#but it's far more striking

[questionable-idea]

asymmetry is the goddess of aesthetics to me

[hanashiz]

Every Pirates' Dream

He's the man who stood up for the dream he once gave up

[viridian-house]

I want so desperately to finish this one, but life has other plans for me this month. I learned a ton while working on it, so fingers crossed I can pick the momentum back up in the future

sakura, from my fic series the slug & the stars

[dg-outlaw]

Why No Love for Red Hood: The Hill?

I think it's all in the marketing and about what's being delivered versus what readers expected.

So I almost made this post on a reblog, but I didn't want to overwhelm that thread. Plus, I'm not sure if people get mad when someone does a long reblog on their short OG post? Anyway, the point of that post was that Issue 3 of 'Red Hood: The Hill' came out and no one's really talking about it, especially Jason/Red Hood fans.

I think the biggest problem (IMO) with this series is that someone wanted to write a story about The Hill and some new characters (which is fine), but like the 'Batman: The Hill' comic (which I think this series is sort of a sequel to), it's banking off a known character, Red Hood, to be it's selling point. "Come for the Red Hood, but stay for these other characters and their story." All fine and good, but a little deceptive when the marketing leans more toward it being a Red Hood (and new 'Outlaw' friends) story rather than one where Jason is a random guest star.

Series description:

In Gotham City’s early days, The Hill was one of Gotham City’s most dangerous neighborhoods, one that required the residents to band together to keep themselves safe when the police – and sometimes even Batman – wouldn’t. Now, as the Hill finds itself gentrifying, old habits die hard as the vigilante known only as Strike works with her team to keep the town safe—but she’s not alone. Jason Todd, one of the Hill’s newest residents, is more than happy to don the visage of Red Hood to help Strike keep his new home safe. But a new villain is emerging from the shadows. Will Red Hood, Strike and the Hill’s small militia of vigilantes be able to keep their home safe?

And this brings me back to the marketing and advertising of this series, especially versus the Batman: The Hill comic.

Obviously we can see the artistic parallels between these two covers (above). Overall, good job and nice throwback, but... there's a major difference. These two are not similar.

The first cover has "THE HILL" in bold, prominent text and Batman is in the background. This says that Batman is part of the story, but he seems secondary to whatever's going on in the foreground, which is mostly true to the story.

The second cover has "RED HOOD" prominent in the title with "The Hill" as secondary and smaller. Jason is also front and center with Batman looming behind him (who only just showed up at the end of issue 3. There's only two more issues left). The character of Strike, our new protagonist and The Hill's main hero, is down at the bottom and barely in-frame, further suggesting it's more about Jason (and maybe Batman) than The Hill or other characters. Again, clever marketing and nice design nod to the original cover, but deceptive when it comes to the series content. I don't necessarily blame the cover artist here as they might've been given a different brief on what the story was about and I get the fun throwback to the old Hill cover, but these covers are almost reversed in terms of Bat-character prominence.

In the original, Batman was more intertwined in that comic's story than Jason is in his series, which further adds to the audience letdown. If anything, this series needed to go with the coffee shop musician strategy: play a bunch of cover songs to win over the crowd and then slip in your original music (OCs) here and there. Once you have your audience hooked, go all out with your original stuff and then throw in 'Wonderwall' just for kicks and to keep them invested.

Ultimately, I think the biggest problem of this series is pacing and balance. The series needs more Jason to allow readers time to invest in the new characters, but as those new characters develop through their interactions with him THEN Jason can fade back as a partner character or just random character who comes in to help out. As it is, he's a guest star in series called, 'RED HOOD: the hill' with most of Jason's actions being 'day-in-the-life' stuff or a random action panel or two.

If anything, I think Red Hood #51 and #52 did a better job of establishing Jason as a main player, but also working alongside a new hero (Strike) and citizens of The Hill in solving a case. The covers above also display a more balanced composition and preview of what you're getting. Yes, you're reading a Red Hood comic, but there will be some other significant characters playing in this sandbox that you should care about and watch out for.

Sadly, I think the untrue message DC will take away from this series if it doesn't do well is that: (1) Jason is NOT an instant seller so let's shelf him because he couldn't carry this series (that he's barely in), and (2) readers don't like these new characters (most of which are BIPOC and/or LGBTQ), so let's ditch them and do more Batman stuff. 🤦‍♂️

And that's unfortunate because I think there's potential here had this series been executed in a better way. I see where the writer wanted to go with these new characters and they actually seem like an interesting and cozy bunch, but I feel like I'm stepping into an already established found family/friend group, but I don't really know them and I'm the outsider. So eventually I'll find a random distracted moment to quietly say bye to my friend Jason and slip out before anyone notices... like the socially awkward introvert that I am.

[napstabl00k]

Who did you do it for?

[cent-scratchnsniff]

here together

[mulders-too-large-shirt]

the x files au where everything is exactly the same except mulder takes home the child neanderthal from the jersey devil episode and raises them as his own

[gregoryeddiesgoldchain]

i love abbott wednesday but i also adore the equally important abbott thursday when i talk incessantly about this show with all of you 🫶🏾

[rocketbirdie]

estuans interius ira vehementi, cepharoth!

[julietwiskey1]

In the trailer it is interesting that we get more of a clarification on how large Jinx’s bombing of the council tower was. The large stone table were broken, but still recognizable. At least some of the chairs aren’t total ruins. And the floor seems to be intact.

It wasn’t some large nuke that would take down a city, doesn’t even seem to have destroyed a tower beyond the room it was shot into.

So far for Jinx’s attacks it hasn’t harmed more than the people she was targeting. Enforcers and the council. The people of Piltover who are viewed as responsible for Zauns suffering.

[the-red-thread-that-strangles]

Alright. Let's talk about Akai's and Furuya's fighting styles, control, and the ferris wheel fight, featuring some tangents on professionalism.

The second reason is the implied: Akai is (in general, probably not in this situation, because he is going along with the fight Rei wants) a professional, and professionals do not fight. A professional will either ambush or assassinate (you know, like the sniping Akai is so well-known for), and generally do everything in his power to avoid a fight. It's about gaining the advantage, pressing and keeping it, to maintain control over the situation. For comparison, fights are between people of roughly equal footing, and fighting follows rules. As a person who lives in the world of actual violence, Akai does not need the fancy dances of a fighting sport, he needs his rifles, guns, and a self-defense technique for when things go really bad and personal. (Incidentally, a professional will also plan, won't let his emotions get in the way, stay calm, and keep working in bad conditions - we also see these traits in Akai.) I can remember two instances of Akai fighting (there might be more)- the ferris wheel fight, and the one time he knocked out the people after Yumi (and arguably, they didn't really have a chance and it wasn't really a fight). Other than that, he's just coordinating and providing tactical support.

Akai using Jeet Kune Do for fighting is an interesting choice. It's not as well-known as many other fighting styles (hell, it's not even a fighting style, it's a self defense technique and really more of a philosophy or a principle), but it has a couple of key values that characterize him well. First off, it's hugely individualistic. Practitioner's are encouraged to find their own way, to find what works for them, which really is Akai in a nutshell, doing what he wants. Secondly, it is described as a highly efficient way to fight. There are few, if any, rules to Jeet Kune Do, you're expected to use whatever technique will help you the most in the moment. For this reason, it is also highly adaptable, and requires an appropriate mindset to use. This latter point, I think, really mirrors the approach the FBI has in the series - do what you need to in order to get the results we want, at whatever the cost.

The fact that it's a self defense technique is important for two reasons: one is the immediate one for our context - Akai's defending himself from an angry Rei on the ferris wheel.

With all that out of the way, let's get into the ferris wheel fight, and what we learn about them there.

For contrast, let's look at Rei. It's almost funny how little professionalism Rei has compared to Akai, when it comes to the world they're living in. Rei's choice of fighting style is boxing, and he's practicing a rather straightforward, aggresive version, with barely any defense, at great personal risk. That point about professionals not letting their emotions get in their way? Well, either Rei has never heard it, or he's deliberately ignoring it. Either way, it really holds him back from gaining and maintaing control.

(I would be remiss not to point out that boxing is also done for show, fitting for this show-off.)

Boxing might honestly be good for Rei in order get out his anger and to up his pain tolerance, but for the purpose of keeping him alive, it sucks. It's up close, it's personal, and it's dirty (that tagline might as well describe Furuya himself). A threat who's gotten into that range is already a problem. Sure, usually - though not in this instance - he's also got his handgun, with its limited reach, limited firepower. For his purposes, it might suffice - he's not supposed to be a fighter, and the advantage of his gun is in its concealability. I suppose he gets a couple points in professionalism for that choice, and for often bringing back-up, whether he's working for the PSB or the BO. For what it's worth, he's also likely trained in Kendo or something similar, as we see in Wild Police Story, but he doesn't really use it. We see Rei fighting rarely, but it happens; with Matsuda at the beginning of WPS, casually inflicting violence on a kidnapper, and now here on the ferris wheel.

It's so interesting to me how they interact here.

Despite both of them bleeding, it starts to feel like Akai is in control, or at least not dated by the fighting - he gets Rei good with Jeet Kune Do's signature One Inch Punch, but has enough presence of mind to casually grabs him so he doesn't fall to his death (which gets him shoved off with a foot. Give Furuya an inch, and he'll try to take your head). Furuya's meanwhile clearly enjoying himself, might have even entered the zone, a sort of battlejoy/trance, asking for a second round (here we go again, this is a fight, with certain rules, like rounds), and Akai, well, he's beaten up, but it doesn't look like he'd surrender to get Furuya off his back - despite it being an option that would end the fight early. We see both of them smiling at points in this exchange, and I think it speaks to both of them, inherently, being thrillseekers. Putting all they are into the outcome of this fight against a dangerous enemy is a thrilling brush with mortality.

Them fighting at all, on top of the ferris wheel, is stupid, plain and simple. They expect the BO to show up any minute, and they'd better be in peak condition - instead they indulge in this fight. Really, it's Rei launching himself at Akai, who's mostly dodging and defending where necessary (I say indulge, because he is armed, and could probably escalate/end the fight early). Fights happen for a variety of reasons, usually social (because otherwise we'd be talking about violence, not a fight), and this implies Rei sees Akai as roughly equal/wants him to have a fair fighting chance, following the social contract of announcing his presence. He launches the attack, takes the initiative but the distance is so large, and he telegraphs his intentions clearly enough that his advantage is minimal.

Akai has the distinct disadvantage of carrying his rifle case, protecting its contents, because he'll need them later. He is, as the series lets us know, a capable fighter (described stronger as Masumi, who can deal with Ran, an established capable martial artist), and we can see it in this fight. He's reading Rei's movements and blocking most of the hits - for what it's worth, Rei's style seems more focused on quantity of attacks over quality. He does get Akai with some unconventional angles of attack (like swinging up into a kick from falling), and mostly this initial struggle is about them fighting for control.

When we cut back to the fight, they're still at it. I find it interesting that Akai tries to talk Rei down throughout the fight. Because the presence of mind necessary to form coherent sentences in a fight is not nothing, and the fact that he at least tries to go for a different solution is noteworthy, even if it is ultimately useless.

Then Conan calls Akai. This is in a small pause to the fight, because, surprise surprise, fighting takes effort (another reason professionals avoid it). It is really funny to me how Rei respects the rules of a fight, but he also sees an opportunity in his opponent's distraction, and seizes it (at the cost of also throwing himself down into a chasm, the self-sacrificial bastard).

Only at this point does it feel like Akai is taking the fight more seriously. I'd wager this is a) because Rei has displayed the willingness to destroy himself to take Akai with him, b) due to the enclosed space - less space to dodge and c) because at least he is aware time is ticking. They're both injured, and the enemy is coming soon. This fight better be over quick.

They only don't fight each other to the death because of Conan's timely intervention. He calls to Akai for help, and just like that, the conflict is resolved, for now. Akai wordlessly rejects Rei's request for a second round, which Rei just...accepts. Allows Akai that level of control, and the control of the flow of information (namely, they don't tell Conan they've been at it). It baffles me, but then again, I suppose it is a fight, the fight has rules, and, clearly, something more important takes precedence. Then again, this whole damn exchange makes no logical sense. Rei has sworn bloody revenge on Akai, who just saved his life today, and instead of doing something about the BO they're fighting a little. Logic is nowhere to be seen, all of this is emotional. On both sides.

I guess bonus points in professionalism for working together for the rest of the rest of the movie, even if they're sharing intel with/depending on a literal child for the solutions to their problem. It's a very unusual set of circumstances indubitably not covered by their training, granted, so what can you do (I'd still love for the adults in this universe to do their job, sue me).

Last point of note for the movie, in my opinion, is Akai waiting after all the chaos is over for Rei to spot him. Is this a case of checking in and simultaneously showing that he, too, made it out alive? He is clearly noticed by Rei, and only then walks away. And Rei just lets him. Akai is in control, in the end.

[laugtherhyena]

Wipppppp

[ieidolon]

now that i'm playing dragon age: veilguard i understand hbomberguy so much better. think i could probably do a 3.5 hours long video called "dragon age: the veilguard is FINE and here's why"

[astralleywright]

How do you feel about Orym's deal with Morri?

There was something kind of funny about Liam getting increasingly obvious - 'ORYM HAS DARK VINES IN HIS VEINS. YOU CAN ALL SEE THIS.' and it still going unacknowledged, but now it just feels like a damp squib. (to me at least)

anon i had no fucking idea what a damp squib was. i thought you mispelled squid. it makes perfect sense now that i've looked it up-you damn british-and i agree but i was SO confused about what squids had to do with any of this

anyways, onto the actual answer-yeah. it's a shame, because its one of the most interesting decisions Orym has made, and maybe the most interesting one that has managed to stick around and inform the character, but. it's been treated so underwhelmingly so far that its hard not to think about it as such.

and i don't blame the other hells at all, really. they were on the moon! and then FCG died and who knew if Orym's deal was relevant any longer! one of their own spontaneously learning to teleport is just an average tuesday for them! (as i've joked before, they might just think its ashari shit! [FCG voice] he's doing it! his aramante!)

as someone who's been playing a similarly reticent and repressed character for the last year and a half in a weekly COfD game, one thing i quickly learned is that if you sit back and wait for the other pcs to ask, you might be waiting a really long time. if you're waiting for the other pcs not just to ask but to push and prod over your continued avoidance, you might be waiting forever. the other players are fallible, and probably don't know your character as well as you, and have their own characters as well as a billion other things to focus on. they may be too wrapped up in their own problems or the problems of the pcs who already shared to (or might simply be playing a character that would not) ask about yours.

take the confession during swordgate: it was in the middle of a tense situation where one of the party members (Laudna) was in clear emotional distress, two of them (Imogen and Ashton) were completely focused on her, and two of them (Dorian and Braius) didn't know what Orym even meant by it or that it was a secret up to that point. that left Fearne and Chetney, and Chetney may or may not have been asleep at the time. so that leaves Fearne. she clearly clocked it and has the most reason to care, but Fearne is honestly even more emotionally repressed and avoidant than Orym, and with all due respect to Ashley, she is not who i would rely on for "initiating rp conversations" and "remembering things."

(Also Fearne tried to check on Orym earlier that day and this was his response, so like.)

TTRPGS are collaborative, yeah, but i would argue that part of that is not leaving the responsibility of your own character’s development largely to the other players. Or if you do, accepting that you might be playing a character whose vivid inner life remains entirely hidden, and also that that might not be as interesting to the other players as the things they can readily interact with. Which makes it less likely for them to follow up on it, and so on, until "sold the rest of my life to a hag to protect everyone" kind of feels like a damp squib.

[bonefall]

Are you keeping Hallowflight's and Ivypool's odd friendship they had going on in the DF as apprentices? I know the Erin's forgot about it after the great battle, but honestly thought it was kinda sweet how they became friends in literal cat hell and how Hallow tried to comfort Ivy after she perma-killed Ant. I just thought it was neat and something unique.

I see Hallowflight, after the BOTTE, as really wanting to distance himself from the friends he made there.

With his new Honor Title and this almost immediately legendary story, he went from an outcast loser to suddenly being a hero. His bully Mossyfoot died, and his other bully Troutstream changed her tune. Cats wanted to know him, calling him brave and commending his turnaround.

But that's not the case in the other Clans. ShadowClan outright exiled Redwillow, with the other two being killed in the fight. WindClan is furious at their trainees, and ThunderClan has the guy that almost snapped his son's neck.

Hallowflight's life got better because of his time there, but everyone else is worse off, and associating with them hurts his own shiny new reputation.

And like... that isn't something he's proud of. He knows better than anyone that ALL of them got pulled into the DF because they were angry, lonely, looking for meaning. Almost everyone who was a hard ideologue (Thornclaw, Whiskernose, Ratscar) DIED fighting for those ideas.

And yet, still, he is willing to stay quiet about Dodderheart, Shredbloom, and everyone else, only exchanging an awkward nod at Gatherings, not offering himself as a counterexample in their defense.

If they want to think he's a coward... so be it.

But of all the DF trainees, he's definitely closest to Ivypool, and I think he's willing to throw an endorsement of Harespring once he's out of his Dishonor Title and acting as deputy. He simply won't endanger his own reputation; Hallowflight has a family to consider.

(And then he loses two of his kids to the Impostor anyway, on both sides of the conflict, and Harelight's view of him is forever damaged... so, see how well neutrality worked out in the end.)

[thelethalsilence]

between solar fields

Antelope Valley, CA, USA

March 2023