus letting the Joker win, because what Jason was really screaming either way is “I’m not okay, I just want my dad to make things okay and this isn’t it cuz I’m still not okay”?

We call the collision of Bruce’s choices and Jason’s return a trainwreck because of how badly all that went, but doesn’t trauma of sufficient degree always look like a trainwreck when its ongoing, still happing moment by painful slow-motion moment? Would it be more accurate to describe the real collision as one between Jason’s return to life and the pain and trauma that are a casualty of being alive? Couldn’t it be said that there was never any chance of Bruce successfully avenging Jason, no matter what choice he made, because avenging the dead is something undertaken with the implicit understanding that the dead are past pain, are beyond trauma, and thus no form of avenging someone’s death is going to lessen the pain and suffering that death brought them, and is returned to them the second they return to flesh and blood, no closer to having ‘healed’ or ‘recovered’ from that by virtue of having been dead between now and then....since after all, while dead, Jason hadn’t actually needed anything, had been past that pain, beyond that trauma?

Basically: what do the things people say and do in their grief mean and matter in the face of those they were grieving returning and saying they did it wrong, and that nothing that was done while they were gone makes things better about what happened to them or how it affected and changed them? How do you ever grieve for someone after a thing like that happens....and you’re forever after that point keenly aware that how you grieve and mourn might NOT just be about you and the others left behind, but might very well be choices you’re asked to justify and defend should this loved one too someday return from the grave? What kind of shadow does it cast over all the others you’ve mourned but haven’t seen return; how much does it call into question that what you’ve done with your life or the things you’ve done since they died are actually what they would have wanted, would be proud of?

Me @ DC: Hey, snuffwizards, I have lots of questions about that Great Big Revolving Door in the Sky over at Earth Prime, and all your characters’ relationships with it and with those who have gone through it and around and around and around again like they’re five year olds and the doorman whose job is to make sure those dang kids don’t treat it like a carousel, like, has been off on a fifty year-long smoke break. What are the chances of us ever getting some stories touching on all of that, with perhaps a little bit more nuance than:

Jason: makes pew pew noises/Bruce: ANAKIN NOOOOOO!!!/Alfred: My word! Also some more British words!/Dick: quick, deduce my current personality from the length of my hair/Tim: brb, deep in the middle of an intricate plan that looks like nothing’s happening but that’s just how you can tell its working/Cass: exists/Damian: sometimes, I stab things. Stabbily. Tt. Duke: did Snyder write this, y/n, if no, that means nobody else knows where I’m supposed to be right now either, right, Steph: Well if Duke doesn’t have to go I don’t see why I have to/Bruce: do you see what you’ve done Jason? look at your family, you’re killing your family Jason!/Jason: what part of this are you having trouble hearing, old man? I SAID PEW PEW NOISES.