#but its the same for all those american (i think its american?) cartoons with deep overarching stories... are kids even catching these?

[cliveguy]

adults with very strong opinions on avatar (tv show) and other stuff like that had such wildly different life experiences to me... i don't think i watched a tv show in order / in a way where the narrative arc made sense until i was at least 11.

[d-criss-news]

Darren Criss on Bringing Robot Love to Broadway With ‘Maybe Happy Ending’

Chances are the multi-talented Darren Criss is as cross-eyed as the rest of us are with the twists and turns his career has taken over the past 13 years. In 2009, he began in television with six years of Glee, playing the lead singer of the Warblers, and helping power a Warblers focused soundtrack album to Number 2 on the Billboard album chart. Then in 2018 he switched fromsinging to spree killing, giving a stunning, steel-plated performance as Andrew Cunanan in Ryan Murphy’s American Crime Story: The Assassination of Gianni Versace. That got him a Golden Globe and a Primetime Emmy and set people to thinking there might be a serious actor lurking inside that singer.

Before that could be settled, the singer reemerged, as a replacement in a Broadway revival of How to Succeed in Business Without Really Trying, raking in $4 million during his three weeks. That was followed with an Off-Broadway revival of Little Shop of Horrors at the Westside Theater and a stint in Hedwig and the Angry Inch at the Belasco Theater.

Two years ago, the actor was back when producer Jeffrey Richards hired him for some deep-dish David Mamet drama, American Buffalo. Now Richardshas returned Criss to the Belasco, and singing, for an original Broadway musical, Maybe Happy Ending—a very original musical, in that it’s about the love life of robots in Seoul circa 2064.

You’ll not find much of that Glee guy you know and love in the character Criss plays in Maybe Happy Ending, a lonely Helperbot robot who putters aimlessly about his tiny apartment, listens to jazz and devotes all his TLC to a favorite pot plant. That changes swiftly when a female form of Helperbot, Claire (Helen J Shen), drops by to borrow his charger. Sparks fly, then conversation, and inevitably a kind of amorous connection.

Despite the nuts and bolts, what we have here is basically a rom-com, with a charming book and score by a couple of NYU classmates.

Actually, there are two books and two scores, one in English, one in Korean. Will Aronson, 43, of New Haven, composed the music, and Hue Park, 41 of South Korea wrote the lyrics. Once they did that, they put their heads together and wrote “connecting tissue”—a play in praise of love’s rejuvenating effects. Even robots at the end of their warranty are susceptible.

Evidently, Hue won the toss because the Korean version premiered first—in Seoul, where the story is set—and proved to be such a success that stateside productions were put together. The English edition made its first U.S. appearance two years ago at Atlanta’s Alliance Theater, where The New York Times’ Jesse Green deemed it “Broadway-ready.” Thus, we now have a live-action robot show going strong on West 44th.

The terror of doing this kind of production, Criss confesses, is that actors are afraid they’ll look like cartoons of their character, taking big, blocky robot steps around the stage. “The show has no listed choreographer,” he tells Observer. But he feels he has that situation well in hand. He and director Michael Arden “have taken a particular interest in making sure the physicality is distinct,” he says. “And I’d be remiss not to mention  a teacher at Juilliard, Moni Yakim, who had some Zoom discussion with us about this.

“It’s kind of a cocktail of those three things: Moni’s suggestions, Michael’s pursuit of perfection and my own interest in physical theater. It’s a skill set that I’ve never been able to utilize—at least to this level. When I was in college, I took a semester off so that I could study physical theater at the Accademia dell’Arte, the performing arts school in Arezzo, Italy.”

A cast of four inhabit the show: Dez Duron, Marcus Choi, Criss, and Shen. You may detect a little kinetic energy between Criss and Shen. That’s because they both attended the University of Michigan—albeit, not at the same time. “She graduated about two seconds ago, and I may have graduated a little longer ago than that,” concedes Criss.

“She graduated two years ago, and 10 years ago my name was up on the marquee at the Belasco Theater. And to be able to come back to the Belasco—but this time to share that billing with a fellow Michigan grad—is a very special moment for me. I’m now the upper-class man to the freshman of Helen J Shen. This is her Broadway debut. It’s a big moment for her, and getting to see her through that on stage—to call that a job is really a special thing for me.”

The enthusiasm Criss brings to the stage is practically palpable—and he still remembers where it came from: encountering Robin Williams at an impressionably early age in the 1992 animated Disney flick, Aladdin, in which his outrageous Genie-jiving was almost heart-stoppingly hilarious.

“I was probably six or seven—and I noticed how this audience connected with each other and with this Genie on the screen. I was very taken with that idea, and I wanted to give people what this Genie was giving them. Then, I found out the voice of that Genie was Robin Williams, who was such a prominent figure out in San Francisco, where I grew up. That made it an accessible concept: ’Oh, Mr. Williams is an actor. I’d like to be an actor, too.’ So I hopped right on it.”

[thebonerpit]

I did it! I watched ALL the best film nominees for the Oscars 2024. Go me. I thought I'd do a little personal ranking here just for kicks, but overall it was actually quite a strong year!

Oppenheimer. I mean... it really is perfect. And I don't even think I'm too biased as a huge Nolan fan. Truly one of his best films and honestly even though I hate the "career" awards I do think he deserves it.

The Holdovers. Maybe my biggest surprise and the film I've been thinking about ever since. I would watch this every year around Christmas tbh. It was heartwarming and sincere without being sappy and the performances and script were incredible. A real joy.

Poor Things. I love Yorgos and his fucked up weirdo mind. This was also visually incredible and like I said, even though it isn't my favourite of his films, I always enjoy the risks he takes and the performances he can get out of the actors.

The Zone of Interest. Harrowing and uncomfortable, exactly the way a movie about the Holocaust should be. The thing that really got me was the sound; seeing this family living their perfect little lives in the sunshine while hearing people screaming and industrial machinery in the background was so jarring and SO effective. Sandra Huller saying she gave Hedwig absolutely zero introspection was a god tier choice because it worked so well... she lacked any sort of empathy without being a cartoon villain.

Anatomy of a Fall. Sandra Huller strikes again! How iconic to be in two best picture nominated films in the same year. This was so riveting and I loved that it really boiled down to the fact that it didn't matter if she did it or not and rather how it affected her and everyone else in her life.

American Fiction. Another kind of delightful surprise. Didn't think I'd be hugely interested in this but it was soooo funny at times and also managed to express some deep emotional beats without being overdramatic. Great critique of the publishing industry alongside some realistic family relationships.

Past Lives. Not my usual type of film but it was shot so beautifully that it's really kind of stuck with me. Greta Lee was so natural in her role (and also insanely gorgeous like, HOW).

Killers of the Flower Moon. Scorsese isn't my favourite director and I did think this was way too long but it definitely had its moments. Lily Gladstone was the true star tbh.

Barbie. Ehhhh??? It was fine. Idk. Again, not really my usual type of film. In a way I'm glad to see it nom'd just because I think the Academy can get real snobby about what gets accolades but I definitely don't think it deserves to win.

Maestro. /fart noises.

There are some films that got other nominations that I haven't seen (Nyad, Rustin, May December, El Conde etc.) but I don't know if I'll get around to those. My biggest complaint about noms is that Dominic Sessa didn't get anything for Best Supporting Actor. For his first role EVER he absolutely nailed it. Margot probably should have had a Best Actress nom but I don't have super strong feelings about it. America Ferrerra nom is ?!?!?!? why tho. I wish Lily Gladstone was in Best Supporting because I think both Emma Stone and Sandra Huller had huge performances this year. But yeah overall really strong Best Pictures!

[imperiuswrecked]

Kinda of random but what do you think of Alan's Moore comments about people liking comic book movies could lead into fascism? Seems like bitter old man territory but what do you think?

Long reply. These are just my personal thoughts/opinions ~

Tbh I don't read Alan Moore but I know of them, I know of their works, and I know that alot of the wrong people take their work and basically "Fight Club" it.

If you know the movie Fight Club then you understand how a piece of media is often taken into the wrong context. What was supposed to be a satire/examination of anti capitalism was usurped by men thinking they need to be in peak form/fight for what they want, reprogram themselves etc. Basically they thought all the wrong ideas.

Moore's Watchmen gives way to such things like The Boys, where violence in superhero media is the focus rather than the message behind Watchmen. So everyone focuses on the violence, the spectacle, etc.

Many people treat comic books like it's a thing for kids, or people who can't read books, or whatever.

Yet comics have been a form of literature for a long time. Comics have a finger on the beating pulse of pop culture, world events, and shifting tone of the public thoughts.

For example: Something Happens. In the world, real-life, a big event occurs that effects many people. Someday you will see that someone has written a very good book about the subject, but by then maybe years have passed, meanwhile a comic captures things in the moment as time moves on, you can see the trends in the form political cartoons, or someone who was effected creating a comic witin days/weeks, or generations of people who grew up effected and began pouring their message, their hearts into comics. Some stories that are not easily told through novels.

Superhero Comics began as a message from Jewish creators, a hope, a story.

So while I know people will be quick to dismiss Moore as a bitter old person, I would really recommend people stop a moment and look at what they are saying.

See I think it's less "Liking Superhero Movies will lead to fascism" and more "consuming media controlled by massive corporations uncritically will have an effect on people".

Look at the way Superheros Movies have a chokehold on pop culture, look at the way there are literal nations of fans supporting Superhero Movies. Look at the way they defend Superhero Movies even at its worst, at its racist, at its mysoginstic, at stuff that literally makes my skin crawl. Look at the way these super fans doxx marginalized actors/ess, at the way they harrass, they swarm into comments to spew their hatred. Look at the way they say "it's just a Superhero movie, it's just a cape comic, it's nothing serious".

Then I need you to look at the way Marvel tried to market a choice to people: "S.h.i.e.l.d or Hydra, which side are you on?"

Hydra isn't just a bad guy team. It's Nazis. It's always been Nazis. It's literally headed up by the biggest fictional Nazi to ever have been created. So not only this question but, to make contests, merchandise, so much for this event. It really makes you sit back and ask: How did we get to this? How did this industry get from superhero characters created by Jewish people, to a comic company asking if you would join Nazis.

Fascism doesn't just happen. It's created over time, over years, and I agree and disagree with Moore. In my opinon not every Superhero Movie is propaganda for the American Military but many are, not every movie is racist/has propaganda, but there are those that are, not every Superhero Movie will lead a person to Facism, but some will plant the seed. We can't control how people internalize things or what deep web rabbit holes they follow, or what Nazi/Racist/Facist groups they join.

Movies are power, movies can reach a lot of people, not everyone will be able to read the same books, or comics, but many people will be able to watch the same movie. I just think people should be critical to Superhero movies when there is something to discuss. I don't mean complaining about the cgi, but talking about the actual plot, who is making the movie, who did they cast in what role, etc. Blindly following whatever big companies decide to put in their movies isn't a good idea.

I may not be a Moore fan but I do think he's earned a right to be bitter after how the Comic Industry has chewed him up and spit him out. Many creators are ground down by how the Comic Industry runs, and the Superhero Movie Industry has become a behemoth, to ignore an industry that shapes the mind of kids and has a hold on adults is pretty dumb. Again, I don't think it's a pipeline of Superhero Movies > Facism, but that doesn't mean we shouldn't look critically at movies just because they are about people flying around in tights.

[originalwinnercheesecake]

My Personal Ranking of the CBS ghosts season 1.

 Okay so I gave CBS ghosts a chance about a year ago when I kept seeing the trailer and thought it sounded like a cool idea. Honesty I am big fan. Yes the first 3-4 epsidoes drag some, yes even after it picks up its cliche sometimes. But the show isn’t going for some fantastical, new original, no one has seen before. Its a American reboot of an already existing British comedy (I have not seen BBC, I do not have the streaming service it is on), that’s goal is just have colorful characters, make it’s audience laugh, and have the occasional really deep/sweet moments sprinkled into the comedy. For those goals I would say it succeeds. I laugh at most episodes, and a lot of the sweet moments (Alberta telling Issac about her father, Jay pulling out all the stops to for Sam during their homemade prom) hit. As for the characters I wanted to do a ranking list for them all through season 1, but never got around to it. With season 2 about to start I am telling myself that I cannot watch an episode until I do this. From the bottom up. slight spoilers may be below for anyone who hasn’t finished season 1

12.) Elias Woodstone: I do not like him as a person, or as a villain. I can generally “like a villain as a villain” when they are written to be very good at being bad.But Elias was bad in a way that was not funny, it was disgusting. When he learned what happened to people he walked through, he did it them on purpose. I am glad he is in Hell

11.) Stephanie: The cliche bratty teen, mean girl.I kinda understand why; she died on what was supposed to be this really magical night, and never got to finish growing up. Feeling sorry for her is not the same thing as liking her though. Her needing to sleep 364 days a year also kinda turns the lights out on most stores and development she can receive.

10.) Flower: Flower has felt human to me exactly once. When she talked about Basketball, how she played it a lot as a living and was really knowledgeable about it, but because she is a women who grew up in the 40′s-50′s before dying in the 60′s no one took her talent or knowledge seriously. Other than that one time I have found her completely unfunny, and to just be a collection of every annoying pot-head and stupid hippy cliche I have seen in every other sitcom and cartoon to contain potheads and hippies. I do not blame her actress. Of the main casts of ghosts, Flower and Sass get the least screen time, Maybe with more time the actress and could get more of a handle on flower and make her better. Maybe.

9.) Nigel Chessum: Okay let me make it clear I do not dislike Nigel. I think he and Issac are cute. The reason he is so low is that in season 1 he shows up so little we do not learn anything about him more than “Cute British guy next door”. I fully expect to move him up on this list once we see more of him in season 2.

8.) Nancy: Nancy was in 3-4 episodes last season, with 1-2 minor appearance and 2 bigger ones. I did not like the way she treated Pete in her first big appearance (how she kept embarrassing him and then threatened him). But by the next episode she really grew on me , and I love that her and Pete become real friends once she is able to help him to start standing up for himself. Also I am glad that she has not been forgotten about in season 2. Here’s to hoping she will make no less than 4 appearances this season too.

7.) Pete Martino: Pete is a nice guy, and I don’t mean that as in a “nice guy” (Yet,. Please don’t tun him into one later down the road), I mean that as in he is a genuinely nice guy. I love his bromance with Jay, and I am rooting form him and Alberta to eventually get together... While I like most of his stories I just do not think his whole boy scout schimick is as funny as some of the other characters.

6.) Trevor Lefkowitz: If I say “suit wearing playboy who works a sleazy uper-class wall street type job in NY,but is actually a real bro and a not completely terrible person” am I talking about Trevor or Barney Stinson. Well if I said that “the comedy of them is Legend-wait for it-dairy” I would be talking about Barney Stinson. If I said “You know what? They are kinda cool” I would be talking about Trevor Lefkowitz. Trevor is a pretty funny, kinda cool character. But he is written so much like a Stinson knock-off, and no one is ever gonna top Neil Patrick Harris’s performance as Barney in regards to that particular genera of playboy.

4-5, 4&5?) Hetty Woodstone & Issac Higgentoot: Do not make me chose between these two besties. My opinions on them are largely similar. I think both characters faltered some in the beginning of the show when the writers and actors were not sure completely how to portray them. But that once the characters were understood they hit it out in almost every episode. I also think these two had some of the best exploration/development out of everyone in season 1. I loved watching Hetty re-examine her life and beliefs, and become more of a modern day feminist, while still maintaining the elegance and class from her time. Issac is the first time I have seen a closeted queer character in a sitcom be in control of deciding when they want to publicly express that part of their identity, and up until they decided to them not being ready was written as being a fair reason to wait, that other character respected. It should be portrayed that way every time, but for the sake of drama it isn't. It was nice to see here.

3.) Thorfinn: The big, burly, scared up guy with a questionable past...is actually a big softie and adores small children and animals. This is one Cliche that I absolutely love and am here for. It doesn’t hurt either that Thor is absolutely hilarious. He had to be in my top three.

2.) Sassappis .Sass is in my opinion the funniest ghost out of them all. I love his dry wit and cynical humor, and I have since all the way back in episode 4, when he pretended to be an accountant who died at a Halloween party (and was totally convincing at it for a second). The reason he is second is that he was just criminally absent and underused in season 1. More Sasappis in season 2.

Da da da daa

1.) Alberta Haynes: Can we give a round of applause to Danielle Pinnock? Is it any wonder I put Alberta as the top when this actress has brought A level game to her character since the beginning and with each thing we learn about Alberta, Danielle’s acting has only gone up. Alberta is loud, she is sassy, she is boss, and powerful, You really feel her sadness when talking about how racism kept her father down in his career, and she feels like she let him down because it affected hers as well. You feel for her again when she tells Pete that when alive she always chose bad guys because maybe deep down she thought that she didn’t deserve to be with a good man, and now she thinks she missed every chance.

Alberta killed at season 1 and there is so much they can still do with her in season 2. Give me more backstory, work on solving her murder, work on getting her and Pete together (they are a slow burn right?), with her connection to Alexa put her in charge of music stations at the B&B, she would be good at it.

That’s my feelings on the Ghosts for season 1. IF you want my feelings on the livings. Farnsby neighbors are annoying. the construction guy Mark is alright. I like Jay as a main better than Sam, because he has more of a range of emotions happy/sad/excited/concerned/mad, while Sam’s type-A personality seems to means she always has to act perky and almost always has to be enthusiastic.

[army-of-mai-lovers]

Jet and Yue’s Deaths: Were They Necessary?

Two of the most common ideas I see for aus in this fandom are the Jet lives au, and the Yue lives au. I’ve written both of these myself, and I’ve seen many others write them. And while yes, fanfiction can be a great way to explore ideas that didn’t necessarily have to be explored in canon (I’m mad at bryke for a lot of things, but not including a Toph and Bumi I friendship is not one of them, even though I wrote a fic about it), it seems to me that people are mad that Yue and Jet are dead, to varying degrees. There’s a lot to talk about regarding their deaths from a sociopolitical perspective (the fact that two of the darker-skinned characters in the show are the ones that died, and all the light-skinned characters lived, is ah... an interesting choice), but I don’t want to look at it that way, at least for right now. I want to look at it as a writer, and discuss whether these deaths were a) necessary for the plot and themes of ATLA in any way whatsoever and b) whether it was necessary for them to unfold in the way that they did, or if they would have been more impactful had they occurred in a different way. 

(meta under the cut, this got really, really, really long)

Death in Children’s Media

When I first started thinking about this meta, I had this idea to compare Jet and Yue’s deaths to deaths in an animated children’s show that I found satisfying. And in theory, that was a great idea. Problem is: there aren’t very many permanent deaths in children’s animation, and the ones that do exist aren’t especially well-written. This may be an odd thing to say in what is ostensibly a piece of atla crit, but Yue’s death is probably the best written death in a piece of children’s animation that I can think of. That’s not a compliment. Rather, it’s a condemnation of the way other pieces of children’s animation featuring permanent character death have handled their storylines. 

I’ve talked about this before, but my favorite show growing up was Young Justice, and my favorite character on that show was far and away Mr. Wally West. So when he died at the end of season 2, it broke me emotionally. Shortly thereafter, Cartoon Network canceled the show, and I started getting on fan forums to mourn. Everybody on these fan forums was convinced that had Cartoon Network not canceled the show, Wally would have been brought back. And that is a narrative that I internalized for years. Eventually, the show was brought back via DC’s new streaming service, and I tuned in, waiting for Wally to also be brought back, only to discover that that wasn’t in the cards. Wally was dead. Permanently. 

So now that I know that, I can talk about why killing him off was fucking stupid. Wally’s death occurs at the end of season 2, after the main s2 conflict, the Reach, has been defeated, save for these pods that they set up all over the world to destroy Earth. Our heroes split up in teams of two to destroy the pods, and they destroy all of them, except for a secret one in Antartica. It can only be neutralized by speedsters, so Wally, Bart, and Barry team up to destroy it. It’s established in canon that Wally is slower than Bart and Barry, and it’s been played for laughs earlier in the season, but for reasons unexplained, the pod is better able to target Wally because he’s slower than Bart and Barry, and it kills him. After the emotional arc of the season has wrapped up, a literal main character dies. There’s some indication at the end of that season that his death is going to cause Artemis to spiral and become a villain, but when season 3 picks up, she’s doing the right thing, with seemingly no qualms about her position in life as a hero. In the comics, something like this happens to Wally, but then he goes into the Speed Force and becomes faster and stronger even than Barry, in which case, yes, this would have advanced the plot, but that’s probably not in the cards either. 

In summary, Wally’s death doesn’t work as a story beat, not because it made me mad, but because it doesn’t advance the plot, nor does it develop character. Only including things that advance plot or develop character is one of the golden rules of writing. Like most golden rules of writing, however, it’s not absolute. There is a lot of fun to be had in jokey little one off adventures (in atla, Sokka’s haiku competition) or in fun worldbuilding threads that add depth to your setting but don’t really come up (in atla, the existence of Whaletail Island, which is described in really juicy ways, even though the characters never go there.) But in general, when it comes to things like character death, events should happen to develop the plot or advance character. Avatar, for all of its flaws, is really well structured, and a lot of its story beats advance plot and develop character at the same time. However, the show also bears the burden of being a show directed at children, and thus needing to be appropriate for children. And as we know, Nickelodeon and bryke butted heads over this: the death scene that we see for Jet is a compromise, one that implicitly confirms his death without explicitly showing it. So bryke tasked themselves with creating a show about imperialism and war that would do those themes justice while also being appropriate for American children and palatable to their parents. 

The Themes of Avatar vs. Its Audience

So, Avatar is a show about a lone survivor of genocide stopping an imperialist patriarchal society from decimating the rest of the world. It’s also a show about found family and staying true to yourself and doing your best to improve the world. These don’t necessarily conflict with each other, and it is possible for children to understand and enjoy shows about complex themes. And in a lot of cases, bryke doesn’t hold back in showing what the costs of war against an imperialist nation are: losing loved ones, losing yourself, prison, etc. But when it comes to death, the show is incredibly hesitant. None of the main characters that we’ve spent a lot of time getting to know die (not even Iroh, even though he was old and it would have made sense and his VA died before the show was over--but that’s a topic for another day.) This makes sense. I can totally imagine a seven year-old watching Avatar as it was coming out and feeling really sad or scared if a major character died. I was six years older than that when Wally died, and it’s still sad and terrifying to me to this day. However, in a show about war, it would be unrealistic to have no one die. Bryke’s stated reason for killing off Jet is to show the costs of war. I’ve seen a lot of posts about Jet’s death that reiterate some version of this same point--that the great tragedy of his character is that he spent his life fighting the Fire Nation, only to die at the hands of his own country. Similarly, I’ve seen people argue in favor of Yue’s death by saying that it was a great tragedy, but it showed the sacrifices that must be made in a war effort. 

Yue

When we first meet Yue, she is a somewhat reserved, kind individual held back by the rigid social structures of the NWT*. She and Sokka have an immediate attraction to one another, but Yue reveals that she is engaged to Hahn. The Fire Nation invasion happens, Zhao kills Tui, and Yue gives up her life to save her people and the world, and to restore balance. Since we didn’t have a lot of time to get to know Yue, this is framed less as Yue’s sacrifice and more as Sokka’s loss. Sokka is the one who cares for Yue, Sokka is the only one of the gaang who really interacts a lot with Yue on screen, and Sokka is the one we’ve spent a whole season getting to know. While I wouldn’t go so far as to call Yue a prop character (i.e. a character who could be replaced by an object with little change to the narrative), she is certainly underdeveloped. She exists to be unambiguously likable and good, so we can root for her and Sokka, and feel Sokka’s pain when she dies. In my opinion, this is probably also why a lot of fic that features Yue depicts her as a Mary Sue--because as she is depicted in the show, she kind of is. We don’t get to see her hidden depths because she is written to die. 

In light of what we’ve established earlier in this meta, this makes sense. Killing off a fully-realized character whom the audience has really gotten to know and care about on their own terms, rather than through the eyes of another character, could be really sad and scary for the kids watching, but not killing anyone off would be an unrealistic depiction of war and imperialism. On the face of it, killing off an underdeveloped, unambiguously likable and good character, whom one of our MCs has a deep but short connection with, is the perfect compromise. 

But let’s go back to the golden rule for a second. Does Yue’s death a) advance the plot, and/or b) develop character? The answer to the first is yes: Yue’s death prompts Aang to use the Avatar State to fight off the Fire navy, which has implications for his ability to control the Avatar State that form one of the major arcs of book 2. The answer to the second? A little more ambiguous. You would think that Yue’s death would have some lasting impact on Sokka that is explored as part of his character arc in book 2, that he may be more afraid to trust, more scared of losing the people he loves, but outside of a few episodes (really, just one I can think of, “The Swamp”) it doesn’t seem to affect him that much. He even asks about Suki in a way that is clearly romantically motivated in “Avatar Day.” I don’t know about you, but if someone I loved sacrificed herself to become the moon, I don’t think I would be seeking out another romantic entanglement a few weeks after her death. Of course, everybody processes grief differently, and one could argue that Sokka has already lost important people in his life, and thus would be accustomed to moving on from that loss and not letting himself dwell on it. But to that, I’d say that moving on by throwing himself into protecting others has already shown itself to be an unhealthy coping mechanism. Remember, Sokka’s misogyny at the beginning of b1 is in part motivated by the fact that his mother died at the hands of the Fire Nation and his father left shortly thereafter to fight the Fire Nation, and he responds to those things by throwing himself into the role of being the “man” of the village and protecting the people he loves who are still with him. Like with Yue, he doesn’t allow himself to dwell on his mother’s death. This could have been the beginning of a really interesting b2 arc for Sokka, in which he throws himself into being the Avatar’s companion to get away from the grief of losing Yue, but this time, through the events of the show, he’s forced to acknowledge that this is an unhealthy coping mechanism. And maybe this is what bryke was going for with “The Swamp”, but this confines his whole process of grief to one episode, where it could have been a season-long arc that really emphasized the effect Yue’s had on his life. 

In the case of Yue, I do lean toward saying that her death was necessary for the story that they wanted to tell (although, I will never turn down a good old-fashioned Yue lives au that really gets into her dynamism as a character, those are awesome.) However, the way they wrote Sokka following Yue’s death reduced her significance. The fact that Yue seemed to have so little impact on Sokka is precisely what makes her death feel unnecessary, even if it isn’t. 

Jet

Okay. Here we go. 

If you know my blog, you know I love Jet. You know I love Jet lives aus. Perhaps you know that I’m in the process of writing a multichapter Jet fic in which he lives after Lake Laogai. So it’s reasonable to assume that, in a discussion of whether or not Jet’s death was necessary, I’m gonna be mega-biased. And yeah, that’s probably true. But up until recently, I wasn’t really all that mad about Jet dying, at least conceptually. As I said earlier, bryke says that in the case of Jet’s death, they wanted to kill a character off that people knew and would care about, so that they could further show the tragedies of war and imperialism. Okay. That is not, in and of itself, a bad idea. 

My issue lies with the execution of said idea. First of all, the framing of Jet’s original episode is so bad. Jet is part of a long line of cartoon villains who resist imperialism and other forms of oppression through violence and are punished for it. This is actually a really common sort of villain for atla/lok, as we see this play out again with Hama, Amon, and the Red Lotus. To paraphrase hbomberguy’s description of this type of villain, basically liberal white creators are saying, “yeah, oppression is bad, but have you tried writing to your Congressman about it?” With Jet, since we have so little information about the village he’s trying to flood, there are a number of different angles that would explain his actions and give them more nuance. My preferred hc is that the citizens of Gaipan are a mix of Earth civilians, Fire citizens, and FN soldiers, and that the Earth citizens refused to feed or house Jet and the other Freedom Fighters because they were orphans and, as we see in the Kyoshi Novels, Earth families stick to their own. Thus, when Jet decides to flood Gaipan, he’s focused on ridding the valley of Fire Nation, but he doesn’t really care about what happens to the Earth citizens of Gaipan because they actively wronged him when he was a kid. That’s just one interpretation, and there have been others: Gaipan was fully Fire Nation, Gaipan was both Earth Kingdom and Fire Nation but Jet decided that the benefits of flooding the valley and getting rid of the Fire Nation outweighed the costs of losing the EK families, etc, etc. There are ways to rewrite that scenario so that Jet is not framed as an unambiguously bloodthirsty monster. In the context of Jet’s death, this initial framing reduces the possible impact that his death could have. Where Yue was unambiguously good, Jet is at the very least morally gray when we see him again in the ferry. And where we are connected to Yue through Sokka, the gaang’s active hatred of Jet hinders our ability to connect with him. This isn’t impossible to overcome--the gaang hates Zuko, and yet to an extent the audience roots for him--but Jet’s lack of screentime and nuanced framing (both of which Zuko gets in all three seasons) makes overcoming his initially flawed framing really difficult. 

So how much can it really be said, that by the time we get to Jet’s death, he’s a character that we know and care about? So much about him is still unknown (what happened to the Freedom Fighters? what prompted Jet’s offscreen redemption? who knows, fam, who knows.) Moreover, most of what we see of him in Ba Sing Se is him actively opposing Zuko and Iroh. These are both characters that at the very least the show wants us to care about. At this point, we know almost everything there is to know about them, we’ve been following them and to an extent rooting for them for two seasons, and who have had nuanced and often sympathetic framing a number of times. So much of the argument I’ve seen regarding Jet centers around the fact that he was right to expose Zuko and Iroh as Firebenders, but the reason we have to have that argument in the first place is because it’s not framed in Jet’s favor. In terms of who the audience cares about more, who the audience has more of an emotional attachment towards, Zuko and Iroh win every time. Whether Jet’s actually in the right or not is irrelevant, because emotionally speaking, we’re primed to root for Zuko and Iroh. In terms of who the framing is biased towards, Jet may as well be Zhao. So when he’s taken by the Dai Li and brainwashed, the audience isn’t necessarily going to see this as a bad thing, because it means Zuko and Iroh are safe.

The only real bit of sympathetic framing Jet gets are those initial moments on the ferry, and the moments after he and the gaang meet again. So about five, ten minutes of the show, total. And then, he sacrifices himself for the gaang. And just like Yue, his death has little to no impact on the characters in the episodes following. Katara is shown crying for four frames immediately following his death, and they bring him up once in “The Southern Raiders” to call him a monster, and once in “The Ember Island Players”, a joke episode in which his death is a joke. 

So, let’s ask again. Does this a) advance the plot, and/or b) develop character? The answer to both is no. It shows that the Dai Li is super evil and cruel, which we already knew and which basically becomes irrelevant in book 3, and that is really the only plot-significant thing I can think of. As far as character, well, it could have been a really interesting moment in Katara’s development in forgiving someone who hurt her in the past, which could have foreshadowed her forgiving Zuko in b3, but considering she calls Jet a monster in TSR, that doesn’t track. There could have been something with Sokka realizing that his snap judgment of Jet in b1 was wrong, but considering that he brings up Jet to criticize Katara in TSR, that also does not track. And honestly, neither of these possible character arcs require Jet to die. What requires Jet to die is the ~themes~. 

Let’s look at this theme again, shall we? The cost of war. We already covered it with Yue, but it’s clearly something that bryke wants to return to and shed new light on. The obvious angle they’re going for is that sometimes, you don’t know who your real enemy is. Jet thought that his enemy was the Fire Nation, but in the end, he was taken down by his own countryman. Wow. So deep. Except, while it’s clear that Jet was always fighting against the Fire Nation, I never got the sense that Jet was fighting for the Earth Kingdom. After all, isn’t the whole bad thing about him in the beginning is that he wants to kill civilians, some of whom we assume to be Earth Kingdom? Why would it matter then that he got killed by an EK leader, when he didn’t seem to ever be too hot on those dudes? But okay, maybe the angle is not that he was killed by someone from the Earth Kingdom, but that he wasn’t killed by someone from the Fire Nation. Okay, but we’ve already seen him be diametrically opposed to the only living Air Nomad and people from the Water Tribes. Jet fighting with and losing to people who aren’t Fire Nation is not a new and exciting development for him. Jet has been enemies with non-FN characters for most of the show’s run at this point. There is no thematic level on which the execution of this holds any water. 

The reason I got to thinking about this, really analyzing what Jet’s death means (and doesn’t mean) for the show, was this conversation I was having with @the-hot-zone in discord dms. We were talking about book 2 and ways it could have been better, and Zone said that they thought that Jet would have been a stronger character to parallel with Zuko’s redemption than Iroh and that seeing more of the narrative from Jet’s perspective could have strengthened the show’s themes. And when it came to the question of Jet’s death, they said, “And if we are going with Jet dying, then I want it to hurt. I want it to hurt just as much as if a main character like Sokka had died. I want the viewer to see Jet's struggles, his triumphs, the facets of Jet that make him compelling and important to the show.” And all of that just hit me. Because we don’t get that, do we? Jet’s death barely leaves a mark. Jet himself barely leaves a mark. His death isn’t plot-significant, doesn’t inspire character growth in any of our MCs, and doesn’t even accomplish the thematic relevance that it claims to. So what was the point? 

Conclusion

Much as I dislike it, Yue’s death actually added something to atla. It could have added much, much more, in the hands of writers who gave more of a shit about their Brown female characters and were less intent on seeing them suffer and knocking them down a peg, but, in my opinion, it did work for what it was trying to do. Jet? Jet? Nah, fam. Jet never got the chance to really develop into a likable character because he was always put at odds with characters we already liked, and the framing skewed their way, not his. The dude never really had a chance.        

*multiple people have spoken about how the NWT as depicted in atla is not reminiscent of real life Inuit and Yupik people and culture. I am not the person to go into detail about this, but I encourage you to check out Native-run blogs for more info!

[nealiios]

The Supernatural 70s: Part I - Corruption of An Innocent

"We're mutants. There's something wrong with us, something very, very wrong with us. Something seriously wrong with us - we're soldiers writers."

-- with apologies to the screenwriter of "Stripes"

Dear reader, I have the darkest of revelations to make to you, a truth when fully and wholly disclosed shall most assuredly chill you to the bone, a tale that shall make you question all that you hold to be true and good and holy about my personal history. While you may have come in search of that narrative designer best known for his works of interactive high fantasy, you should know that he is also a crafter of a darker art, a scribbler of twisted tales filled with ghosts, and ghouls, and gargoyles. I am, dear innocent, a devotee of horrors! Mwahahahaha!

[cue thunderclap, lightning, pipe organ music]

Given the genre of writing for which most of you know me, I forgive you if you think of me principally as a fantasy writer. I don't object to that classification because I do enjoy mucking about with magic and dark woods and mysterious ancient civilizations. But if you are to truly know who I am as a writer, you must realize that the image I hold of myself is principally as a creator of weird tales.

To understand how and why I came to be drawn to this sub-genre of fantastic fiction, you first must understand that I come from peculiar folks. Maybe I don't have the Ipswich look, or I didn't grow up in a castle, but my pedigree for oddity has been there from the start. My mother was declared dead at birth by her doctor, and often heard voices calling to her in the dead of night that no one else could hear. Her mother would periodically ring us up to discuss events in our lives about which she couldn't possibly have known. My father's people still share ghost stories about a family homestead that burned down mysteriously in the 1960s. Even my older brother has outré memories about events he says cannot possibly be true, and as a kid was kicked off the Tulsa city bookmobile for attempting to check out books about UFOs, bigfoot, and ESP. It's fair to say I was doomed - or destined - for weirdness from the start.

If the above listed circumstances had not been enough, I grew up in an area where neighbors whispered stories about a horrifically deformed Bulldog Man who stalked kids who "parked" on the Old North Road near my house. The state in which I was raised was rife with legends of bigfoots, deer women, and devil men. Even in my childhood household there existed a pantheon of mythological entities invented explicitly to keep me in line. If I was a good boy, The Repairman would leave me little gifts of Hot Wheels cars or candy. If I was being terrible, however, my father would dress in a skeleton costume, rise from the basement and threaten to drag me down into everlasting hellfire (evidently there was a secret portal in our basement.) There were monsters, monsters EVERYWHERE I looked in my childhood world. Given that I was told as a fledgling writer to write what I knew, how could anyone have been surprised that the first stories I wrote were filled with the supernatural?

"The Nightmare" by John Henry Fuseli (1781)

My formative years during the late sixties and early seventies took place at a strange juncture in our American cultural history. At the same time that we were loudly proclaiming the supremacy of scientific thought because we'd landed men on the moon, we were also in the midst of a counter cultural explosion of interest in astrology, witchcraft, ghosts, extra sensory perception, and flying saucers. Occult-related books were flying off the shelves as sales surged by more than 100% between 1966 and 1969. Cultural historians would come to refer to this is as the "occult boom," and its aftershocks would impact popular cultural for decades to come.

My first contact with tales of the supernatural were innocuous, largely sanitized for consumption by children. I vividly remember watching Casper the Friendly Ghost and the Disney version of the Legend of Sleepy Hollow. I read to shreds numerous copies of both Where the Wild Things Are and Gus the Ghost. Likely the most important exposure for me was to the original Scooby Doo, Where Are You? cartoon which attempted to inoculate us from our fears of ghosts and aliens by convincing us that ultimately the monster was always just a bad man in a mask. (It's fascinating to me that modern incarnations of Scooby Doo seem to have completely lost this point and instead make all the monsters real.)

ABOVE: Although the original cartoon Scooby Doo, Where Are You? ran only for one season from 1969 to 1970, it remained in heavy reruns and syndication for decades. It is notable for having been a program that perfectly embodied the conflict between reason and superstition in popular culture, and was originally intended to provide children with critical thinking skills so they would reject the idea of monsters, ghosts, and the like. Ironically, modern takes on Scooby Doo have almost entirely subverted this idea and usually present the culprits of their mysteries as real monsters.

During that same time, television also introduced me to my first onscreen crush in the form of the beautiful and charming Samantha Stevens, a witch who struggles to not to use her powers while married to a frequently intolerant mortal advertising executive in Bewitched. The Munsters and The Addams Family gave me my first taste for "goth" living even before it would become all the rage in the dance clubs of the 1980s. Late night movies on TV would bring all the important horror classics of the past in my living room as Dracula, Frankenstein, the Wolf Man, the Invisible Man, the Phantom of the Opera, The Creature from the Black Lagoon, and Godzilla all became childhood friends. Over time the darkened castles, creaking doors, foggy graveyards, howling wolves, and ever present witches and vampires became so engrained in my psyche that today they remain the "comfort viewing" to which I retreat when I'm sick or in need of other distractions from modern life.

ABOVE: Elizabeth Montgomery starred in Bewitched (1964 - 1972) as Samantha Stephens, a witch who married "mortal" advertising executive Darren Stephens (played for the first five seasons by actor Dick York). Inspired by movies like I Married a Witch (1942) and Bell, Book and Candle (1958), it was a long running series that explored the complex relationship dynamics between those who possess magic and those who don't. Social commentators have referred to it as an allegory both for mixed marriages and also about the challenges faced by minorities, homosexuals, cultural deviants, or generally creative folks in a non heterogeneous community. It was also one of the first American television programs to portray witches not as worshippers of Satan, but simply as a group of people ostracized for their culture and their supernatural skills.

Even before I began elementary school, there was one piece of must-see gothic horror programming that I went out of my way to catch every day. Dark Shadows aired at 3:30 p.m. on our local ABC affiliate in Tulsa, Oklahoma which usually allowed me to catch most of it if I ran home from school (or even more if my mom or brother picked me up.) In theory it was a soap opera, but the show featured a regular parade of supernatural characters and themes. The lead was a 175 year old vampire named Barnabas Collins (played by Johnathan Frid), and the show revolved around his timeless pursuit of his lost love, Josette. It was also a program that regularly dealt with reincarnation, precognition, werewolves, time travel, witchcraft, and other occult themes. Though it regularly provoked criticism from religious groups about its content, it ran from June of 1966 until it's final cancellation in April of 1971. (I would discover it in the early 1970s as it ran in syndication.) Dark Shadows would spin off two feature-length movies based on the original, a series of tie-in novels, an excellent reboot series in 1991 (starring Ben Cross as Barnabas), and a positively embarrassingly awful movie directed by Tim Burton in 1991.

ABOVE: Johnathan Frid starred as Barnabas Collins, one of the leading characters of the original Dark Shadows television series. The influence of the series cannot be understated. In many ways Dark Shadows paved the way for the inclusion of supernatural elements in other soap operas of the 1970s and the 1980s, and was largely responsible for the explosion of romance novels featuring supernatural themes over the same time period.

While Dark Shadows was a favorite early television program for me, another show would prove not only to be a borderline obsession, but also a major influence on my career as a storyteller. Night Gallery (1969-1973) was a weekly anthology television show from Rod Serling, better known as the creator and host of the original Twilight Zone. Like Twilight Zone before it, Night Gallery was a deep and complex commentary on the human condition, but unlike its predecessor the outcomes for the characters almost always skewed towards the horrific and the truly outré. In "The Painted Mirror," an antiques dealer uses a magic painting to trap an enemy in the prehistoric past. Jack Cassidy plots to use astral projection to kill his romantic rival in "The Last Laurel" but accidentally ends up killing himself. In "Eyes" a young Stephen Spielberg directs Joan Crawford in a story about an entitled rich woman who plots to take the sight of a poor man. Week after week it delivered some of the best-written horror television of the early 1970s.

In retrospect I find it surprising that I was allowed to watch Night Gallery at all. I was very young while it was airing, and some of the content was dark and often quite shocking for its time. Nevertheless, I was so attached to the show that I'd throw a literal temper tantrum if I missed a single, solitary episode. If our family needed to go somewhere on an evening that Night Gallery was scheduled, either my parents would either have to wait until after it had aired before we left, or they'd make arrangements in advance with whomever we were visiting to make sure it was okay that I could watch Night Gallery there. I was, in a word, a fanatic.

ABOVE: Every segment of Night Gallery was introduced by series creator Rod Serling standing before a painting created explicitly for the series. Director Guillermo del Toro credits Serling's series as being the most important and influential show on his own work, even more so than the more famous Twilight Zone.

[narvana27]

So, I wanted so speak about this subject for some time now, and now, when I saw another person with opinion that xiaolin showdown is somehow racist, I decided it's gonna be today. Disclaimer: Im not racist, homophobic, transphobic or anything like that. I believe everyone is equal and until you're good human - you're normal, you're good. HOWEVER... Xiaolin showdown is racist because it shows it characters in stereotypical light... Are you serious with it? Are you sure u know what a CARTOON IS? Cartoon is mostly for children, it's simplier version of reality, cartoons cant show kids all of the problems society has. Imagine cartoon who would treat about racism, homophobia, phedophilia, rapes and all of that stuff - normally. Without any filter. That. Is. Not. For. Kids. Because purpose of cartoon is to teach, ofc, but with fun. It is to show simplier version of life, that's why cartoons shows people without every single hair on their head drew separately - because it's contractual version of what we know. And so, if there's a cat - it gonna meow and drink milk, even tho milk is bad for cat's. Why? BECAUSE IT'S WHAT WE KNOW! Dog gonna bark, dog gonna hate cats, cats gonna run from dog - this is reality, but it doesn't mean every dog hates cats, and every cat is afraid of dogs, DUH! So: Xiaolin is racist because the characters are stereotypical. 😑 GURL. That's because cartoon have to have characters who are somehow unique, we need to be able to say something about them. And the show was out there in 2003. That's was 18 years ago, almost 20, almost two DECADES ago. You wanna change the world now, and you dont know that some time ago world was diffrent? Those were the times cancell culture didn't exist, those were the times political corectness didn't shout people's mouths. I get u, Im also part of Gen Z, and I see how world is changing, and Im happy for it, but u fight for equalness fighting with people by ruining their careers. You walk over dead bodies to your destination. Let's break this together:

-Raimundo - Brasilian. Loves football, beach, relax, is street smart, sarcastic. Is anything from this feature - racist? Wrong? If you would ask I dont know how many Brasilians if they think that fictional character that is from Brazil likes football is somehow hurtfull or offensive, they probably would say HELL NO! They would be more offended, if he WOULDNT like football, because people in Brazil are CRAZY over football. Not everyone ofcourse, but MAJOR part of them are. Is that "racist"?... No. Not at all. Why would it be, if people in Brazil really loves football?

-Kimiko - from Japan, loves technology and fashion -" Oh no! How wrong! Technology, because she's from Japan, and..." - No. She likes technology also because her father has technollgical business. She loves fashion because he was single father and didn't thought about the facf, that little girl would use more of clothes rather than another video game. But that was his personallity - floppy, but cute. Is there anything wrong with fashion and technology? She was feministic as hell and badass and strong as a motherfuck*r. That should do.

-Clay - American, from Texas. Loves Texas, loves meat, country music, his ranch life, nature. Again - meat. Says a lot of typical for Texas sayings... Is that something that hurt anybody? Any where? Any time? That's not bad features! Bad features and stereotypes are when you think every American is stupid, or every Russian and Pole (from Poland if u dont know) are always drunk and drinking vodka like water. That's the bad stereotype. Not dude from Texas liking meat and sayings.

-Finally Omi - because his short, has big round yellow face and his yellow in generall. Again, repeat after me: The show was creates in 2003. Almost 20 years ago. He's probably Chinese, that's why he's yellow. As well as Master Dashi. He's the shortes, because he's the youngest. Or maybe he has dwarfism? We dont know it. I will say another controversial thing: Almost every accusation of someone or something being racist online I see being said by white girl. U know what I read one time? This girl was saying xiaolin is a little bit racist because of ✨stereotypes✨, and at the same time she wasn't in knowledge that Asian people can have diffrent eye color than black or deep brown. "Kimiko is Asian and somehow has blue eyes"... Umm... Yes! Because that is possible XDD So, she was more stereotypical racist than her point that she tried to make 😂 It is BEAUTIFUL, that every character in the show is diffrent, and they show their cultures! I started to love Brazil because of Raimundo, to the point I read about that country like crazy and I have it emblemats in my room today. Is that wrong? I dont think so. Omi being yellow isn't in my state of non - racist mind offensive towards anyone, BECAUSE IT WASNT MEANT TO BEEEEE. It was 2003 for Gods sake, world wasnt focused on fighting the racism even 5 years ago, so what is the point of fighting racism in something, that wasnt meant to be racist, and was created 20 years ago? I would say: Shut the mouths of people saying dumb racist things to another people FOR REAL. In real life, or the internet. Cancell people who are really bad, but no if they done one mistake. Report racist and homophobic posts and blogs, fight racism as it is happening NOW, not something that was made 20 years ago. You wont erase history of your own country USA, where slavery were a thing. You cant cancell that, because how? It is history, it's in the past, so if you want to change something - Focus or now and today, and dont look for racism in things that arent racist. U think the creator of xiaolin - Christy Hui, who is half Asian, would make Omi and Dashi yellow because she's racist? Gurl, think about what you're saing, fr. Fight racism for real, dont try to convince people that xiaolin is racist because Omi is yellow or Kimiko likes technology or any of that shit. Its not. Like. That. Thank you.

[taglegend]

Tag Fact #3 -  I’ve come to realize I’ve always been a fan artist more than I thought. so here is a timeline of influences that shaped my childhood to now. from nostalgic times, to sad changes, to great loss, to strange rises to fame and phases, to stepping stones and finally a laughing place. all the things that make up your favorite fan artist Tag.

1. Rayman (bumped into this in the year of 1999) was actually the first fandom (with crossovers) I bumped into when I was 9. although the internet wasn’t available at the time it was still fun to dwell in home amusements. I remember the storylines and the OC’s I made but they’re kind of embarrassing and it’s probably a good thing there was no internet. I’ve done fanart and comic crossovers of Rayman with Calvin and Hobbs and Nights Into Dreams, spinoffs of Sonic the Hedgehog OC’s, Yoshi with Pikachu, and the Pokemon/Digimon craze with OC’s and other Nintendo comic shorts. but the drawings and comics are long gone and disappeared in the garage in a backpack due to suspecting my sister’s dad accidentally throwing them away. years later towards the year 2018 (now 28), we decided to move to North Carolina and it was my chance to find them again. unfortunately the backpack was gone just like I suspected (my main stuff), but for some reason I found my Pokemon/Digimon fanart, a good batch of Super Mario drawings (vaguely remember doing these), my sister’s drawings and some other neighborhood kids’ drawings in a dirty box. I was partially happy I found something at least but it was the backpack I wanted the most. sometimes I regret not looking for the backpack (’cause I was too busy being a kid) but it’s alright, noone needs to see that shit anyway, ha ha. anyways, I recall being a fan of Rayman from 1999 ‘til 2002.

2. Sonic Adventure 2 Battle (bumped into this in the year of 2003) my second fandom I bumped into when I was 12 going on 13. at the time, my sister and I both liked the Sonic The Hedgehog Franchise based on the Battle remake and ended up making our own secret fanart club that consisted of only us two members. she liked Sonic (and that was her boyfriend, ha ha) and I liked Knuckles (and he was my boyfriend, ha ha) and we were crazy in love about Shadow’s backstory. we listened to the game’s soundtracks as we drew fanart and comics after school and man, those were good times. however, as we grew older towards the year of 2005, we ended up having separate rooms and I believe it played a part in disconnecting on the same interest. then one day, I asked her why she wasn’t into Sonic anymore and she replied, “Because I grew up.” I was sad after that and slowly observed that she was influenced by the emo culture and the new friends she’s made. I was the only member of our little club for a little longer...but eventually I moved on too. I still have some surviving fanart we did together but it doesn’t mean shit anymore since she turned out to be an abusive mother from the last I’ve heard of her. 

3. Gorillaz (bumped into this in the year of 2006). as the Sonic years were at its end, I first heard the song “Feel Good Inc” on Music Choice and seeing the first image of them as displayed on this post (except the fan-made background doesn’t count since I can’t find the original artwork). this was my third fandom and later had proper access to the internet to the website I still currently use called DeviantArt. at first I liked 2D but eventually fell for Murdoc and developed a spiritual connection towards the character as obviously seen in my old fanart and rare photos of my devotion shrines on Valentine’s Day and his birthday every year. for the longest time since being a permanent fan from 2006-2017 (11 1/2 years) I had no knowledge that it was a political propaganda band and other realizations I don’t want to talk about. I only followed them because it was a cartoon and not the bullshit behind the musical project. the world I’ve built and support for them for all those 11 1/2 years shattered the fuck out of me and I just wanted to be left alone to find myself again, somehow. activity stopped on all my profiles, the flow of fanart stopped since I now cringe from the fan service and felt I was used for my talent. I didn’t want to be reminded of it all so I took down all my Gorillaz fanart and archived them for old followers’ nostalgia but also in the hopes they’ll be forgotten in my timeline. I ceased to exist in the fandom for huge personal reasons but it’s best to not say why. I know for sure that the fandom wonders what happened but it’s none of their business. THE END.

4. Waluigi (although I knew he’s been around since 2000 during childhood, I took deep interest once I revisited the character again in the year of December 2013). as silly as this sounds, when I revisited him again, the character was so bizarre that I ended up staying up 3 nights and 3 days in a row just looking all over the internet on everything about him and the questionable “hush-hush” absence of a backstory. despite there being no backstory he slowly gained a cult following and in many ways it’s a good thing. however, since the early 2010′s tension has been building up between Nintendo and its fans about him starring in a main game but everyone hasn’t fully gotten it in their heads that it’s not gonna happen. as long as Nintendo is in control of that, the fandom will not win, I’m sorry to say. on the other hand, if it’s going to be this way, then that’s what fanart and comic projects are for. as for me, I am doing my very best to get my comic project “Waluigi Land” going. again, I apologize if it’s taking very long to get Chapter 2 going if you’ve been keeping track but aha moments need to develop before I start permanent drawing (since concepts, character design and storyline needed improvement badly). as of right now I am still a Waluigi fan and I will not quit on him.

5. Turbo from Wreck-It-Ralph (although it debuted in 2012, I watched the movie two years later into the year 2014). for some bizarro reason, I had an unhealthy obsession with this character to the point where I dressed up as him for Halloween 2014. only 2 fanarts of him and the Turbo Twins exist on my profiles, mainly because my mind was more focused on just ‘thinking about him’ or ‘being him’ rather than drawing physical drawings. luckily, this supposed alleged fandom didn’t last long a little after Halloween so I chalk it up as a very short phase. to this day I don’t know what has gotten over me about him. the only thing I can think of now is that I think it’s because the character had yellow eyes and teeth but I don’t know. now that I think of it, that little fucker was ugly as hell and I STILL don’t know what had gotten over me. one day, my brother mentioned what that was about, and I said to him, “I don’t wanna talk about it.”

6. Undertale (although it debuted in 2015, I later took interest in it in 2016). It was all about Sans and Papyrus. I couldn’t get enough of the skeleton bros. eventually Toriel and Mettaton EX became my favorites but it took a long time to draw more of all 4 of them because I had other important things to do in my life plus I was still waiting for the next Gorillaz album to revive my imaginative juices (or so I thought). I really want to have this as one of my frequent fandoms but I just don’t have time for it anymore. it’s still in the back of my head to want to draw them but at this point I still have other better interests to be in. and besides, I’m lazy just like Sans.

7. Cuphead (June 28th, 2017 was the official day I called quits on the British-based band Gorillaz due to the bullshit behind it. since that date I was lost, had no inspiration to look forward to and no cartoon guy to make me smile...but lo and behold of the same year, I took an interest in playing the game Cuphead and man...that shit was a frightening exaggerated metaphor for being on that one drug (forgot the name though) and having sex at the same time but man that was the best fun I’ve had in years. I mean, it’s like, enemies are just so happy to murder you and that scared the shit outta me. and the facial exaggeration?....I think I should stop, ha ha. anyways, the Moldenhauers saved my ass from spiraling down, they have no clue. anyways, eventually I became a permanent fan of their work so to ease the hurt and erase my past from the G-fandom I had to re-wire my brain into a different cartoon category that’s a rather more American, so anything Toon related like Roger Rabbit, Felix the Cat or another favorite that’s a western-based cartoon makes me feel better, especially my new man .......King Dice <3 <3<3<3. however, there was something about this new fandom category I still didn’t quite understand until the date March 14th, 2020. I finally understood what it was but I feel I shouldn’t bring it up. anyways, Cuphead and anything western or rubber hose is my last stop in inspiration for the remaining years of my life. many say never say never but I believe I’ve found my laughing place and that’s all that matters.

[mashounen2003]

Sonic opinions - 4

Initially, the purpose of my fanfics was almost only to think of a possible continuation of the events of Sonic SatAM, adapting things from the Archie-Sonic comics (and taking some licenses in the process), and trying to better write Antoine's transition from his self in the cartoon to his self in the comics, give more importance to Tails and better portray his parents, Amadeus and Rosemary. But then I realized how abysmal the differences between the two versions of Antoine were, while it was also harder for me to think of a way to write Rosemary coherently.

In Antoine's case, lately, I came up with an alternative to make him develop and stop being what he was in the TV series:

Immediately after the original Robotnik has been defeated, Antoine leaves his team behind. He actually doesn't know how to fight, but he still has good marksmanship, so he becomes a hitman. However, he's eventually convinced to leave behind that life without honour, begins to train in real fighting skills and becomes a genuine Freedom Fighter once and for all. In any case, he develops an opinion of "the end justifies the means" and continues thinking it for the rest of the story, being critical of his former team; this, along with his lasting grudge against Sonic and Sally, leads him to fight against the Monarchy in the events of "Civil War".

As for Rosemary... I don't like to say it this way, but she was a total b**** in the comics. I came up with a way to show her in a better light, but in no way could it have worked with the comics' Rosemary as she was. I'll talk about it when I write my list of ideas for future fanfics.

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I also addressed Politics in that fictional universe, trying to avoid the way this was done in the comics: there, Ian Flynn created the Council of Acorn and portrayed it as a bunch of stereotyped useless politicians obsessed with controlling the heroes and barely concerned with their country's security, and I think Flynn didn't do it to actually enrich the comics' universe or to add depth to the story or to communicate certain political ideas, but only to give readers someone to blame.

In the stories I wrote so far, I didn't go deep into what happened with my fictional universe's Council of Acorn after its creation; however, I did address its origin, and in doing so, I didn't make the Bems involved. Look... In the comics, Tails's parents were inspired by the Bems to try to establish a Democracy in Acorn, and this entails some inconvenience:

The Bems are terrible people. They roboticized Sonic and Tails to make them fight Robotnik and Snively, in order to verify the robots were better than flesh-and-blood beings (if things had happened differently, perhaps Mobius's Robians wouldn't have been de-roboticized); their society is entirely made of clones and almost lacks variety, not only in terms of the physical but also in terms of people's ideas; their judicial system is quite f***ed up (at least according to our standards), and... *sigh* they're just the worst. These traits of the Bems had been developed when Karl Bollers wrote the comics, and Flynn should have considered that they’re technically canon before having Tails's parents claim to have been inspired by those aliens.

Even if we cling to Moral Relativism with all our strength, claiming the Bems are just "different" and have different behaviour, mindset, psychology and culture, this keeps making things complicated: applying something in one society, solely because it succeeded in another, ain't exactly something smart to do.

And the craziest of all is that it could have been avoided very easily: Flynn could simply have said there were previous failed attempts to establish a Democracy in other countries of Mobius and Amadeus & Rosemary had always wanted a change in the government system, had learned about those historical events and knew (or believed they knew, at least) how to do it right this time. Moreover, Flynn could have said the decade spent by Tails's parents with the Bems gave them a clue about what they should not do when finally returning to their homeworld.

I tried, in my work, to use this idea of Amadeus & Rosemary wanting to establish a Democracy in an attempt to succeed in what others in other parts of Mobius had failed throughout History. It was based upon what happened in the French Revolution (more precisely, the Jacobin period), the years immediately after the Russian Revolution, and mainly the First English Revolution: in 1648, the Monarchy was overthrown in England; the change was violent and chaotic, the government that took the place of the King ended up being also a despotic tyranny, and the final result was just the return of a King to power in 1660 (although, anyway, the Glorious Revolution established in 1688 the British parliamentary system as we know it); Thomas Hobbes, while watching those events unfold, wrote his book Leviathan, where he justified the need for an Absolute Monarchy by arguing humans were violent, selfish, chaotic and brutal by nature, so they had signed a symbolic pact where they ceded all their rights and their power to a single person in charge of ruling with an iron fist, in order to prevent humanity from destroying itself. In my fanfics' universe, it was mentioned those attempts at democratization in Mobius led to civil wars, ended with those same peoples clinging to ideas similar to those of Hobbes, quickly restoring the Monarchy and promising themselves not to try and establish a Democracy ever again.

I also mentioned the recurring conflicts between the Acorn Kings and the Southern Barons in the comics, as well as the connection between the Kings and the infamous Source of All, among other things. I also had Amadeus do what he should have done in the comics when he explained why he wanted there to be Democracy: to present historical events, such as those conflicts, the Kings' cult of the Source of All and the technological and cultural backwardness to which the people were subjected by them, as concrete examples of how the Monarchy had never worked well.

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There are several Sonic fans, including @toaarcan and @robotnik-mun, who argue Politics shouldn't have been addressed at all in Sonic stories. Also, the vast majority of Sonic fans claim each and every one of the attempts to make this series more serious were some of the worst things that could have happened, even the addition of more characters was nothing but a cancer, and everything should have remained "simple" or the Sonic franchise shouldn't have gone beyond what it was at the time of the classic Genesis games. I praise the stories written by @toaarcan, and I agree with many of the opinions of both him and @robotnik-mun, but with all due respect, I totally disagree on this particular point.

I've always believed that, if it's done right, any topic should be able to be addressed in any kind of fiction, and Politics is no exception; more exactly, I think an author has two options when writing a work aimed at children and young people: to write something super light and soft where no serious topic is addressed, or to "go all-in" and address all serious topics, leaving nothing out; this includes not only Politics, but also tragedies, the complexities of love, toxic interpersonal relationships (whether abusive or otherwise), bullying, mental illness, trauma (for example, that caused by war), societal issues, and so on. That's one of the many whys of my love for RWBY: there's nothing that web-series doesn't talk about. As for the proper and respectful LGBTQ+ representation, rather than a serious topic reserved for serious fictional works, it's a requirement every fictional work should meet, whether serious or not, especially in the middle of the 21st century (this is something I think my work didn't meet satisfactorily).

With Sonic SatAM and the comics, it looked like the second option could have worked in the Sonic franchise too, and the TV series did it right to some extent. Unfortunately, Archie-Sonic's writers almost never did things right in regards to relationships between characters: Ken Penders's work, in particular, is an example of how relationships should never be, and Flynn's attempt to talk about Politics was a complete disaster, not much better than Penders's heinous handling of political stuff, more similar to a very low-quality North-American political satire, even when the conflict portrayed wasn't of the "Right versus Left" kind but of the "Monarchy versus Republic" kind, which should have been much easier to do without ruining everything. The only ones who didn't fall into those same mistakes were Gallagher and Angelo DeCesare, the comics' first writers, but only because they chose the first option: to write stories that weren't serious at all... with the notable exception of "Growing Pains", the B-story of issues #28 and #29, a typical Shakespearean tragedy where they presented us Auto-Fiona, a robot replica of who would later be one of the most controversial characters in the comics.

This, coupled with the resounding failure of Sonic 2006, is the only reason why now almost everyone in the Sonic fandom prefers stories without anything serious and/or a return to the Classic Sonic era, with very underdeveloped characters who are turned into mere plot devices and are only a shadow of their former self or of what they could have been.

[justice4sasuke]

Sorry to be sending you more opinions but there was something you said a little while ago that I just couldn’t get out of my head so here we go; you said, “you don’t have to forgive your abuser, but you can if you want.” And I agree with that sentiment 100%. I’ve been in the position of needing to decide which option to go with in the past, or should I say I haven’t actually decided yet because there can be SO much nuance involved in making that call. Sometimes it’s very simple, sometimes it’s anything but. And there’s no moral right or wrong answer, it’s about picking which option is healthier for you personally. Neither option makes you weak or strong, righteous or in the wrong (1/3)

Now that being said, I am painfully conscious of the fact that the narrative of, “forgiving your abuser makes you a good/kind/better person or whatever,” is pushed the absolute hardest in children’s and YA media, more than any other circle of media. It’s incredible how much and how often this is the only option presented to kids. I see this in shounen manga especially. And there’s a really famous example of an American children’s cartoon that does this which I could name but I won’t. I recognize that shounen does this a lot because WSJ has a sort of on the down low comic’s code thing going on (2/3)

And if Sasuke were real, I’d have no problem with him making the decision to forgive Itachi. And I’m not going to pretend that it doesn’t make sense character or story wise for him to do so. Hell, if I were in his position I might even make the same choice (then again I might not. I can only compare my experiences to his, but I can’t know them). Anyways I get it. But I also know, deep deep down in my traumatized bones, that a major reason why Kishimoto makes this decision FOR Sasuke as a character, is because it’s part of his crusade against the concept of “~hAtReD~” as it presents itself in victims. The only person who gives Sasuke permission to be hurt and angry EVER is Itachi (if I’m remembering the climax of this arc correctly), and I think that’s super important. And it makes perfect sense that Sasuke’s decision in response is to actually forgive him. But I also KNOW that he’s not allowed to choose otherwise. This is a big hand of the author moment imo (2/3) (p.s. you can wait however long you want to respond to this I don’t mind and I don’t want to overwhelm you especially when this could be more relevant later)

I’m always a proponent of recognizing WHY authors make the decisions they do, but I’m not sure it matters much when it comes to Sasuke’s decision to forgive Itachi. 

First I’ll say I find it very hard to parse what Kishimoto actually thinks or feels about anything. This could be because I do not know or speak Japanese or because I don’t seek out content that involves Kishimoto talking about his work. But then again I don’t go looking for author interviews a lot, but I’ve still managed to absorb some information that makes me feel like I know a bit more about the authors. Oda the author of One Piece does multiple Question Corners in each volume of the manga when it comes out that really gives you a feel for who he is as an artist and person and what he thinks. Araki the author of Jojo’s Bizarre Adventure has ever-changing interests and those interests bleed through in his work (a moment where that occurred to me that I found particularly amusing was at the end of one of the part 4 volumes Araki says he got a cat encyclopedia and that or the next volume then has a lot of drawings of cats and explanations about their behavior so you’re like well Araki I can tell). Or even a series I don’t even like because it’s miserable like Attack on Titan I’ve absorbed enough through cultural osmosis to know the author has said enough war crime apologist shit that the fascist wet dream that he portrays is intentional. 

But Kishimoto...I don’t know what he thinks if I’m honest. Does he really resent people with natural talent for things? Does he think everything bad is just hatred and we need to forgive to get over it? Does he think the state is more important than any person or group of people? You could make these assertions based on his writing maybe but Kishimoto’s writing is so flimsy and so many things change throughout the course of Naruto’s story I would just as soon believe every statement he makes about worldview is an accident. In fact Naruto’s blandness and unrelenting stereotypical shounen characteristic of never giving up could lead me to believe there is no heart in his writing whatsoever. Or hell, the end! Where all the main kid characters end up together as much as possible when you follow a two boys one girl rule and are bound by heteronormativity. None of the pairings had an ounce of heart behind them and some of them were fucking /jokes/ (Shikmaru and Temari maybe had a drop of heart to it based on things that happened in part 1 only). I don’t feel I can say Kishimoto’s opinions come through on anything he writes if he’s going to be so careless with what he does. (Yes, I know there is an argument for him being wrung dry by the manga making machine at the end, but that goes along with my point: does Kishimoto intend anything he writes).

All of that up there is leading into a point, but let me get part two out first. I don’t know if I fully agree with your take because forgiving Itachi isn’t what makes Sasuke “good” in the eyes of the narrative. Sasuke forgiving Itachi is important in terms of how we talk about their relationship but in the eyes of the narrative it is a foregone conclusion. There is some anger and resentment still after Sasuke learns the truth about Itachi, but there’s also still a ton of love and hero-worship there. By the time Itachi says “you should choose your own path” and “no matter what you do from now on I’ll always love you”, Sasuke’s forgiveness has already been granted and after that Sasuke’s journey is more about trying to reconcile his world view. And after Sasuke resurrects the hokages and gets the love story of the ages learns about the founding of Konoha, in true Kishimoto fashion, it seems like Sasuke is going to be a “good” guy now only to have him doing things that seem “evil” during the war and then after Kaguya is defeated he lays out his revolution plan which the manga views as “evil”. Kishimoto puts so little emphasis on forgiveness and explicitly keeps Sasuke in the “wrong” until the end of the manga so I don’t think anyone is expected or intended to see forgiveness as the way to be better. I think we kind of reverse engineer the forgiveness topic by bringing up the point of Sasuke possibly not forgiving Itachi when that’s not even a question in the manga. 

This brings us back to Kishimoto’s thoughts and intentions because is the fact that forgiveness or not is not even considered an author conscious decision, that forgiveness is the right choice? Or was forgiveness just the obvious choice because how Sasuke’s character was built out? I don’t think any of us can say because like I said above I think Kishimoto’s actual feelings and goals with his work are hard to pin down. 

Also I know this whole blog is about extrapolating and looking outside the framing, but one of the manga’s biggest faults it how is railroads you into what you’re “supposed” to feel and you only don’t feel that way if you give what you’re reading a second thought. And we’re not being railroaded into “Sasuke forgives Itachi so he’s better now”. We’re railroaded into “Sasuke needs to learn more about ninja world” which railroads into “Sasuke is going to help in the war but uh oh is he still bad guy??”. Like once again forgiveness isn’t even a topic of thought in this manga.

I guess I spent over an hour thinking and writing this to say I think the notion that Sasuke is being made to forgive Itachi is so out of the realm of intention or what the point of Itachi and Sasuke’s relationship is I’m going to Death of the Author it and say I think Sasuke chooses to forgive Itachi and that’s his choice. Thinking about whether Sasuke HAD to forgive Itachi because the author wanted it that way is missing the point. But that’s not to say we can’t discuss the implications of choosing forgiveness towards abusers in media, just that I think that is entirely outside the realm of the author’s thinking (with my above caveat that I have no idea what Kishimoto feels about anything). And I think these conversations aren’t really coming out because of the manga, but because of how we are thinking about the manga which is already outside Kishimoto’s intention. I mean I think Sasuke is right so obviously I’m outside Kishimoto’s intention based on his framing. 

Side note in regards to rules at WSJ I hear about shit people aren’t allowed to do there and no doubt there are rules but I’m very 🤔 about what are they really because Jojo’s Bizarre Adventure got very violent even in its shounen jump days and this isn’t about /abuse/ exactly but One Piece did have a character that couldn’t forgive their oppressors and wasn’t demonized for it and was treated with understanding. So I’m wondering what exactly these rules are supposed to be.

[powerosewaterpuff]

so i was having mary and john grayson feels bc i always do ofc, and i decided well if i can’t find any other fics and headcanonns? imma make them myself hehe soo enjoy ! (heads up tho, it’s a l o t hehe)

Mary Grayson

-cannot cook, she is absolutely a w f u l at it but oh my god she loves watching john cook. she even follows him around, writing in a little journal about all the different recipes and steps, bc she is d e t e r m i n d to be able to make something other then cereal

-she always lets dick attempt to braid her hair, and even though it might come out looking bumpy and uneven, she couldn’t care less bc the smile on her sons face is priceless

- loves the summer, basking in the sun on a wide beach is her ideal happy place, because the winter reminds her a little too much of memories she wishes she could suppress

-she always sticks her tongue out just a bit when she’s focused on something, john still blushes when he sees that

-isn’t an avid reader, but she could watch johns facial expressions as he rereads the same twist in his favourite novel for the rest of her life

-she has a small array of ear piercings, which include three piercings on each lobe and upper lobe (the first she had received when she was a baby, and it had been her grandmothers idea), then she has a helix hoop piercing on each ear with a little stud underneath the hoop of the right ear. (Dick loves them, and always had a habit of fiddling with them even as a baby.)

-her laugh could be described as, (as courtesy of john grayson), “the sound of wind chimes billowing against the breeze, and then she starts snortin—Hey! It’s the truth, what do you want me to lie, mary?”

-dick most definitely inherited her eyelashes, long, dark and curled. she also tends to argue that he got her humour too, but john adamantly defends his honour as, “the most hilarious human being to walk the earth, and dick most definitely got my sense of humour, e x c u s e you, mariam.”

-she is infinitely glad that her and john have a very equal parenting system, without one person needing to be the primary disciplinarian as they work as a united front. (except when john and dick come inside the trailer, dragging in mounds of dirt from a flimsy soccer game. then? shes usually the disciplinary one then, shooing them to go take a shower and telling them that they needed to make sure every i n c h of dirt is out of the trailer before she’s done her afternoon stretches.)

-she’s a very bold and opinionated person, but stubbornly independent with a strong moral system and a fierce temper. she isn’t accustomed to asking for help, and is always expecting to be disappointed or let down. she’s always waiting for the catch to come into play, with john though? it never did

-the second dick gives her his puppy dog eyes, it’s over. she’ll give up the cookies she’s hidden in the top shelf, she’ll give him the biggest hug, she’ll practically do anything, and mary thinks john is the exact same.

-her gut instincts are scarily right, to the point where her best friend, the magicians assistant, is convinced she’s a psychic of some sort.

- the day she met john, she had heard about a young circus boy about her age coming to live with his great aunt in her neighborhood, but hadn’t really paid it any mind.

-it wasn’t until one neighbourhood party, that she locked eyes with a pair of vibrant blue eyes with a deeply rooted fire within them. it gave her a shock of adrenaline, and excitement, the same thing she felt when she was about to go on stage as a ballerina or about to face the uneven bars as a gymnast. it wasn’t a nervous bout of a adrenaline, it was a calming rush, one that filled her bones with a thrill beyond all compare. (Little did she know, the second john had locked eyes with a pair of lively green eyes, he had found what he was looking for.)

- mary was a natural born contortionist, with a flexibility she acquired from years of ballet as well as gymnastics. learning how to work the trapeze was a whole other thing though, as it was a little odd to adjust at first. she loved johns freedom and wild nature while soaring through the air though, a lot more then she loved the rigidness of her own form. (john disagreed vehemently, the way mary moved was like she was one with the air and the air was one with her, and he admits that was she an incredibly quick learner.)

-will always watch cartoons with dick, whether it be The Simpsons one evening or Tom & Jeremy the next.

-johns singing is her favourite thing ever, she always begs him to sing her to sleep and some nights, when john feels a deep rooted knot tug at his chest, mary is sweetly singing, “here comes the sun,” by the beatles in his ear

-her and johns go to song to get dick to sleep is, “little bird, little bird,” by elizabeth mitchell. she always changes the last bird, a whip-poor-well, to a robin bird. it’s a little offbeat but she thinks dick likes it. (dick loves it.)

-has an unparalleled amount of energy, and is always bursting with exuberance, the only one who can really challenge her on that is dick. both of them are absolute adrenaline junkies.

-has an insatiable love for period dramas, it is her absolutely guilty pleasure and will be found watching tapes of her favourite show in the living room at like 3am

-she loves the smell of burning wood and loves sitting outside of summer nights, taking in the sounds of the cicadas and the cold breeze.

-she is absolutely exasperated with her sons ability to make friends with injured woodland animals, it was adorable and absolutely darling to an extent, but oh my god if she had to handle one more skunk with a broken leg or a fox with its leg stuck to a wooden post, she would consider barricading the circus.

-(she loves buying matching clothing for her family and her, but what she loves the most is dressing john and dick up to match, she has a whole box filled with those pictures, which would be perfect blackmail material once dick was in his teens.)

John Grayson

-is one of the most laid back human beings, he always has a lazy smile and gentle mischief twinkling in his eyes. (but fuck with his family and see what happens, he dares you.)

-his eyes are practically identical to dicks, in every shape, way and form. but dicks have an unstoppable light in them, that his just don’t have but he’s so happy they do.

-loves to overspray his cologne just to irritate mary, her scrunched up nose his absolutely adorable. (but he still couldn’t get why she didn’t like that cologne, it was fucking amazing)

-curses like an absolute sailor, and mary isn’t any better but she’s far better at censoring herself. john has had to slap a hand around his mouth a few times to avoid having to explain the word, “shit,” to dick.

-christmas is his favourite time of the year without a doubt, and loves to be curled up on his worn couch with a novel in hand in front for a fire.

-is an avid prankster, but if you confront him about it, he’ll give you a trademarked Grayson smile, and tilt his head to the side questioningly.

-his laugh is like (as courtesy of mary grayson), “a crash of waves, refreshing and loud with a distinct clarity, and then he starts to w h e e z—Hey! it’s the truth! I thought you were against lying, huh?”

-he’s ticklish, and his brother along with his wife and son take advantage of that way too much.

-dick is legit attached to this mans hip 24/7, like if you see john strolling around the circus there is a 94% chance that dick is either riding on his shoulders or settled comfortably on his hip.

-the day he met mary, he had felt a little out of place and stilted at this neighbourhood party. but he sucked it in bc anything was better then going back to his home, so he took a shaky breathe and tried to converse with his great aunts friends, until the music started and he locked eyes with a pair of lively green eyes, and he had found exactly what he was a looking for. a fleeting purpose that could so easily slip between his finger tips but the thrill to latch onto it was expanding in his chest. and he realized that if he didn’t march right on over there and talk to this girl, he would’ve lost something he didn’t even knew he could lose.

- playing guitar had always been a little bit of a therapeutic thing, because even though he tried to be practicing their act every single minute of his day, there were times where he needed to sit under a tree with his son curled in his lap, his leather jacket draped on him. the love of his life and the afterlife curled up next to him, with his blistered fingers from dealing with ropes all day strumming the guitar.

-the biggest elvis presley, beatles and rat pack fan in the world. he also loves louis armstrong as well as nat king cole. (he grew up with this music as his first big introduction to north american music as well as culture.)

-open communication and emotions are a big thing for him, he never wants anything to be misinterpreted and he tries his hardest to make sure neither him nor mary ever go to sleep angry with one another. they argue a decent amount, bc they both have wild tempers (johns is a flame that’s difficult to light but once it does he’ll have a vicious tongue of a temper, and mary’s is a quick lighter that can be easily put out but for the time that it burns holy shit she’s scary,) but they always work things out by talking to one another at the dinner table.

-this man lives and breathes sarcasm, to the point where people never really know if he’s being sarcastic or not (mary does, and it annoys him to no end.)

-always playing with his hair, or he’s playing with mary’s or dick’s. it’s become a little of a nervous habit for him, but also a way to relax.

-was always insecure about how short and scrawny he was as a kid, even now once he’s filled into pure muscle and but still a little short compared to others. however, he uses his body to his advtange though, he can easily be the strong man of the act, and can easily balance both dick and mary with one hand. he’s immensely proud of that, and shows it off as much as he can.

-just to annoy mary, he’ll slowly lift his son up and they’ll give the exact same puppy dog eyes and pout. mary will legit do anything they want (he wasn’t ready for mary to come in one day, blinking her beautiful green eyes and pouting, with dick settled on her hip doing the exact same thing as they ask for chocolate pancakes one morning. it’s fair to say he sprinted out of bed and straight to the kitchen.)

-despises hunting for sport and guns, his father owned an array of hunting guns that were always proudly polished and hung on the walls of their trailer. john fucking hated it, and was about to blow a fuse when one of the circus members decided to take dick on a hunting trip without asking. (he held dick close that night as he cried bc he didn’t understand why they had shot the deer when it looked so happy.)

-is the absolutle biggest crybaby when it comes to Heidi (the book) and has rewatched Kiki’s Delivery Service with dick like 30 times? he cries every time ( “mARY SHES SO SAD OH MY GOD AND SHE DOESNT UNDERSTAND J I J I ANYMOREEEE.”) (“sEE GRANDFATHER DOES CARE AND THE SYMBOLISM MARY THE SYMBOLISM.”)

-loves looking up at the stars, and liked to memorize their names as well as patterns as a kid. he was overjoyed to share this with dick, as they lay down on the roof of their circus caravan, point out constellations and tell their stories (dick would always perch himself on the tallest skyscraper in gotham, on a clear summer evening, just to get a one glance at the stars at again before the smog rolls in. he swears he saw cassiopeia once, but maybe he was just wishing he did. )

-is equally stressed by dick’s unprecedented love of making friends with the most random things, is also stressed because his son is this tiny kid who keeps getting himself stuck in bushes then runs home, covered in thorns but still has the biggest smile. john is usually on first aid duty, and he just knows that his kid would run into the sun exploding with a bright smile plastered on his face.

[dragons-socks]

Baby Bumblebee chptr 3

“Hey, Captain Lennox, Bumblebee isn’t here if that’s what you’re looking for.” Sam said as Ironhide pulled up and the captain jumped out. Mikaela waved from her spot inspecting the old engine of Sam’s replacement car when Bee is out in the field.

“I know. That’s why I’m here.” Something about the way Lennox said it had both teens dropping what they were doing and turning fully to him.

“Is he alright? Did he die. I swear if you wrecked him, I’m going to beat-” Sam began frantically threatening Lennox when Ironhide’s passenger rear door popped open and tiny light-the-night yellow sketchers popped out followed by black overall-shorts over a yellow t-shirt, but was drowned out by an overly large bee-themed jacket. The kid slipped on the last few inches out of the truck, landing smack on his bottom. Instead of crying out like most children do, he let out a series of clicks and chitters.

“I said I’d get you in a second, kid.” Lennox sighed, walking over and picking the child up to his feet. Sam looked between the kid and Lennox. He turned to Mikaela to make sure she was also seeing the kid as well.

“Uh, I didn’t know Epps had a kid?” Sam asked. “What’s his, uh, name?”

“Bumblebee.” Lennox said, face flat. Sam wanted to laugh, but the kid just looked down at his shoes, scuffing his toes in the grass.

“No way.” Sam knelt down to take a closer look at the little boy. “Like, my car? Like the 18 foot alien robot?” The kid let out a sad whine.

“Why is he a child? Shouldn’t he be older, even if he was turned into a human.” Mikaela asked, standing closer to Lennox.

“We think that is the purpose of the weapon, not to just turn the autobots into humans, but also small and defenseless.” Lennox explained the battle and how Bee saved Optimus from their weapon. Sam ruffled Bee’s fluffy blonde hair.

“He looks more like you cheated on Sarah with some cute African mama while on tour, then Epps and his girlfriend’s kid.” Mikaela cooed at Bee.

“I think my babysitter has the same idea.” Lennox groaned. “We tried to say he was a dead friend’s kid, but I’m not sure she completely bought it.”

“Sarah would have you sleeping in the dog house if that were true.” Mikaela assured.

“Oh, I’m in the doghouse either way. Apparently it’s a little traumatising to experience being a human than just observing them.” Lennox laughed as Bee let out a series of grumbles and chirps.

“So I have to stick with the crapper?” Sam bemoaned. Bee turned to him, letting out chirps and chitters. His tiny hand rested on Sam’s cheek, a determined look taking over his whole face as he promised he didn’t become a human to shake his duties to and for Sam.

“It was a joke, buddy. Don’t worry.” Sam laughed.

Judy walked out and completely went heads over heels for the kid little kid in her front yard. She snatched him up instantly, pinching his chubby cheeks and gushing about the brightest blue eyes she’s ever seen.

“Ma! Mom! MOM!” Sam shouted as Bee struggled against the matriarchy of the Witwicky family. “You’re freaking him out. Will you put him down?”

“He’s so small, you were this small once. Oh, I remember when you used to just rip your overall’s off cause you didn’t like them at all. But look how cute he is!” Judy at least set Bee down, who ran and hid behind Lennox’s legs, glaring at the woman from behind them.

“Yeah, yeah, ma. Why are you out here anyway?”

“Dinner is almost done. We have enough for you two as well, Captain Lennox.” She turned to the other adult.

“I’ll have to decline. We’re supposed to be picking up the last of the supplies for Bee and then headed back to the wife’s dinner. She’d kill me if I came with a full stomach.” Lennox gave a tight smile. Judy went on about being a good husband and yelling at her own to take notes. Ron yelled back about having been her husband for long enough to know how to handle his marriage.

“We’ll be able to see Bee at the base, right?” Sam asked.

“No. Optimus isn’t a fan of having him with the other Autobots and my superiors feel the same with having a child running around base. So he’ll be at my house until we figure out how to get him back to normal.”

“And if you can’t?” Lennox didn’t answer, not verbally, but the look on his face said enough. Bee let out a grumble, folding his arms and shaking his head. He wouldn’t rest until he could kick ass and drive fast again. “Well, I could always look after him if you need someone. I owe him for looking after me all this time anyway.”

“Thanks, kid. We’ll be around.” Lennox said. Bee wrapped his arms around Sam, who picked him up and helped him back into Ironhide, finding a kid’s car seat. Sam suppressed the need to laugh. An autobot that’s been in wars, has killed, and can take a brutal beating, has to also resort to being put into a car seat for his own safety.

“See ya later, Bee.” Sam ruffled the soft curls one last time. Bee waved goodbye.

Lennox was a little surprised that it wasn’t like pulling teeth to get Bumblebee away from Sam. He was almost positive that the autobot-turned-boy would try to stay with his ward. Maybe it was the promise of seeing Sam again that eased the separation. But Lennox wasn’t complaining. He wasn’t lying when he said he still had to get Bee a few more supplies for his room and Sarah was expecting him home at some point.

Bumblebee’s eyes went wide as they walked into yet another store. Lennox had been dragging him in and out of them all day. He’s been shoved into clothes for hours, and made to choose sleeping supplies and shelves. He was placed in front of plastic toys, but he didn’t want to look at those. Lennox held out a newer version of the yellow toy car and put it in the cart. Bumblebee didn’t want to acknowledge it’s presence so he turned away. His hand brushed against something soft, which made him stop in his tracks. Peaking to the side, he found a large box filled with fake earth animals. It was staring into his spark with beady black eyes, long drooping ears rested around its face.

“You can have the bunny if you want, Bee.” Lennox said, lifting it out of the box and placing it in Bee’s hands. Bumblebee’s fingers gripped automatically to the soft fur. He let out a stream of happy clicks.

The bunny was now in his room at the house, safe, protected. This new store was different. It was just shelves and shelves of books. Lennox wasn’t really browsing as he had done the other stores. No, he was walking straight to the counter where a girl sat, typing away at her computer. She ignored the duo until Lennox cleared his throat. She let out a sigh, turning to him with bored eyes.

“The children’s section is down the hall and to the right. The education corner is up the stairs all the way in the back.” She went back to her computer.

“I’m William Lennox. I called earlier.” He said.

“Oh, yeha, my boss said something about that. We’ve pulled some books for you.” She spun around, digging around a different shelf behind her before she pulled out a stack of large books. “These are the ones we’ve found.”

“I’ll take them all.” Lennox said. Bee went on his tiptoes and pulled down a small thin book. The cover had a cartoon child smiling, their hands in an odd position. The title was colorful and in big letters, ‘American Sign Language for Children’.

______________

The first time Lennox got back to the autobot base wasn’t until a whole week after getting into a healthy routine with Bumblebee. The kid was picking up sign language faster than Lennox could relearn it, so communication was still rocky, but it was getting better. They also had a grid of pictures and words that Bee could point at to help let Sarah know what he needed.

“Lennox, good to see ya back.” Epps clapped him on the back. “How’s the kid?”

“10,000 years of prior knowledge really makes ‘em smart, you know.” Lennox tries to smile, but it doesn’t quite appear. He drops his facade, running a hand down his face. “He’s upset on good days, throws tantrums on bad ones. He gets stressed easily and frustration runs high every minute.”

“That doesn’t really sound like Bumblebee. He’s usually so upbeat even in tough situations.” Epps commented.

“Ironhide thinks Bee is reacting to his physical age due to the human chemicals and endorphins bumping through his body. I’m inclined to believe so as well. Also, it’s a situation none of us has ever gone through before. He’s in unknown territory without his family to help him. He’s been abandoned and outcast and everything is a constant reminder of what he’s lost. He sacrificed himself for his leader, for the one he looks up to for guidance and safety. And because of the outcome, he was pushed away by that very man.” Lennox tried to explain the feelings that have been tearing Bumblebee into pieces.

“Yeah, that does sound stressful.” Epps slouched. “How’s Annabell taking having an older brother?”

“She hates it.” Lennox groaned, sliding down to the floor.

“It can’t be that bad.” Epps laughed at his friend’s pain.

“She’s just fine sharing, as long as its in the way she wants, which Bee usually gets overwhelmed with her demands and ends up with Annabell throwing a tantrum and Bee hiding away in Ironhide.” Lennox took a deep breath.

“Do I even want to know how Sarah is taking this?” Epps helped Lennox to his feet.

“Oh, she’s loving how much room she has in the King bed without any company.” Lennox gave a dry bark of laughter.

“Seriously?”

“She loves Bee, didn’t even take a second to warm up to him. She is mad that I made this ‘life-changing’ decision without her.”

“Well, we’re wife and kid free here, man. So just come down to the hanger and see what the bots have been up to.” Epps led the way to the large warehouse where the autobots were walking around and talking with other military faciliants. Or they were trying too. Ironhide was shouting at Optimus and anyone else who tried to argue with him or try to calm him down.

“I’ve got tear stains in my leather upholster, because he thinks he’s been abandoned! And you know what, he ain’t wrong.” Ironhide folded his arms, glaring at the leader of the Autobots.

“We’ve been over this, Ironhide. He would not be safe here. I’m not going to change my decision.” Optimus huffed, getting frustrated at this endless cycle that was getting them nowhere.

“Oh, I know. But I want you to live with the guilt of that decision riding on your conscience till the All Spark has mercy.” Ironhide spins his cannons, but doesn’t engage in any violence with his commander. Lennox was surprised the weapon’s expert held back. Ironhide had been overheating with rage for the whole ride here.

“Don’t start a fight, Ironhide. Bumblebee knew the risk.” Wheeljack said. “Besides, being alone isn’t the worst. I’m by myself all the time.” Wheeljack didn’t get to continue his thoughts as Ironhide slammed his fist into the other’s face.

“Hey, hey, Ironhide! They’re not going to change their minds with senseless violence. We’re here to do a job. Just keep it civil, big guy.” Lennox said, running to break up the bots.

“Yeah, yeah. I’m going to the range.” Ironhide transformed into his truck and rolled away from the others.

“Thank you for understanding, Captain.” Optimus started, but Lennox shot a glare up to the large mech.

“Don’t think I’m on your side, Prime. I just hate cleaning up the messes that happen when you guys fight.” Lennox turned away from the bot to organize his men.

[acavatica]

i-wakeupstrange said:

i’m not including this in my review of the elevator fic because it was becoming its own huge, ridiculous tangent, but in short: it’s now my headcanon that Marco is into anime (OF COURSE why didn’t I realize sooner) and in a roundabout way that’s Peter’s doing. (he’s a little old for NGE but, I think, about the right age to have gotten real into, say, Robotech. and decide to show his son these shows. because he’s a Cool Dad. or tried to be before... you know.)

Peter told himself that he was watching cartoons because of the baby, but also all the baby books he’d tried to force Eva to read had said that babies have about a foot of vision and see colors like a dog. Then he told himself that he was watching cartoons because the bright colors and laser sounds kept him awake. At least that wasn’t a complete lie. 

The full truth was that he thought Robotech was cool. It was serialized, which was more than he could say for any American TV shows. It wasn’t as if Peter could read Dune with a baby in his arms no matter how much he wanted to, even if he’d missed the last two books and another was coming out later that year. And it wasn’t as if Peter could read Dune anyway since he was off Ritalin again, but that was neither here nor there. TV shows would catch up to book series eventually.

The fact that it had a story he could follow was just a bonus. The real draw of Robotech was that it aired in marathons in the middle of the night. That was a lot less likely to wake up his ten-week-old than changing his Doctor Who tapes every four episodes. Plus, he’d had to pay someone on USENET to ship the tapes all the way from Brighton. If he wore them out, he wasn’t sure he’d be able to find the guy ripping VHS tapes on net.tv.drwho again.

Eva’s alarm went off, muffled by the bedroom door. Peter closed his eyes and let his head fall back against the couch cushion. 5:30 already. He’d been letting her get most of the sleep to reimburse her for the whole pregnancy thing, but now that she was going back to work, he wouldn’t even have a choice.

He listened to her shuffle around the kitchen. He heard every step of her putting on a pot of coffee. Eva never did anything quietly, but it hadn’t taken him long to get used to it. After all, there was nothing more comforting than knowing his ever-so-slightly evil partner would at least never be able to sneak up on him. 

He opened his eyes to catch her shaking out her still-rumpled hair and stretching out the crick in her back. He heard that too, from all the way across the room. Another thing Peter was repaying her for. She saw him watching and closed the distance between them. Eva draped her elbows over the back of the couch and touched her cheek to Peter’s head. Peter took a deep breath, and he smelled her shampoo and the coffee and their new baby. 

Putting his PhD on hold was worth it.

Eva cocked her head to the side, rolling her chin over Peter’s forehead. “Wow, look at her hair. Japan really has progressive ideas about the meaning of ‘spiral curls.’” She walked around to the front of the couch, plopped down, and held out her arms. “Hand him over.”

Marco started whining almost immediately. 

“I’m surprised you know it’s Japanimation.”

Eva rolled her eyes. “We had Japanese cartoons in Mexico. And actually, the acting was way better than this.”

“Yeah, but were there giant fighting robots?”

“I dunno, this shit is for nerds.” Marco was still fussing in her arms, but she was looking down at him like she understood where he was coming from. “You’re gonna make our kid a nerd, aren’t you?”

Peter smiled. “I don’t know what you expected when you decided to have a baby with me.”

“Feh, yeah, ‘decided.’” Eva stretched her leg out and gave Peter’s knee a good nudge.

She pulled her leg back, crossed her ankles, and cradled Marco with her whole body. All three of them fell quiet, and Minmay sang Marco back to sleep.

⁠—⁠—⁠— 

Marco was born whining, and after four years, he still only stopped when he was asleep.

“Why do I have to do daycare?”

“You asked to watch Voltron. It’s the fifth time we’ve watched Voltron. Please watch Voltron.”

Marco bobbed his head back and forth as he quoted the onscreen conversation between Queen Merla and King Zarkon: “The chamber is full of quarks. ⁠— Quirks? ⁠— No, quarks. You see, everything is made of atoms, and all atoms are made of quarks. ⁠— Hm, nice, but how does it work? ⁠— Well, there are six kinds of quarks: up, down, top, bottom, strange. And my favorite kind, charmed.”

“Well. At least we can be sure you’re my kid. And Eva’s. And of why I like this show.”

“If you like it, don’t complain.”

Peter ran his hand over his hair and tried to ignore how thin it was getting. “Definitely Eva’s kid…” 

Marco rolled over closer to Peter and looked up at him pleadingly. “Whyyy do I have to do daycare?”

“Because,” Peter said reluctantly. “I finally finished school, and it was really hard, but I got a cool job out of it.”

Marco’s eyes basically tripled in size, and he poked out his lower lip. Definitely, 100% for sure, Eva’s kid. “But I’ll miss you.”

Peter sighed. “I’ll miss you too. But you’re starting school in the fall anyway, so think of it like practice.”

Marco crossed his arms and turned his eyes back to the TV. He stayed quiet for maybe a minute, long enough for the pilots to form Voltron. Without taking his eyes off the TV, he said, “What if they don’t know how to microwave Spaghetti-Os?”

“If there’s any lesson you have to learn, it’s that sometimes you have to settle for Spaghetti-Os that aren’t made by Chef Boyardee Champion of the World, Your Dad.”

“Spaghetti-Os aren’t even Chef Boyardee,” Marco mumbled.

Peter reached his leg over and nudged Marco’s knee with his foot. “Don’t you want to be brave like Lance?”

Marco pushed Peter’s foot away, crossed his arms again, and sank into the couch. “No. I wanna be diablo-lolical like Prince Lotor.”

“Well, Prince Lotor doesn’t even need his dad.”

Marco glanced over at Peter, and Peter grinned. Marco sank even further into the couch until his feet almost touched the floor.

⁠—⁠—⁠— 

The bluish glow of the TV cast long shadows across the room. There wasn’t much contrast because it was a pretty dark movie, but Marco was still illuminated against the dull, colorless room. The volume was only one notch above mute, but he was sitting on his knees, so close to the TV that he could almost make out every word. It’s not like the sound would have bothered his dad, even if he turned it all the way up. Marco kept it low so he could still hear Peter breathing, and even acknowledging that feeling ate away his insides.

It had been a whole year, and for a while Marco had tried not to think about how he was the only thing keeping his dad alive, in more ways than one. It got harder the longer Peter didn’t get better. Marco didn’t even have cable to distract himself from his messed up life. He just had the same old VHS tapes, and they’d had to donate a bunch of them to Goodwill when they’d moved. 

The box was still there, still packed and next to the TV, labeled in Marco’s sloppy kid handwriting. Peter hadn’t helped with the move⁠—it had mostly been Jake’s family and his mom’s relatives he’d never met and would probably never see again. Marco could still see his hands pulling the tapes off the shelves, sorting them, reading the labels in Peter’s sloppy grownup handwriting, and not being able to bear to throw away the memories of sitting between his mom and dad with popcorn in his lap, even if he might never be able to watch those tapes again.

There were only a few tapes scattered around the plastic milk crate the TV sat on. The rest were still in the box. Marco had gone through them dozens of times, and he was still limited to the few tapes he didn’t associate with a time when he had a family. 

He’d never watched Ghost in the Shell with his dad. That was probably a good thing, because there was a lot of nudity, and that was always awkward. There was also some gore, which Peter knew gave Marco nightmares, even if he pretended not to be scared. Marco had played the movie in front of Peter dozens of times anyway, but his eyes didn’t track it, and he didn’t tell Marco that he should turn it off, he was too young to see all these nipples.

Marco turned around, blinded from sitting so close to the TV. He didn’t need to see his dad. He knew he was curled in on himself, his face buried in the place where the back of the couch met the seat and the arm. There was no way to know if he was asleep or awake, and Marco wasn’t even sure those words had meaning in Peter’s life anymore.

“Hey Dad,” Marco said, his voice creaky, either from disuse, disgust, or some other kind of emotion. “What do you think about the whole brains jacking into the internet thing? Realistic? It seems like the kind of thing you’d have worked on.”  Marco listened to Peter’s breathing. It never changed. Marco could say anything. “You know. When you worked.”

Marco turned away, back to the TV. He pressed Stop, and the tape clicked off, flooding the room with light so bright and blue, it hurt his eyes. He pressed rewind and the whir of the tape drowned out Peter’s breathing. It was crazy, but as the VCR started to grind to the end of the tape, Marco was suddenly, irrationally, completely sure that when the tape stopped rolling, the room would be totally silent. His body flashed hot and then cold and his pulse pounded painfully in his temples.

The tape clicked off. Marco held his breath.

Peter breathed in. Out. In. Out.

Marco pressed play, turned the volume up a few more notches, and got to his feet. As he passed, he shoved his dad’s leg with his foot. He stood over him, waiting like he expected some kind of reaction. The TV lit up his motionless body in green, gray, white. The cyborg pulled the cables out of her neck and stood.

“If only someone would ghost hack you.”

Marco went into his bedroom⁠—the only bedroom⁠—and slammed the door.  

⁠—⁠—⁠— 

Marco’s back was flat against the dirt floor of the scoop, his head resting on his folded arms. His right leg was draped over Ax’s back and he’d slowly tangled his left leg up in Ax’s tail. Ax didn’t like that, and he knew Ax didn’t like it, and that’s why he’d taken it slow. He’d started by sticking his leg under Ax’s tail. He’d waited a couple weeks, and then he’d surreptitiously make a loop over the course of an hour. Now, after like a month of acclimating him, Ax’s tail was wrapped around Marco’s leg like a boa constrictor, and maybe Ax didn’t even notice.

He definitely noticed. Marco had just pulled off an incredible feat of exposure therapy. Ax just wasn’t allergic to how annoying Marco was anymore. Too bad the allergy was familial, and it was harder to wallow a hawk into submission.

<You’re not even watching,> Tobias complained.

Marco lolled his head to the side and pointed his eyes at the TV. “Why are you making me read TV, Tobias? The point of TV is to not have to read.”

<Subtitles are more authentic,> Tobias said, his voice dripping with condescension.

“But what about Ax? Poor Ax can’t read at all.”

<I can read,> Ax said, his voice a mixture of defensive and arrogant. <And even if I couldn’t, my translator chip has no trouble processing Japanese.> Snobbiness ran in their family too. 

“I’m just saying, I’d be able to pay more attention if I could understand the words and look at the pictures at the same time. You know, how it’s intended to be consumed?”

<It’s intended to be consumed in Japanese.> 

Marco rolled his eyes and sighed. It was the obnoxious kind of sigh, the voiced kind that’s practically a groan. “It’s just robots, dude, it’s not that serious.”

<Neon Genesis Evangelion is art, Marco,> Tobias said, ratcheting the pretension up to eleven. <It’s an exploration of how humanity would develop, given exposure to advanced alien technology in the face of an oncoming alien threat. And the only thing protecting humanity from annihilation is some teenagers with special powers. It’s like, relatable.> 

“Wow,” Marco said sarcastically. “Never seen anything like that before.” That was basically the plot of Robotech mixed with Voltron, but boring.

<I mean, you must have never seen anime before, or you’d know how terrible the English dubs are.>

Marco sat up on his elbows and narrowed his eyes. Ax tightened his tail ever so slightly around Marco’s leg, like he was trying to hold him back. Marco pulled his leg free. “That’s pretty funny, since how could you even have watched so much subbed anime when no one cared enough about you to buy you decent clothes or new shoes or Clearasil? Let alone to go out of their way to buy you anime, subtitled specifically, the way it’s intended, of course.”

Tobias stared at him. Ax stared at him. Hell, Shinji Ikari stared at him.

Marco couldn’t take even a minute of it. “Say something.”

<I just wanted to share something I like with you.> 

Tobias opened his wings, fluttered to the edge of the scoop entrance, and flew away.

Ax was still looking at him with all four eyes. Marco squirmed, but he pressed his lips into a line and didn’t break eye contact.

<That was too far,> Ax said finally, his voice more gentle than Marco deserved. <Why did you react so forcefully?>

“I don’t want to talk about it.” Marco leaned around Ax, grabbed the remote, and changed the audio to English. “Let’s just watch this dumb robot show.”

[steve-rogers-new-york]

Pre-WWII Television  Mid-1930s to 1945

In the last month, I’ve read no-less-then THREE separate fics referencing Steve and/or Bucky having more than a passing knowledge or experience of television pre-21st century — and I really wanted to clear that misinformation up. 

Television, like most new technologies, existed for some time before being adopted by the wider public, and early models were prohibitively expensive for the everyday person. While yes, I think the boys would have seen a television demonstration at least once, they would not have owned one, nor would anyone they knew have owned one (except Howards, but when would they have seen it?).

First Commercial Televisions

The first ‘electro-mechanical’ televisions of the mid-to-late-1930s were grand, expensive affairs. The two of the main producers in the US were RCA with their TRK-12, TRK-9, TRK-5 and TT-5 models, and DuMont with their Model 180, and Model 181. These set would be handcrafted, with polished wooden cabinets modelled in the popular Art Deco “streamline” style of the times. Rather than an accessory, televisions of the 1930s and 1940s were large pieces of furniture and had little resemblance to today’s sets. Despite the large bodies, the screens themselves were only some 10-15″ wide diagonally.

These sets were sold in large, high-end New York department stores like Macy’s, Bloomingdale’s, and Wanamaker’s. They went for anything from $199.50 to $600 per unit, which when calculated for inflation, is about $3,500 to $11,000 in today’s money. 

Around 7,000 sets were made in the US before WWII, and with such a massive price-tag, only around 2,000 sets were actually sold and in use across America. Most of the unsold units went into storage until after the end fo the war.

The first practical demonstration of television sets outside of those high-end department stores was the 1939-40 New York World’s Fair. There, visitors could visit the RCA Pavillion to see the “Hall of Television” with its thirteen TRK-12′s in action; as well as the “Radio Living Room of Tomorrow” and “Radio Living Room of Today,” which showed the technology at home in domestic settings. There were also live NBC broadcasts and opportunities for guests to be televised and see themselves on television — a unique novelty that came with an “I was televised” souvenir care to go with the experience. Other manufacturers at the World’s Fair also had their own television demonstrations, including General Electric, Westinghouse, General Motors, and Crosley.

So, what could those lucky 2,000 Americans watch? Well, televisions of this period could receive channels 1 through 5, and New York City had the only broadcast station. NBC began broadcasting regularly scheduled programming in 1939, along with CBS and Don Lee. Broadcasts ran for around 2-hours of content in the afternoon and 1-hour in the evenings. Programming during this time included all manner of content: sports, plays, operas, cartoons, cooking demonstrations, travelogues, fashions shows, skaters at Rockefeller Centre, and numerous live telecasts. The rest of the time viewers would only see the station’s test pattern.

WWII

All this slow progress came to a grinding halt when the US joined WWII. While some broadcasts continued, they were on a limited basis and included civil defence programming. All production of televisions was ceased, with engineers instead using their expertise for the production of radar and communications equipment for the military instead.

Post-WWII Growth

It wasn’t until after the end of WWII that television really got its explosion in popularity and became a household item for any aspiring middle-class family. At the end of the war, most people still didn’t know what a television even was, but only four years later, the majority had not only heard of them but wanted one. By 1949, the price of television sets had dropped and people were buying then at a rate of 100,000 a week! In addition to the drop in cost due to mass-production, families also benefited from suddenly having disposable income thanks to the post-war economic boom. By 1954 55.7% of households owned a television.

 Steve, Bucky, and Pre-21st Century Television

So, realistically, how familiar would our boys have been with television before post-thaw/deprogramming? Well, going on my own favourite headcanon than the 1939-40 New York World’s Fair can be used as an almost direct analogue to the 1942 Stark Expo, I think there were two scenarios in which the boy would have even come across a television in the US: 

Manhattan Department Store — Now I say Manhattan specifically, as despite Brooklyn having its own high-end department stores in Abraham & Straus and Frederick Loeser & Co., however, it doesn’t mean that they stocked televisions. My research seems to indicate that they were pretty exclusive products and only specific department stores stocked them — kind of the same way only certain car dealerships will sell you a Ferrari. Thus, I think if you were to go with the idea they say one in a department store display, you would have to assume they were inside one of the those gig-name Manhattan stores to even catch a glimpse. Seriously, they would not be catching a glace walking past a storefront, these would be deep inside for the distinguished partons.

Stark Expo — Again, assuming a degree of similarity between the real World’s Fair and the fictional Stark Expo, I think it’s fair to assume there would have been some sort of television demonstration. Now, whether the boys would have seen it is another thing. Bear in mind that these World Fair style attractions were MASSIVE, covering hundreds of acres of land, requiring internal transportation and remaining open for at least a year. Now, even if the Stark Expo was on a smaller scale, I doubt they saw even close to everything in just the evening they were there. So really I’d say its a 50/50 chance they saw a television there or not.

The only other place I think they would have possibly come in contact with television might be during the war, either:

While in Britain — Both Steve and Bucky would have (at least briefly) been in Britain during the war. Bucky, prior to deployment on the continent, and Steve with the Howlies during meetings with higher-ups. Television was actually more widely adopted in the UK, than in the US. Around 19,000 sets (compared to the US’s 7,000) were made in the UK, which assuming the rates of sale were similar would mean more than twice the number of sales. Broadcasting also started some years before those in the US. So, which all broadcasts were suspended the moment the war started, there is a chance that they would have come across a set sitting dormant somewhere or another.

Steve while on the USO tour in the home of a rich/famous donor — So one thing to consider is that Steve would have spent a while before Azzano hob-nobbing with the rich and famous as part of attempts to raid money for the war effort. And it’s not too outrageous to think that at least one of them would have owned a television and shown it off.

Other Points of Note

The first colour televisions did not come onto the scene until 1954.

There were, of course, no remote controls — not until 1950.

Image Sources

TRK-12 Promotional Photo, two women and one man | Source RCA TRK-12/120 (1939-40) | Source RCA TRK-9 (1939) | Source DuMont 180 (1939) | Source Working 1939 Art Deco Television Set | Source World’s Fair “Hall of Television” from the back w/o guests, 1939-40 | Source World’s Fair “Hall of Television” from the front w/ guests, 1939-40 | Source “I was Televised” Souvenir card (Front and Back), 1939-40 | Source

The full research document for this topic is available on the Discord’s “Patreon Clubhouse” channel ($3+ donors)

This post has been sponsored by my much loved and long-time Patreon supporter Joanna Daniels. She and I would like to dedicate the post to the loving memory of her mother Joan Daniels. She will be sorely missed.

[ Support SRNY through Patreon and Ko-Fi ] And join us on Discord for fun conversation! I also have an Etsy with upcycled nerdy crafts

[cwmoonglum]

War Games

It's hard to remember how people felt in the weeks between September 11th and the launch of Operation Enduring Freedom. The psychic damage of the terrorist attack was perhaps the first truly global event I remember in detail. Previously, the only thing I can recollect dominating television screens in the same way was the death of Princess Diana.

The thing is, back then I was twelve years old and, like most people around me, I rather liked America. It was where most cultural production came from, so in a childish – if accurate – way I thought of it as the capital of the world. And New York was the capital of America, at least the pop cultural America that gave me the Teenage Mutant Ninja Turtles, Batman, Men in Black and the like. Anyone who wanted to attack America had to be someone like Shredder, the Joker or that gross skin-stealing cockroach alien who guzzles sugar water.

The weeks after September 11th were the first time people around me paid any attention to the theatre of politics. It's the moment I can first recollect where reality began melting down and people behaved like they were playing an Alternate Reality Game. Al Qaeda were Shredder, with a worldwide network of Foot Clan ninjas waiting to destroy civilisation. Later, as attempts to track down the masterminds of the terrorism stalled, kids would play 'find Bin Laden,' which was just Hide and Seek with a beating for anyone that got caught. Unlike the hazy, barely comprehensible Balkan conflict, Afghanistan had a simply story.

It's worth noting that Enduring Freedom, a name that reads as a bitter joke in itself, was not the original name for the operation. Rather, it was to be called Operation Infinite Justice. Very comic book. And just the wrong side of the 'World Police' criticism that would dog America very soon. It was changed to prevent offending Muslims, who regard infinity as the realm of God. This did not prevent the president from referring to the operation as a 'crusade.'

Such subtleties went overlooked by my twelve year old self and my friends. Rather, we heard the beat of the war drums and the demands for blood and nodded sagely. Yes, we said, America will take her revenge. There was noone more invested in this than my friend Raphael, who in the days leading up to the invasion used all his print credits in the school library to print out maps of Afghanistan. Come lunch time, he walked around the playground handing them out, and encouraged everyone to draw up their own invasion plan. I wonder now how much television he was watching, as he had a not unimpressive knowledge of the culture and regions of a country he had never even heard of two months ago.

Perhaps Raphael was a Company plant, and the US invasion force was using the typewriter/monkey approach to war planning. He did collect the completed maps, after all. So maybe the uninformed speculation of schoolboys in the North of Ireland trickled up to the Pentagon. Or maybe not. Certainly, few of Raphael's more elaborate ideas for the American military saw the light of day. These included riot shields made of tank armour and quasi-light sabres. White phosphorous munitions were used in 2009, and probably more often than we know about. Raphael was just excited by the idea after learning about magnesium in chemistry class.

Sometime between the commencement of the war in Afghanistan and that in Iraq, something changed. A lot of us decided that we didn't like America. The President, George W. Bush, was kind of an idiot. He was a fun cartoon foil for a villain like Shredder, but as we watched things explode on the nightly news, it became clear that an idiot shouldn't have access to all those munitions. The mask slipped, and while it took many of us – myself included – a long time to develop a political theory after politics was murdered in 1991, we knew enough to hate America. We were children of the End of History, but History had just shoved its hand through the fresh gravedirt and clambered out.

When the Iraq War was spooling up, the very same kids who had a few years ago been drawing up invasion maps with Raphael were openly deriding American attempts to project power. Cultural products were still American. More so than ever, in fact. When I think of the mid 00s, I wonder at just how dominate the US was before the internet allowed other perspectives to creep in. Consequently, when I think about opposition to the Iraq War, I think about a song by Le Tigre, which includes clips of the rallies against imperial violence worldwide. The antiwar movement was colossal. It even managed to spark a protest at my school/Deep State war planning facility. When the bell rang to signal the end of lunch, hundreds of kids refused to enter their classrooms and milled about aimlessly, showing each other their polyphonic ringtones and gossiping. A vanguard of older kids tried to start chants, but the absurdity of it meant they dwindled away pretty quickly. Glad as we were to take part in the action, few of us thought that news of our disobedience was going to be passed up from the teachers to the Education Authority, and from there to the government, US diplomats and eventually George W. Bush himself. It was nice to see Raphael trying to lead the chants though.