#cause I mean like. comic books can be really beautiful and poignant but they can also be delightfully ridiculous

[practically-an-x-man]

see I like my horror films (and most other films I watch, but it's mainly horror) to be intelligent with clear narrative themes

but I like my superhero films to be campy and flooded with fan service

[lokiondisneyplus]

A review of “Journey Into Mystery,” the penultimate Loki Season One episode on Disney+, coming up just as soon as I paper cut a giant cloud to death…

Journey Into Mystery was the title of the first Marvel comic to feature either Thor or Loki. It began as an anthology series featuring monsters and aliens, but Jack Kirby, Stan Lee, and Larry Lieber were so smitten with their adaptation of the characters of Norse myth that the Asgardians gradually took over the whole book, which was renamed after its hammer-wielding hero(*).

(*) The early Journey Into Mystery stories treated Thor’s alter ego, disabled Dr. Donald Blake, as the “real” character, while Thor was just someone Blake could magically transform into, while retaining his memories and personality. It wasn’t even clear whether Asgard itself was meant to exist at first, until Loki turned up on Earth in an early issue, caused trouble, and Blake/Thor somehow knew exactly how to get to Asgard to drop him off. Soon, the lines between Thor and Blake began to blur, and eventually Thor became the real guy, and Blake a fiction invented by Odin to humble his arrogant son. It’s a mark of just how instantly charismatic Loki was that the entire title quickly steered towards him and the other gods.

But once upon a time, anything was possible in Journey Into Mystery, which makes it an apt moniker for an absolutely wonderful episode of Loki where the same holds true. Our title characters are trapped in the Void, a place at the end of time where the TVA’s victims are banished to be devoured by a cloud monster named Alioth. And mostly they are surrounded by the wreckage of many dead timelines. Classic Loki insists that his group’s only goal is survival, and any kind of planning and scheming is doomed to kill the Loki who tries. But this ruined, hopeless world instead feels bursting with imagination and possibility.

There are the many Loki variants we see, with President Loki, among others, joining Classic, Kid, Boastful, and Alligator Loki. There are the metric ton of Easter Eggs just waiting to be screencapped by Marvel obsessives (I discuss a few of them down below), but which still suggest a much larger and weirder MCU even if you don’t immediately scream out “Is that… THROG?!?!?” at the appropriate moment. And all of that stuff is tons of fun, to be sure. But what makes this episode — and, increasingly, this series — feel so special is the way that it explores the untapped potential of Loki himself, in his many, many variations.

This is an episode that owes more than a small stylistic and thematic debt to Lost. It’s not just that Alioth looks and sounds so much like the Smoke Monster(*), that it makes a shared Wizard of Oz reference to “the man behind the curtain” (also the title of one of the very best Lost episodes), or even that the core group of Lokis are hiding in a bunker accessible via a hatch and a ladder that’s filled with recreational equipment (in this case, bowling alley lanes). It’s also that Loki, Sylvie, their counterparts, and Mobius have all been transported to a strange place that has disturbing echoes from their own lives, that operates according to strange new rules they have to learn while fleeing danger, and their presence there allows them to reflect on the many mistakes of their past and consider whether they want to, or can, transcend them.

(*) Yes, Alioth technically predates Smokey by a decade (see the notes below for more), but his look has been tweaked a bit here to seem more like smoke than a cloud, and the sounds he makes when he roars sound a lot like Smokey’s telltale taxi cab meter clicks. Given the other Lost hat tips in the episode, I have to believe Alioth was chosen specifically to evoke Smokey.

Classic Loki is aptly named. He wears the Sixties Jack Kirby costume, and he is a far more powerful magician than either Sylvie or our Loki have allowed themselves to be. He calls our Loki’s knives worthless compared to his sorcery, which feels like the show acknowledging that the movies depowered Loki a fair amount to make him seem cooler. But if Classic Loki can conjure up illusions bigger and more potent than his younger peers, he is a fundamentally weak and defeated man, convinced, like the others, that the only way to win the game into which he was born is not to play. “We cannot change,” he insists. “We’re broken. Every version of ourselves. Forever.” It is not only his sentiment — Kid Loki adds that any Loki who tries to improve inevitably winds up in the Void for their troubles — but it seems to have weighed on him longer and harder than most.

But Classic Loki takes inspiration from Loki and Sylvie to stand and fight rather than turn and run, magicking up a vision of their homeland to distract Alioth at a crucial moment in Sylvie’s plan, and getting eaten for his trouble. He was wrong: Lokis can change. (Though Kid Loki might once again argue that Classic Loki’s death is more evidence that the universe has no interest in any of them doing so.) And both Loki and Sylvie have been changing throughout their time together. Like most Lokis, they seem cursed to a life of loneliness. Sylvie learned as a child that a higher power believed she should not exist, and has spent a lifetime hiding out in places where any friends she might make will soon die in an apocalypse. Our Loki’s past isn’t quite so stark, but the knowledge that his birth father abandoned him, while his adoptive father never much liked him, have left permanent scars that govern a lot of his behavior. The defining element of Classic Loki’s backstory is that he spent a long time alone on a planet, and only got busted by the TVA when he attempted to reconnect with his brother and anyone else he once knew. This is a hard existence, for all of them. And while it does not forgive them their many sins(*), it helps contextualize them, and give them the knowledge to try to be better versions of themselves.

(*) Loki at one point even acknowledges that, for him, it’s probably only been a few days since he led an alien invasion of New York that left many dead, though due to TVA shenanigans, far more time may have passed.

For that matter, Mobius is not the stainless hero he once thought of himself as. While he and Sylvie are tooling around the Void in a pizza delivery car (because of course they are), he admits that he committed a lot of sins by believing that the ends justified the means, and was wrong. He doesn’t know who he is before the TVA stole and factory rebooted him, but he knows that he wants something better for himself and the universe, and takes the stolen TemPad to open up a portal to his own workplace in hopes of tearing down the TVA once and for all. Before he goes, though, he and Loki share a hug that feels a lot more poignant than it should, given that these characters have only spent parts of four episodes of TV together. It’s a testament to Hiddleston, Wilson, Waldron, and company (Tom Kauffman wrote this week’s script) that their friendship felt so alive and important in such a short amount of time.

The same can be said for Loki and Sylvie’s relationship, however we’re choosing to define it. Though they briefly cuddle together under a blanket that Loki conjures, they move no closer to romance than they were already. If anything, Mobius’ accusations of narcissism in last week’s episode seem to have made both of them pull back a bit from where they seemed to be heading back on Lamentis. But the connection between them is real, whatever exactly it is. And their ability to take down Alioth — to tap into the magic that Classic Loki always had, and to fulfill Loki’s belief that “I think we’re stronger than we realize” — by working together is inspiring and joyful. Without all this nuanced and engaging character work, Loki would still be an entertaining ride, but it’s the marriage of wild ideas with the human element that’s made it so great.

Of course, now comes the hard part. Endings have rarely been an MCU strength, give or take something like the climax of Endgame, and the finales of the two previous Disney+ shows were easily their weakest episodes. The strange, glorious, beautiful machine that Waldron and Herron have built doesn’t seem like it’s heading for another generic hero/villain slugfest, but then, neither did WandaVision before we got exactly that. This one feels different so far, though. The command of the story, the characters, and the tone are incredibly strong right now. There is a mystery to be solved about who is in the big castle beyond the Void (another Loki makes the most narrative and thematic sense to me, but we’ll see), and a lot to be resolved about what happens to the TVA and our heroes. And maybe there’s some heavy lifting that has to be done in service to the upcoming Dr. Strange or Ant-Man films.

It’s complicated, but on a show that has handled complexity well. Though even if the finale winds up keeping things simpler, that might work. As Loki notes while discussing his initial plan to take down Alioth, “Just because it’s not complicated doesn’t mean it’s bad.” Though as Kid Loki retorts, “It also doesn’t mean it’s good.”

Please be good, Loki finale. Everything up to this point deserves that.

Some other thoughts:

* Most of this week’s most interesting material happens in the Void. But the scenes back at the TVA clarify a few things. First, Ravonna is not the mastermind of all this, and she was very much suckered in by the Time-Keeper robots. But unlike Mobius or Hunter B-15, she’s so conditioned to the mission that even knowing it’s a lie hasn’t really swayed her from her mission. She has Miss Minutes (who herself is much craftier this week) looking into files about the creation of the TVA, but for the most part comes across as someone very happy with a status quo where she gets to be special and pass judgment on the rest of the multiverse.

* Alioth first appeared in 1993’s Avengers: The Terminatrix Objective, a miniseries (written by Mobius inspiration Mark Gruenwald, and with some extremely kewl Nineties art full of shoulder pads, studded collars, and the like) involving Ravonna, Kang, and the off-brand versions of Captain America, Iron Man, and Thor (aka U.S. Agent, War Machine, and Thunderstrike, the latter of whom has yet to appear in the MCU). It’s a sequel to a Nineties crossover event called Citizen Kang. And no, I still don’t buy that Kang will be the one pulling the strings here, if only because it’s really bad storytelling for the big bad of the season to have never appeared or even been mentioned prior to the finale.

* Rather than try to identify every Easter egg visible in the Void’s terrain, I’ll instead highlight three of the most interesting. Right before the Lokis arrive at the hatch, we see a helicopter with Thanos’ name on it. This is a hat tip to an infamous — and often memed — out-of-continuity story where Thanos flies this chopper while trying to steal the Cosmic Cube (aka the Tesseract) from Hellcat. (A little kid gets his hands on it instead and, of course, uses the Cube to conjure up free ice cream.) James Gunn has been agitating for years for the Thanos Copter to be in the MCU. He finally got his wish.

* The other funny one: When the camera pans down the tunnel into Kid Loki’s headquarters, we see Mjolnir buried in the ground, and right below it is a jar containing a very annoyed frog in a Thor costume. This is either Thor himself — whom Loki cursed into amphibianhood in a memorable Walt Simonson storyline — or another character named Simon Walterston (note the backwards tribute to Walt) who later assumed the tiny mantle.

* Also, in one scene you can spot Yellowjacket’s helmet littering the landscape. This might support the theory that the TVA, the Void, etc., all exist in the Quantum Realm, since that’s where the MCU version of Yellowjacket probably went when his suit shorted out and he was crushed to subatomic size. Or it might be more trolling of the fanbase from the company that had WandaVision fans convinced that Mephisto, the X-Men, and/or Reed Richards would be appearing by the season finale.

* Honestly, I would have watched an entire episode that was just Loki, Mobius, and the others arguing about whether Alligator Loki was actually a Loki, or just a gator who ended up with the crown, presumably after eating a real Loki. The suggestion that the gator might be lying — and that this actually supports, rather than undermines, the case for him being a Loki — was just delightful. And hey, if Throg exists in the MCU now, why not Alligator Loki?

* Finally, the MCU films in general are not exactly known for their visual flair, though a few directors like Taika Waititi and Ryan Coogler have been able to craft distinctive images within the franchise’s usual template. Loki, though, is so often wonderful to look at, and particularly when our heroes are stuck in strange environments like Lamentis or the Void. Director Kate Herron and the VFX team work very well together to create dynamic and weird imagery like Sylvie running from Alioth, or the chaotic Loki battle in the bowling alley. Between this show and WandaVision, it appears the Disney+ corner of the MCU has a bit more room to expand its palette. (Falcon and the Winter Soldier, much less so.)

[the-dragongirl]

Hello tumblr. I have returned from a long period of inactivity, because I must bring the good word to the corner of the Star Wars fandom that used to be my main fannish home: there is a new era of Star Wars canon that was made just for our taste. It is called the High Republic.

WHAT IS THE HIGH REPUBLIC?

The High Republic is an giant multi-media project being carried out by the Lucasfilm story group to create a brand new era of Star Wars canon. It is set a few hundred years before the prequel era (so, a long time after the Old Republic era), in a period of peace and stability within the Republic. It currently includes several English language adult novels, a YA novel, two serialized comics, a manga, some short stories, and some short video blurbs published on facebook and youtube. A TV show for Disney+ has also been announced, but is a few years off. This project is unique in Star Wars, in that all of the different parts are being written together by one writing team, and are coordinated to tell a cohesive story. Also, what has been announced is just the beginning – they have stated that there will be three different sections of the High Republic, and everything we have had announced so far is just part one. As a note: this is an era for which there was NO pre-existing canon in Legends, so it is totally new territory.

OKAY, THAT’S NICE, BUT WHY SHOULD I BOTHER TO CHECK IT OUT?

There are SO many reasons why the High Republic is worth your time to explore. I will try to outline some of them here below the cut (without any significant spoilers).

IT IS A LOVE LETTER TO THE JEDI

This is the era for everyone who loves the Jedi and wants to understand how they got to the point they did in the prequel era. It shows Jedi at their best: saving people, working together, being completely in tune with the Force (in so many beautiful and original ways), demonstrating creativity and flexibility and being rewarded for it, actually thinking through the ethics of things like the mind trick, and DEALING with their emotions rather than repressing them. It shows us how the rigid Jedi culture was saw in the prequels was a corruption of something that was originally healthy and uplifting. Jedi in this era are allowed to be flawed, and to grow, and have a community that supports them in doing so. This is the Jedi culture so many of us created as fix it fic for the prequel era, but made canon.

IT IS AN ERA OF HOPE

There are some serious problems in the High Republic Era. Without spoilers, the era opens with a terrible humanitarian crisis, laid over the Republic equivalent of the New Deal from US history.  We see a lot of examples of people doing their best to be good to each other, and working for a more just and kind galaxy. They acknowledge that things are not perfect, but people from many different backgrounds (Jedi, politicians, farmers, pilots, business people) work together to try and make things better. I don’t know about you all, but with the darkness we see in the world today, I NEED some of that optimism in my escapist media. The High Republic provides that.

IT WILL GIVE YOU FEELINGS

The existing material so far is structured to really let you emotionally invest in the characters and their struggles. Unlike with many eras of Star Wars canon, characterization is not sacrificed for the sake of plot (though never fear, there is PLENTY of plot). That means there is huge scope for empathy. I’m not going to lie; I cried within the first three chapters of Light of the Jedi, as did several other people I know. It is POIGNANT in a way that feels truly genuine.

IT IS FUN

The writing team understands that, in the end, Star Wars is space fantasy. If your space fantasy is nothing but serious, gritty grimdark, it becomes pretentious and unbearable. So, for all that there is some heavy content in the High Republic (VERY heavy content – the Nihil should really have their own content warning), it has many moments of levity that keep it from taking itself too seriously. For example, the High Republic made Jedi bodice rippers canon. Also, characters like Geode exist (yes, that rock there is a CHARACTER). The result is something which honors the spirit of Star Wars, and keeps you engaged without being tedious or ridiculously depressing.

THE WRITING TEAM HAS DIVERSE PERSPECTIVES

The main writing team consists of five people: Justina Ireland, Claudia Gray, Charles Soule, Daniel José Older, and Cavan Scott. You will note that includes two people of color, two women, and one out Queer person (in fact, one of the writers is all three of those things). This is a far cry from the white-cis-straight-man-dominated writing teams we have seen in the past. And when they bring in other people to the project, they make a point of looking for perspectives that aren’t represented on their team – for example, the manga is being co-written between Justina Ireland and Japanese writer Shima Shinya, and Ireland has stated in interviews that Shinya is taking the lead on the writing.

IT VALUES MEANINGFUL REPRESENTATION

That diverse writing team means a cast that looks WAY more like the real world than any other era of Star Wars we’ve seen, in terms of representation. There are multiple characters of color, who are both heroes and central to the story. There are at least five canonical queer characters to date (a MLM couple, an Ace character, and two NB character).  [EDIT: Thank you @legok9​ for letting me know about the NB characters]. Among binary gendered characters, there is a very even balance of men and women. The writing team has also stated that they will be incorporating more representation of disability in the works to come. And the story is so much better for it – representation is included here BECAUSE it makes for more creative, believable, and original storytelling.

IT IS ACCESSIBLE

Because of the multiple formats, and the fact that it doesn’t rely on you knowing any prior lore, the High Republic offers many avenues to engage for people with all kinds of needs. Know nothing about Star Wars canon and feel intimidated about catching up? The canon is all new in this era anyway, so you’re fine. Can’t handle flashing lights? No problem – the little bit of video content that exists is totally free from the strobing effects that caused seizure and sensory issues. Need purely audio content? You can still have a full experience of the High Republic with the gorgeously sound-scaped audiobooks. Don’t have the attention span for books or long movies? Then the comics are your friend.

THERE IS SOMETHING FOR ALL

Between the books aimed towards adults and teens (and their respective audiobooks), the kids books, the comics, the manga, the short stories, AND the eventual TV show on Disney+, there is going to be content in the High Republic that suits most audiences. And that is just what has been announced so far – there is still more to come for phases II and III. This isn’t Star Wars written towards one group or demographic – it is Star Wars for everyone.

DID I MENTION THE FANCY JEDI UNIFORMS?

Because cosplayers and fanartists? This is the era for you. We are getting Jedi in silks with elaborate gold embroidery. Jedi with jewelry other decorative elements. Even the practical field uniforms have tooled and embossed leather. If you want to draw or make Jedi that have some of that that sweet LoTR-esque high fantasy aesthetic, the High Republic has your back. (Not going to lie – I am ALREADY imagining the time travel AUs. Put Obi-Wan in fancy clothes!)

OKAY, YOU’VE SOLD ME. WHERE SHOULD I START?

I strongly recommend everyone looking to get into the High Republic (who is old enough to be on Tumblr) start with Light of the Jedi by Charles Soule. I alternated between the physical book and the audio book, and found it delightful in both formats. After that, you have a lot of options. You can read or listen to the audio book of the YA novel A Test of Courage by Justina Ireland. You can check out the currently running Star Wars: The High Republic comic from Marvel, or the Star Wars: The High Republic Adventures comic from IDW. Or you can skip straight to Into the Dark by Claudia Gray. Honestly, there is no wrong order to try out most of the High Republic.

IN CONLUSION

The High Republic is Star Wars written for people who DON’T want Star Wars to be a good ‘ol boys club for salty white dudes who don’t want to see anything but more of Luke Skywalker. It offers broad representation, and optimistic narrative, and whole bunch of awesome Jedi content. If you are someone who fell in love with Jedi in the prequel era, the High Republic will give you more of what you loved. And if you are totally new to Star Wars? The High Republic is here for you too.

So, go check it. And then go write fic for it (please, there are only, like, 14 fics on AO3, I am dying).

[pochiperpe90]

Luca Marinelli: "Without growing you get lost"

When director Pietro Marcello asked him to play Martin Eden in his film in competition at Venice, Luca Marinelli was moved. "Many things have changed in recent years, maybe me as well"

From written words to moving images: «When you make a film based on a book, the book, at a certain point, tends to overlap. You no longer know what the novel is and what the screenplay is. Today I remember the end of Jack London's Martin Eden: that poignant conclusion, with him in the cabin reading that poem and deciding about his life».

Luca Marinelli, star of Pietro Marcello's Martin Eden, in competition at the next Venice International Film Festival and in theatre from September 4th with 01 Distribution, brings together memories and emotions, and gives them a precise order: everything starts from there, from the novel by the American writer.

"What was the soul of the book, which in my opinion is above any kind of discourse, political, social and idealistic; that soul, I said, was respected. Because it’s embodied in the character of Martin Eden. And then when you translate a book into a film it happens that some things take another form: it's normal in an adaptation." In the case of this film, says Marinelli, it all started from Marcello's point of view, from his vision: "Which perhaps is not like what someone else can have or like mine, because it’s a vision that belongs to the director: it’s the vision of the artist Pietro Marcello. The first scripts were certainly different, they were longer, denser, full of references to the book. The very first, if I'm not mistaken, was nearly 300 pages long. And this is because we were dealing with a masterpiece, and we didn't want to leave out anything».

Could this film be different?

“No, this film is how it was supposed to be. But with a book like this you can do anything: a 12-hours play, a film, a short film. Martin Eden is one of the best books ever written. Cinema imposes different times and measures from written narration; the balance that Pietro and Maurizio Braucci, co-screenwriter, found and the work they did were excellent, in my opinion".

Let's start with when they proposed you the role of Martin Eden.

“I remember my tears as I was watching “Bella e perduta”; I remember my emotion, and I also remember that immediately after I finished watching it I told myself that it would be nice to work with this director. It was 2015. Three years later they call me, and they tell me that Pietro Marcello wanted to meet me. Imagine my happiness. Knowing, then, that this film would be born from Jack London's book moved me even more».

What convinced you to accept?

«Martin Eden is a human being of great sensitivity, great curiosity and great empathy; he has an enormous desire to discover, to see, to touch with his hand. However, he suffers countless disappointments. He climbs a mountain only to learn, once he reaches the top, that a sad camp resides there, and that the best thing was never to get there, to the goal, but perhaps the very start. The journey".

And was it difficult to make this journey?

“It's a question that I have asked myself too, and the answer I have given myself is both yes and no. No, because being next to Pietro, Maurizio, colleagues and all the people who collaborated on the film, I found the right push and the right support to get into the character. But the difficulties, of course, are always there. What I really wanted to understand was Martin Eden. I abandoned myself to the first sensation I had while reading the book and the screenplay».

What was that feeling?

"A gigantic emotion. This character speaks directly to each of us because everyone shares something with him. Each of us wants to do, to exist. To reach a goal. Only then we come up against obstacles that make us lose hope - in part or in whole».

But when did the spark go off?

“I've always been passionate about writers like London or Stevenson. Adventurers, capable of creating worlds, of giving life to characters with their eyes open to the society around them. Entering a life like that, a life where the sea is so present, a life made of traveling, of seeing, made of pure passion, intrigued me a lot. And then there was Naples".

Compared to Jack London's book, Pietro Marcello's film is a rewrite set in the Neapolitan capital.

“I had never lived all this time in Naples; and I had never known it so much. I have not yet been able to fully understand it; not completely. Naples is a place apart. I have come to love it. Naples is a whole people. Something fantastic. It’s a place with a huge identity. A very strong identity. Think of the language: it’s not a dialect, it’s a language. And then you meet people who make you realize how beautiful it is to be Neapolitan: how welcoming it is, how fascinating it is, how deep it is. Naples, for me, was a great discovery».

Is sensitivity a condemnation?

"I don’t know. On one hand, yes, it can make you suffer more. But I wouldn't see it as a sentence. Sensitivity allows you to see the world; it leads you to respect what is around you».

But it also brings loneliness with it.

«Martin Eden distances himself from everything and from himself: he can no longer be in contact with anything or anyone, he is disappointed».

In this film, the clash between the class of intellectuals and the so-called people also finds space.

"I think that the true intellectual, like Pasolini was, manages to put himself on the same level as the society, to look at it in the eye, to speak to the common man without being opinionated, just showing what is there: what is happening".

At one point, you find yourself sharing the scene with Carlo Cecchi, who plays Russ Brissenden.

«I was very excited because I found my teacher. And it was great to be with him there, on the set, more than six years after we had last acted together."

You said you got excited

“Because in the film he plays Martin Eden's mentor, and Carlo was a mentor to me too. It was a real gift”.

How many things have changed over the years?

"Many."

And you? Have you changed as an actor?

“I don't know, I swear. But maybe I was better before (laughs)».

What do you mean?

"I started with the theater, where there is no safety net, there is no" stop, let's do it again!" and there is no possibility to stop, start over, rethink. I miss that courage».

Is theater a torment or an obsession?

"It’s never a torment or an obsession. Sometimes at night, however, I dream of going on stage and not remembering anything anymore».

Perhaps it’s today's cinema that tends to be not very brave.

«In my opinion it’s experiencing a new period. And it’s not a coincidence that Marcello's Martin Eden arrives right now, in this moment. Surely we could give a voice to many more people. Even that, if you like, is a question of courage».

Martin Eden also speaks of talent and perseverance. What is more important, in your opinion?

“They go hand in hand. Talent is the first thing you see. It’s the primordial spark. But you can't just rely on that. You have to be curious, eat life, live it to the fullest, intensely and consciously. But to live it, one must also commit oneself: and one must be prepared».

You need to read.

«For me a book is always a victory. Because you have been elsewhere and have lived a story that is different from yours."

What kind of reader are you?

“I wouldn't call myself an avid reader: but the more I grow, the older I get, the older I get and the more I read. Because I am more and more aware of how beautiful it is».

Reading isn’t just a hobby.

"Thoreau says: "As if you could kill time without injuring eternity". It’s important not to waste time; but it’s important to do it without causing anguish or fear. You have to be there, stay there, live in the moment. But without exaggerating».

When you were younger - when you were a child - what were you like?

“I've always been surrounded by curious people. Even my friends, the ones I had as a child and the ones I still have now, are curious. We liked to move, to go around, to be together; we lived the street. We also enjoyed listening to music, reading comics and books, and watching movies."

And curiosity soon turned into fascination.

“Acting has always fascinated me. And only at a certain point did I manage to find the right courage to try. And I don't know why: I really don't know. In the Academy this phrase was always repeated: “play seriously”. And maybe was this that interested me; or not".

We talked about teachers. Who were they to you?

«People like Carlo Cecchi or Anna Marchesini. They were moments, very important meetings».

How did you come in contact with Marchesini?

"We studied with her for three months at the Academy, and it was wonderful because for the first time I wrote something of my own. Each of us, each of the students, had to write something about himself, starting from his identity card - this was the initial task. And it was, believe me, very difficult».

What impressed you about her?

"The energy, the dedication, the beauty. I remember the moments with her, the wonderful phrases she said. What has always fascinated me to see was the passion she put into it».

Other teachers?

"My grandfather. I always liked the job he did: he was a carpenter. In the academy they told us many times: "you have to be a craftsmen". And I was always thinking of him».

What, in the end, do you have left of Martin Eden?

«The sense of collectivity. Passion. The importance of looking around. To always look at others and at themselves. The adventure of life, and the wonder it represents. What deeply tears Martin Eden apart is betraying himself and being disappointed in his own dreams. We can fight against this only if we are faithful to ourselves, to our beliefs, to our places of origin. And then, you know, all the rest remains: remains all that world».

VANITY FAIR

Just wanted to translate this old interview for the non-italian’s fans ^^ (sorry for my English)

[puttingfingerstokeys]

why are you like this?

a wee bit of humor sprinkled with some poignant father-daughter moments. Sequel to reception (which I maintain is the WORST title).

Caged Heat, (again still “aged” heat, even though technically Johnny and Liu are the SAME age--Liu didn’t age so he looks like he’s in his 20s or whatever the fuck)

broken timeline

“Dad where WERE you?” Cassie’s voice held only a note of worry, to which Johnny responded dutifully by putting both hands up in mock surrender.

“Just checkin’ out the Fire Gardens, sweetheart; how many chances do ya get to do that in your life?” He was the picture of collected contentment, having rearranged his garb after Liu Kang rumpled it with his powerful, searching hands and aggressive lips. It was fortunate they’d stopped when they had. 

“Dad… why are you wearing sunglasses?” Her eyes were narrowed, sharp, just like her mother’s and Johnny felt a pang of guilt. This “dad” was distinctly different from the first. 

“Were you toking, Mr. Cage?” Takeda’s voice danced with amusement as he and Jacqui approached, she holding his arm and leaning heavily on him; he carried her shoes while she supported her swelling belly with her other arm. Little Hanzo was nowhere to be seen, but neither parent seemed worried.

“Is that what the kids are calling it… again?” Johnny’s eyes darted about as if searching for a solution to this sudden problem about which he had considered little when Liu Kang’s lips were on his, but in the gentle light and the dark tint of his sunglasses, no one could see.

“I think he was just trying to speak your language; now c’mon, you look stupid,” Cassie interjected, reaching out and, quick as lightning, snapping the shades off her father’s face.

There was an audible gasp from more than one mouth and the silence which followed was palpable.

“I’ll be damned,” came a grunt from near the cocktail bar where Erron Black was handing something sweet-looking to Jin, who did an almost comical double take. “Check them peepers.”

“By the Great Spirit,” Nightwolf whispered in disbelief. Even Fujin seemed more than a little surprised, but did his best to disguise it—the effort was wasted. No one was looking at him. All eyes, every single cognizant pair in the place, were affixed to Johnny Cage and his new set of “peepers”.

“Definitely toking,” Takeda concluded, bumping Cassie’s shoulder with a fistful of shoes, indicating she should probably give her father’s shades back. She did not, holding them tightly, mouth puckered in that way she had just about abandoned when she hit puberty—it came back every once in a while, when she was absolutely overcome and would not be reasoned with on any account. Johnny feared this look.

“Cass’,” Johnny began to explain, but she merely squeezed her fist, crushed his sunglasses and stalked off. One groom slid something into the other’s hand as they, too, emerged from parts unknown, Hanzo bearing his namesake upon his broad shoulders. Neither of them seemed particularly shocked—pun intended—but perhaps nuptial bliss was having an effect.

“I am not calling you Lord Johnny Cage,” said Sub-Zero firmly.

“You will be lord of very little, anyway, if you do not catch your daughter,” advised Scorpion. Johnny nodded numbly and went stumbling after her, wishing he had had just a little more to drink, or maybe a little less, so he could have retained the testicular fortitude to resist… But resist what? It was Raiden’s will that he, Johnny Cage, inherit his divinity and power. He didn’t have much of a choice. You couldn’t refuse something like that, could you? Either way, Johnny hadn’t and would have felt like he was insulting the guy if he had and he was of the opinion that it was idiotic in the extreme to go around insulting gods, especially ones like Raiden. There aren’t any gods like him…

“Cass’! Cassie, wait—Cassie… please, come on… You gotta let me explain this—it’s sudden for me, too!”

She stopped then, a little ways down a path he did not recognize. They were far enough from the gathering, once again, that the sounds were fairly muted, with trees, shrubbery, and walls dividing them. Cassie did not turn, keeping her back to her father, her shoulders rounded, body tense. She was shaking but Johnny knew better than to approach.

“So you’re just gunna leave, like that—mom’s gone and now you just can’t wait to fly the coop, huh dad?” Her voice was acid, venomous, burning and corroding both of them as she spoke. Frozen in place once more, Johnny wondered what in the world he could say that would convince her that he wasn’t simply leaving, flying the coop as she put it. Because in a way, he was.

“Cassie… I’m not—”

“You ARE.” She whirled on him, but did not approach, rage spilling off her in waves. He could almost feel it from here. Any minute, he thought, my baby girl’s gunna start glowin’ green and then I’m really in for it. The urge to laugh hysterically rose up in his guts and he stifled it, though not without effort.

“I’m not,” he said, quietly but with firm authority. He was still her father and if he had to attempt to pull that card to have this discussion, he would do it. “Cassie, I would never just…”

“Then what is this? Huh?” She gestured sharply toward his face and his glowing eyes, the arcs of electricity, now visible in the dimness, beginning to arc and dance nervously over his body, across the lines of his suit, illuminating him in an eerie blue.

“Raiden’s… gone, Cass’… Liu says he’s not dead, but he’s—we’re not gunna see him again; he’s mortal now, like, really mortal and I guess his final request was to give this shit to me. Kid, I don’t want this… I don’t want any of this, but I’m…” He trailed off helplessly, looking down at his hands which he curled into gentle fists and released, watching the sparks fly. “It’s… I have to.”

Cassie watched him, studying her father carefully, eyes blurred with tears. She was certain her carefully-applied eyeliner was running, despite the waterproof label. Furious with Johnny for this affront and at Raiden for bringing it on them, she nevertheless bore that ire in silence for the moment, considering all the thunder god had done for them, and their closeness. He had become a friend and now they would never see him again. His future self had been her mother’s downfall and for that, she could not forgive him, but the Raiden who had passed his power to Johnny was not the same man. She was fond of this one.

“It’s bad timing, I know,” Johnny continued, fumbling with his words, but wanting desperately to make Cassie understand something even he could not quite grasp. “And I’m not sure why he wanted me to have this. Liu doesn’t know either. Maybe Ol’ Sparky was goin’ senile or somethin’.” 

The humor was misplaced, he knew, and neither he nor Cassie laughed. She was at least watching him now, rather than outright fuming, regarding him carefully, studying her father. She chewed her lower lip, brows knitted at the center of her forehead. In this light, she looked just like her mother and Johnny’s heart squeezed with remorse.

“This… you need this,” Cassie said, concluding her internal thoughts aloud for her father’s benefit. “Dad, I know you… I’ve known you my whole life. Back then, when I was a kid, I used to wonder why you didn’t date anyone else when mom…” She sighed, shaking her head. “I thought that you looked so lonely and it broke my heart that I couldn’t fill that space for you. Worse… I kinda figured, y’know, I was the reason there WAS a space.”

There was a lump rising in Johnny’s throat, but he suppressed it, listening to his daughter, so much like him and yet so different, so wise for her age. Better than I was, he thought. 

“I know I wasn’t, y’know? But kids…. Anyway, you aren’t the kind of person who can be alone for very long, are you?” She did not mean the question in a cruel way. She sought truth and she, to Johnny’s chagrin, was absolutely onto something. It was, of course, not a truth he had known when he was younger, had only had inklings. Now, a man well into his fifties, he had figured it out, though it still stung to hear his baby girl say so.

“No, Cassie… I’m not.” The admission felt like a weight being lifted, but this also left him exposed, as if that weight had been a shield more than a burden. “I had to do it… when you were younger ‘cause, well you know what all the books say about a never-ending parade of people in the house when you’ve got a kid…”

“Thank you, Dad. You... “ Her whole body seemed to sag as she approached her father, arms open. “You deserve a break, but it looks like you’re getting more work, huh?”

“An eternity of it,” he admitted and wrapped his arms around his daughter. Cassie held him tight, withdrawing only when she could not take the oncoming numbness. 

“I dunno if I can get used to that,” she admitted.

“I don’t think I can turn it off,” Johnny said apologetically. 

“Yeah, Raiden couldn’t either,” she responded. Her eyes caught something and she stopped. “Hey… have you got like, a glowstick necklace on under your tux? I didn’t know they were handing out goodies like that.”

Cassie gestured toward the chest of Johnny’s tuxedo which, while still on him, in the most technical sense of the word, was askew and the fabric between the buttons had come dislodged (notably, his tie clip was nowhere to be seen). Despite his best efforts, he had evidently missed a few details. Johnny looked down and began to fumble with his tie, loosening it and tugging it aside, suddenly suspicious. Images of Liu Kang and Fujin’s beautiful, glowing marks of divinity were flashing in Johnny’s head and his fingers fumbled eagerly with the top three or four buttons of his shirt. 

“Oh my god, dad…” Cassie’s hand had found her mouth and she was grinning ear to ear. “You’ve GOT to show Liu; he’s gunna flip.”

“Show me what?” Liu Kang seemed to materialize out of the darkness… Perhaps he had merely approached and they had missed him in their excitement. 

“This,” said Johnny proudly, grinning and turning and tugging the top of his shirt open a little wider for his old friend’s perusal. In place of his “Johnny” tattoo, there was, in a very similar script (albeit glowing a soft blue-white) another word:

THUNDER

Liu Kang seemed to sigh with his entire body. “Why are you like this?”

[comicteaparty]

March 2nd-March 8th, 2020 CTP Archive

The archive for the Comic Tea Party week long chat that occurred from March 2nd, 2020 to March 8th, 2020.  The chat focused on VALERIE by Rebecca Reynolds.

Featured Comment:

Chat:

Comic Tea Party

BOOK CLUB START!

Hello and welcome everyone to Comic Tea Party’s Book Club~! This week we’ll be focusing on VALERIE by Rebecca Reynolds~! (https://valerie-comic.com/)

You are free to read and comment about the comic all week at your own pace until March 8th, so stop on by whenever it suits your schedule! Discussions are freeform, but we do offer discussion prompts in the pins for those who’d like to have them. Additionally, remember that while constructive criticism is allowed, our focus is to have fun and appreciate the comic! Whether you finish the comic or can only read a few pages, everyone is welcome to join and chat with us!

DISCUSSION PROMPTS – PART 1

1. What did you like about the beginning of the comic?

2. What has been your favorite moment in the comic (so far)?

3. Who is your favorite character?

4. Which characters do like seeing interact the most?

5. What is something you like about the art? If you have a favorite illustration, please share it!

6. What is a theme you like that the comic explores?

7. What do you like about the comic’s story or overall related content?

8. Overall, what do you think the comic’s strengths are?

Don’t feel inspired by the prompts? Feel free to discuss anything else that interested you!

Eightfish (Puppeteer)

I've read this comic before and recommend it! I'm gonna go reread it and catch up on the latest pages before I comment, but I wanted to pop in and say that other people should read it too first!

eli [a winged tale]

This is a beautiful comic and I read it all in one go. 1. I thought it was spooky! Great atmosphere and the characters are spunky. Love the dialogue. 2. Favourite moment is Valerie talking about her past. I thought it was very poignant. 3. I love both Gab and Valerie. They both feel so real and relatable. 4. ? 5. I love the colours and lighting! I’ll get a link later :3 6. I love the theme about taking time to find out what you want in life. Especially in the current state life feels like a rush to get to the finish, I think it’s important to take a moment to reorient ourselves. 7. Loved the tone and mood of the overall story. Really polished. 8. The pacing, characters and story were all lovely. I followed the creator on my social media and I can’t wait to see more works from Rebecca.

Eightfish (Puppeteer)

Oh, the comic finished since the last time I read it!

So refreshing and satisfying to read a completed, cohesive short story like this

4. Well, Gab and Val were the majority of the comic. So, them. Seeing someone just talk to a ghost like a normal person was very cool. Love that dynamic- a supernatural encounter that's not anything to be scared of.(edited)

5. The backgrounds look structured and solid, which makes the characters stand out because they're drawn so softly. They look 'blobby,' in a good way. They look light and airy.

This page with the glass and the mirrors made me stop for a second and go, 'damn that's cool'

https://valerie-comic.com/post/182899830167

I like how Valerie's outfit looks outdated.

I wonder if Valerie disappearing on that one page means that she passed on in that moment?

On critique is that I found it a bit strange that the font size got smaller when the characters got farther away. I had to keep zooming in and out

RebelVampire

I like the color choices in the beginning of the comic. They provide a great atmospheric backdrop for the conversation. Plus, I kind of like that the story starts off with a transition from day to night, as it kind of gives off that feeling like you know something is about to change and really gives you expectations for something significant is gonna happen to Gab. As for favorite overall moment, I probably like the end where Gab and Valerie have to say good bye. There's just some beautiful emotional expressions in that scene and you can taste Gab's reluctance to leave. And I just love how that scene had the emotional weight that was needed. As for favorite character, probably Valerie. I like how, despite the circumstances, Valerie just kind of accepts them to a degree and makes the most of it in her own way. And I really admire characters who are able to do that since its a good showcase you dont have to let dire circumstances bring you down. In regards to characters interacting, I mean, I think for most it's gonna be Gab and Valerie. They do get the most screentime. And their relationship is pretty beautiful in the sense that even though it's fleeting, you can see how they help each other have a moment of respite and gain insight into themselves.

Something I like about the art is how its simultaneously clean and loose. Like the lines themselves are very clean, perfect for details and just general stylization. And yet, they aren't perfect. Like some lines don't connect, etc. I think it's just a nice style that suits the tone of the comic. I like that the comic explores the idea of finding out what you want to do with your life while also exploring the idea that what we think we want to do sometimes winds up not being that. I think it's kind of something important thing to talk about - that plans change. And that things we like can stop bringing up happiness sometimes and that committing to one thing for your entire life is hard. So I really like that this comic shows this side of things, since I feel contemporary works are pretty saturated with characters who know exactly what they want to do. What I like about the comic's overall story is just kind of the healing aspect of it. Like this is the perfect kind of story to read when feeling lost, cause it shows that sometimes all you need to do is talk to someone. Even if it only helps a little, it still helps. For strengths, I actually think it's the the overall story structure. Short stories can be deceptively hard since you have limited space and time to convey something. But I think the story here is structured perfectly with its simplicity. Interesting, but not overly complicated where you need tons of exposition pages. It's just the right length that it comes off as a tight and strong story that gets its messages in and leaves you with a strong impact since this is the entirety of it, if that makes sense.

Eightfish (Puppeteer)

i agree with your thought about the comic capturing that feeling of a momentary meaningful interaction with a stranger you'll never see again

Comic Tea Party

DISCUSSION PROMPTS – PART 2

9. Why do you think Valerie is anchored to the mall and hasn’t passed on (assuming that’s possible)? What do you think will happen to Valerie if and when the mall is torn down?

10. Why do you think Gab of all people was able to see Valerie? How do you think both characters have changed from their brief encounter, if at all?

11. Do you think Gab will pursue photography after meeting Valerie, or will another path call Gab? Overall, what do you think the comic teaches us about career pursuits and how to find what makes us happy?

12. Thematically speaking, what role did Feebs and Casper play in Gab’s story in your opinion? How do you think these characters will be affected by the experience at the mall?

Don’t feel inspired by the prompts? Feel free to discuss anything else that interested you!

Eightfish (Puppeteer)

9. maybe she just needed a chance to tell her story. She felt when she was alive that she wasn't living genuinely, right?

snuffysam (Super Galaxy Knights)

This was a fun, short read! I'm very interested by the parallels between Gab and Valerie. Like, Valerie was pushed into a career she didn't want to, then ran away and ended up killed. So... what does that tell us about Gab? She was pursuing photography, but ran away. But, it seems like something she was really passionate about and pushed out of, rather something she was dispassionate about and was pushed into. So... what does Gab learn from this experience? It's very interesting.

eli [a winged tale]

I agree with Eightfish. Valerie mentioned only a select few can see her. I think she wanted to share her story and feel like there was a purpose for her being there

RebelVampire

@snuffysam (Super Galaxy Knights) I really like the differences between Gab and Valerie, as I think you're right. Their experiences with their career are quite a bit different, even if it resulted in the same feeling of being lost.

I think Valeria is anchored to the mall, cause ya know, murder. Most ghost lore holds that it's people with extremely regrets and/or people who met extremely horrific ends. And I'm pretty sure Valerie hits both of those. I'd like to believe Valerie will move on once the mall is torn down, but ghost lore so...she'll probably get to haunt whatever is built on top of it. Hopefully it'll be a starbucks. As for why Gab was able to see Valerie, I think it has to do with the fact they both have similar emotional circumstances of being lost. And I think that emotional connection bridged the afterlife to living gap. Gab might have also just been more open to the experience, as people who tend to be skeptical of the supernatural don't often see it. As for how they changed, I think Gab definitely got some insight into how to continue forward. Whereas I think Valerie was probably given some hope that even as a ghost, there can be purpose. Something like that.

I think Gab will eventually pursue photography, but I also feel like Gab might try other things first. Like take some pottery classes. Cause even if she aims for photography, trying new things helps ppl out of creative ruts which I'm willing to guess Gab is in. As for the overall message here, I think the comic shows that being happy is hard, careers are hard, everyone is lost on the inside, and that as we age, things we used to like we might no longer like.

Eightfish (Puppeteer)

Can I just say that I really liked the names in this comic

Eightfish (Puppeteer)

"Valerie Williams"

It sounds so rhythmic, like a celebrity's name

keii’ii (Heart of Keol)

That was a really good read. My takeaway message is, "you're not alone, even if those around you (like the two friends) don't seem to get you." Maybe your friends understand more than they seem, or maybe you'll find your connection in an unexpected time and place like Gab and Valerie did.

Comic Tea Party

DISCUSSION PROMPTS – PART 3

13. What are you most looking forward to seeing in regards to the comic?

14. Any final words of encouragement for the comic?

Don’t feel inspired by the prompts? Feel free to discuss anything else that interested you!

RebelVampire

So I needed extra time to consider Feebs and Caspar's role, and I think that thematically that sort of represent a disconnect. Like of coruse Gab still likes them and they're her friends. But sometimes we can't talk to the ppl close to us about certain things. Sometimes because they wouldn't understand, or sometimes just because it's embarassing. However, I think at the same time at the end that they help ground Gab back to reality and give Gab a sort of safe space to continue to work on her new insights. As for how they'll be effected...probably not at all cause I think the point is how they effect Gab. Anyway, all in all this was a well-structured short story with a very tight narrative, very nice art, and just really I have nothing bad to say about it.

Comic Tea Party

BOOK CLUB END!

Thank you everyone so much for reading and chatting about VALERIE this week! Please also give a special thank you to Rebecca Reynolds for volunteering the comic and creating it! If you liked VALERIE, make sure to continue to support it via some of the links below!

Read and Comment: https://valerie-comic.com/%3E

Rebecca’s Patreon: https://www.patreon.com/brobexx

Rebecca’s Ko-Fi: https://ko-fi.com/rebeccareynolds

Rebecca’s Etsy: https://www.etsy.com/ie/shop/brobexx

Rebecca’s Gumborad Page: https://gumroad.com/rebeccareynolds

Rebecca’s Twitter: https://twitter.com/brobexx

[slothrusts]

Hey @taylorswift ! Since you made a playlist for us, I thought I’d make one for you. Music is my life, I even study it at school, and my favorite thing about music is songwriting (which is probably why I love you so much). Lyrics are the most important part of a song to me, but soundscapes are also really rad. So here’s 19 songs that I adore, both lyrically and sonically, and hope that you will also like! @taylornation and fellow swifties feel free to listen in as well :)

Also, Taylor, look beneath the Read More for the track listing and me talking about each song like I know what I’m talking about lol

1.) Lit Me Up- Brand New 

     This is the best opening song of all opening songs. Brand New has created such an interesting soundscape and feel with the whole Science Fiction Album. It’s creepy, but great. Taylor I feel like you’d really enjoy some of the binaural action going on.

2.) Turn Out the Lights- Julien Baker @julienbaker

     Julien Baker is one of THE BEST lyricists I have ever found (besides you of course Tay). Everything she writes is heart-wrenching  and beautiful and I love it. I mean, come on “When I turn out the lights/there’s no one left/between myself and me” (lyk if u cri evrytim). This is a single from her forthcoming album by the same name and I highly recommend you listen to her debut Sprained Ankle cause damn is it good. 

3.) Horseshoe Crab- Slothrust 

     This song is a trip man. Slothrust (its Sloth-rust not Slo-thrust fyi) is this cool little rock/jazz/blues band from Brooklyn that I ADORE. Leah writes some outlandish but still poignant af lyrics. Notably: “Sometimes I feel like I’m a sea horse/Sometimes I think that I’m a horseshoe crab/I don’t have anything in common with myself/Except that I came from the sea just like everyone else did”

4.) Ready to Go- Hurts @adam-hurts

     Suggested activity while listening to this song is dancing because damn it’s a certifiable BOP. 

5.) Queen- Flint Eastwood @flinteastwooddetroit

     You’ve probably never seen these guys play live but Jax Anderson is a hype beast like no other and can get a crowd full of people who have never heard her music to sing and jump along like they’re the headliners. The chorus gets u going and I think that reputation era Taylor would appreciate “I’m a queen not a soldier”

6.) I Forgive No One- Citizen 

     While I’m not sure if this genre/sound is your thing Taylor, it does remind me a lot of the whole reputation era mindset. “I forgive no one for anything/I forgive no one for what can change”

7.) Moonshine- Lights @lightsalot

     Another great bop about staying up late and partying. Also Lights wrote and drew an entire comic book series to go along with this concept album?? How fucking cool is that?? It reminds a bit of New Romantics in the attitude of “who gives a shit lets go party anyway!!” 

8.) Sunshine Type- Turnover @turnoverva

     Turnover is my go-to feel good band. This song actually sounds like the way sunshine feels. “I was thinking that you could love a song that I hate/I’d still play it for you”. 

9.) Separate- Pvris @thisispvris

     I’d imagine that swimming underneath an iceberg sounds like this song. Pvris (pronounced like Paris not p-virus or puh-vris) makes some super spooky but beautiful things. And can we talk about “There’s always been a disconnect/Running from my heart to my head/And no it’s never made much sense” as well as “Pull away the world from me I don’t mind/As long as they don’t separate you from me I’ll be fine”. It’s almost the opposite of Clean, but in a good way. This entire album has got some killer outros btw.

10.) Burn it Down- Daughter 

      Elena Tonra from Daughter is SUCH a GREAT lyricist. You, her, and Julien are probably the best lyricists that I know of honestly. Plus, her, Remi, and Igor as a band make some DOPE soundscapes that you can get actually physically lost in. “Always said I was a good kid/Always said I had a way with words/Never knew I could be speechless/Don’t know how I’ll ever break this curse”. They wrote this album for a video game soundtrack, but the one before this one Not to Disappear is lyrically so powerful I cry every time I see them live lol.

11.) Trainwreck- Banks

     Banks is a bad ass bitch and I think you and her would get along swimmingly. Also perhaps invite her to sing this with you on the rep tour?? (hint hint wink wink) “Born to take care of you, or I thought so/Maybe it was just a phase” It’s like an updated more sonically banging Dear John imo

12.) Helicopter- Deerhunter

     Back on the soundscape train Deerhunter just sounds cool as shit. The lyrics to this one are story-based and talk about some guy who was a victim of human trafficking. BUT Bradford Cox makes it sound cerebral and plucky.

13.) Deadcrush- alt-J

     I love this song cause it has the coolest premise. It’s about the Dead Crushes of the band members. So like, dead people that the band members admire. The crushes are Anne Boleyn and Lee Miller. I particularly enjoy the music video for this song which is weird as all hell. The pulsing beat that drives this song is something that I think you would appreciate, Taylor. This is one of the songs where it feels more like the words are meant to be a part of a music rather than their own separate piece if that makes sense.

14.) SGL- Now, Now @nownowband

     SGL stands for “Shot Gun Lover” and holy heck does this lyrically resemble some of your stuff! Sign me the fuck up for “Starry-eyed/I was young and undone/But I could’ve died/With you there in the sun”. I’ve been listening to this band for almost as long as I’ve listened to you but they recently got a more pop sound and I am LIVING for it

15.) Lose Myself- From Indian Lakes @fromindianlakes

     I saw on your playlist that you like Cigarettes After Sex and so I thought you might also enjoy the recent stuff by From Indian Lakes. This is the kind of song you listen to when driving home from a date. Ponder closely, “Am I the worm on a lover’s hook/And now I’m right where I’m supposed to be/But something still feels wrong with me”

16.) You and I (stripped version)- Pvris

     Pvris gets to be on here twice cause they are that good sorry but I don’t make the rules (wait yes I do). The lyrics here also remind me of you and how we all just have way too many feelings and our best shot at figuring things out is through writing about them. You and I is about a love that’s not working but that is still desperately wanted, “I know it’s cold when we’re apart/And I hate to feel this die/But  you can’t give me what I want/Just give it time”. Listen to this stripped version to hear how beautiful and lilting Lynn’s voice is and listen to the full band version to hear how much of a powerhouse her voice can be.

17.) Jesus Christ- Brand New

     Yes another Brand New song. You know why? Cause they are also fucking amazing. Taylor, I recommend you listen to this song while lying in your bed staring up at the ceiling and thinking “How the hell did I get here, and how the hell am I gonna leave?” (here can be anywhere, your hotel room, you home, this universe). The next time you read a shitty headline about you in a tabloid think about the lyrics, “We all got wood and nails/And we turn out hate in factories/We all got wood and nails/And we sleep inside of this machine”

18.) Townie- Mitski @whoismitski

     “I want a love that falls as fast as a body from the balcony/And I want a kiss like my heart is hitting the ground/I’m holding my breath with a baseball bat though I don’t know what I’m waiting for/I’m not gonna be who my daddy wants me to be”…… do I need to say anything else? Hopefully you’ve already heard some of Mitski’s stuff cause she’s gonna be on tour with your homegirl @lordemusic this next spring!

19.) Pigpen- Slothrust

     Sometimes I wake up in the middle of the night with the post-chorus riff from this song in my head. Taylor, the lyrics I’d want you to hear the most from this one are; “I would spread my wings/If they weren’t so god damn heavy/Yeah I would spread my wings/If they weren’t coated in honey” 

And that’s everyone!! I hope you liked at least one of these songs @taylorswift . Love you eternally and catch you on the flipside!!!

[comixconnection]

The Existential Joy of Jughead

In July of 2015, Archie Comics relaunched its brand with a fantastic new series written by Mark Waid with art by Fiona Staples, two brilliant comic creators with more awards than Archie Andrews has had awkward dates. This “new,” “contemporary yet classic” take on the Archie stable of characters remains a confoundingly entertaining, touching, exuberant, and entertaining series. Both Archie Comics and the creators behind the new series seem dedicated to telling wonderful stories about youth in America, about good people trying to be good, and the wacky shenanigans that can result from the best of intentions. The art, changing hands frequently from Staples to Veronica Fish to Joe Eisma, is consistently relatable, endearing, and empathy-inducing, even for characters that have been around since 1941. Breaking News: Mark Waid is good (and by that,I mean he is a legend and might be the greatest writer of superhero comics to ever live but WHATEVER).

When Jughead #1 debuted in October of the same year with a similar rebooting philosophy, I found myself instantly in love. While it may have seemed incongruous to have the artist from the hilarious, observant, poignant yet decidedly R-rated Sex Criminals, Chip Zdarsky, to write the very PG-rated world of Riverdale teenagers, his acerbic wit and gleeful celebration of an idiosyncratic life is a perfect fit for Archie’s Best Pal. Combined with the charming and one-of-a-kind art of Unbeatable Squirrel Girl artist Erica Henderson, Jughead has been a hilarious and imaginative take on comics’ most notorious eater of hamburgers. Zdarsky and Henderson’s run saw Jughead fight the good fight for proper school lunches, imagine himself time-traveling-while-grounded, and even declare his own asexuality. While the mountains of food and fantastical daydreaming led to an altogether more freewheeling and sillier book than its sister titles, the latter revelations (or long overdue declaration) of Jughead’s disinterest in romantic entanglements provided some unexpected poignancy to the book.

However, it is one thing for a character to make such a declaration, but developing that feature into a compelling story is another. Chip Zdarsky had the vision to make Jughead’s asexuality a known quantity in the Riverdale Universe, but it fell on the (very tall) shoulders of Ryan North to make readers see how such a young man would function in that world, how he could love his friends very deeply, just not be in love with any of them. The story actually begins with Jughead meeting what could be considered his dream girl: a girl with a cheeseburger for a head. Well, it’s a young lady dressed in a hamburger mascot costume working at Pop’s Chok’lit Shoppe in an attempt to advertise Pop’s scrumptious wares.

Jughead, of course, hits it off immediately with the anthropomorphized object of his culinary desire and she with him because he actually treats her with respect and dignity. After all, this unique wonder, this Human Sized Hamburger, is the most beautiful unique thing in the world. Like a glimpse at a previously unknown work of Vermeer or a newly discovered species of deep-sea fish, Sabrina-as-Burger-Mascot is a wonder to behold. Then she takes her head off. Jughead is now forced to deal with her as a person, take into account her feelings, to deal with his own emotions when it comes to friendship, romance, and dating. He cares for Sabrina, wants her to be happy, but even with drafting in his friends to help, he can do nothing but cause chaos in both of their lives. His choice of Relationship Consigliere is dubious, however, as asking Archie Andrews to help with one’s dating life is as good an idea as asking the Incredible Hulk to assist in composing a Shakespearean sonnet. Still, Jughead does his best, and his utter failure at romance, going against his own natural instincts, results in some remarkably hilarious madcap antics. The madness is assisted by the magical interference of Sabrina when she mistakes Jughead’s haplessness for indifference (or even malice).

Because this is Riverdale, of course, even the powers of witchcraft, fast food, and teenage awkwardness cannot keep two good friends apart. Jughead comes to the very real, very mature realization that it is hard to communicate emotions he knows the other person will not and cannot be feeling. Not only that, but he must somehow comprehend how to process the emotions of others that he is incapable of feeling, all while making the other party feel loved and accepted. It’s a tall order for anyone, but with Ryan North’s insightful writing and hilarious joke-telling, along with Derek Charm’s adorable characters and delicious depictions of Pop’s cuisine, we can believe in Jughead’s journey. Imagine that, an Archie character with a completed arc. It’s pretty great.

Jughead’s asexuality also has an affect on his relationship with his best friend and walking teen hormone faux pas, Archie Andrews. Both friends only want what is best for the other, but their mutual bafflement at the other’s behavior sometimes brings them into conflict. During Zdarsky’s run, this manifested in the pair venturing on an oft-visited trope in the world of Archie Comics: a camping trip during the eternal Riverdale Summer (between the eternal Riverdale School Years). Archie sees girls and must peruse them because he is Archie and must cause chaos. Jughead sees Archie pursue girls, rather than his best friend and a good meal, and cannot help by feel rejected. It is really up to Jughead to forgive his best friend his boorish behavior, both to Jughead himself and to Betty and/or Veronica... because Archie is never not dating one of them, so the mere fact that he is trying to flirt with women he meets in the woods is a disaster of double-quarter-pounder-with-cheese-level proportions waiting to happen. It is only through their mutual willingness to understand one another, to love each other for their differences, that the two friends are able to emerge from the ordeal with their friendship stronger than ever.

When this susceptibility for misunderstanding collides with modern technology, and the Archie Gang at large, it only results in disaster for all of Riverdale. After the Awkwardness Avalanche of trying to date Sabrina, Ryan North pens a tale of video game bets gone awry and viral video shenanigans that is as on-point a  commentary on Internet culture as it is a poignant tale of youthful friendship. It provides some unexpected pathos from perpetual antagonist Reggie Mantle, as well as Jughead bending over backwards to try to please his friends but only making things worse. After all, what brings Internet mockery faster than unrestrained, genuine earnestness? And of course, the denizens of Riverdale are nothing if not earnest, even Jughead, who can fawn over the condensation on the glass containing his milkshake.

Our titular character might cultivate an image of aloofness, might want others to believe he is not to be swayed by emotions, but this is only to make himself feel safe, to make his peers feel as if he is unhurt by the many pricks he kicks against. In fact, he is deeply affected by how his friends feel. Not romantically, surely, but in a way that makes him eternally loyal to the people he cares about. Hell, in the brilliant (and non-canonical) Afterlife With Archie, he enlists Sabrina’s help in raising his dog from the dead, thereby ushering in the zombie apocalypse. Jughead defies to laws of God and the Universe to save his dog! Even more remarkable, in the main Jughead title, he invites Internet ridicule just to make his friends feel better! If only everyone had a friend willing to sacrifice so much, so determined to live a joyful life, as Jughead Jones.

Jughead is currently available in two trade paperback collections. Both are highly recommended.

[month9books]

Riverdale Recap and Review - Season 1 - Chapter 7 - In a Lonely Place by Andrew Buckley

That 50’s style comic book opening scene with Jughead wearing his crown and Archie in the sweater with the bowtie was beautifully shot, iconically accurate, and all sorts of creepy. This is something that Riverdale does well, I’ve seen it since episode one and they’ve managed to maintain it almost every single week so far: they commit to the weekly theme and they hit it hard right on the offset. Sure, they’ve only got 42(ish) minutes to work with so there’s no time to beat around the bush, but major props have to go to the producers, writers, and showrunners for consistently hitting the right notes in what’s become an almost perfect symphony of characters and story arcs. This week’s themes of ‘home’ and ‘hope’ are driven like a knife through Archie’s back during that opening sequence that narratively asks the question as to what a home truly is. We’ve seen so many different homes in Riverdale already, it’s easy to see why that particular theme probably gets revisited more than most but it was especially poignant this week with Jughead’s story. So let’s get to it . . .

I feel Archie redeemed himself a little this week after last week’s severe dip in his collective IQ. While he doesn’t shine through as being incredibly intuitive (he managed to ignore the fact that Jughead was homeless for how long?) he grabs some major points for having a heart of gold. He feels bad that he wasn’t there for Betty during her time of need and he fights to help Jughead by arranging for Mr. Jones to go back to work even though he doesn’t even have the full back story yet, he just wants to help his hurting friend. His dedication as a friend despite differences or awkwardness actually gave him a few moments to shine. Yes, he’s completely overshadowed by everyone else on the show but I still feel he gained a little ground this week.

After Polly’s magical escape from the mental institution, she sneaks (like a ninja) into her parent’s attic only to be found by Betty. All the characters in Riverdale have such strong personalities and stories, I’m having a little trouble getting behind Polly though. While she’s obviously not the ‘party girl’ that the Blossoms paint her to be, there’s something not quite right about that girl, and her continuing to cling to wanting to go live on a farm somewhere just doesn’t seem grounded in reality.

Either way, Betty helps her, first by appealing to the Blossoms via Cheryl, and then by Veronica’s intervention to move her into the Lodge residence. The Blossoms once again reiterated that they’re the big, evil, rich family of Riverdale by pulling a Rumpelstiltskin. They want Jason’s baby but they couldn’t care less about Polly, and I can’t completely blame them for that because we really haven’t been given enough reason to sympathize with Polly just yet. The Blossoms want the baby, but Cheryl, in an off-character moment of morality, wants what’s best for Jason’s unborn child and turns on her own family to place Polly in a safe place. This is sure to cause even more conflict in the Blossom household but it looks like Cheryl is beginning to hold her own against her deranged mother, which is nice to see.

We should get this out of the way before I get into this next story point. I love Veronica. Not the character as such, but more Camila Mendes’ portrayal is just so spot on that it’s scary. Which is why this one is tough to write about because her grandiose sweeping gestures and on-point wordplay has been stunning so far. But this week our dear Ronnie headed into some cliche-ridden waters and it was a shame because the character deserves better. Veronica holds a grudge against her mother for forging her signature, not because it was wrong, funnily enough, but because it would paint her in a negative light with her father (daddy issues much?). She proceeds to head out for a night on the town (Riverdale has a nightclub? And a busy one? On a school night?) with Kevin, Reggie, and Josie in order to defy her mother into negotiating with her. It feels like a classic rich girl move and that is too much of a departure from what we’ve come to know about Veronica. While it represents her past life, it’s a life she’s determined to leave behind but goes ahead with it anyway. In the end, all it boils down to is a quick convo with her mother, and all is well again in the Lodge household. Although it will be interesting to see how Mr. Lodge reacts to Hermione’s deception. 

Hats (and paper crowns) off to Skeet Ulrich for almost completely dominating the performance side of this episode of Riverdale. I say ‘almost’ because Jughead is the one that steals the show and delivers the feels. Jughead has pulled a Harry Potter and now lives under the stairs at school. We learn the reason why is because his Dad is somewhat of a deadbeat and his Mom and sister have left town. Father/son stuff always rips my heart a new one so I fully felt the story this week. Jughead wants his Dad to get his act together and he’s holding onto hope that it can actually happen and that it will eventually lead to a happy home, in one form or another. After Archie and Jughead get FP his job back, it all seems to be going well, until they head out for dinner and old demons join them at the table at Pops. We learn the backstory of Fred and FP’s friendship, their doomed partnership, and the clear signs that they hold each other responsible. I think Fred comes out on top here as FP obviously has some issues when it comes to making the right decisions above his own self interests, but they’re both a little at fault and I was shocked that Archie actually cut through the crap and addressed the issue with his Dad. Sure, FP was bad for business but did Fred ever consider what it would mean for Jughead’s family? In true Fred Andrews fashion, he quickly redeems himself by inventing an alibi for Jughead to help prove he’s not the murderer.

Jughead getting taken downtown and questioned was a bit of a leap for Sheriff Keller but I think he’s really grasping at straws at this point. The killer is in town, we’ve already met him, but no one knows who it is. There were a lot of great scenes between Jughead and his Dad but their relationship, and the weekly themes, are driven home by the confrontation behind the police station. We can truly believe that FP wants to clean up his act and wants Jughead to be proud of him, but he lacks the motivation and willpower to do it and prefers to continually blame others for his actions. Jughead on the other hand clings on to hope that his Dad can turn his life around and rebuild their home as a family, but it was clear in that scene that Jughead doesn’t truly believe it to be possible and, furthermore, his Dad knows it too. Which is why Jughead moves into the Andrews household and FP willingly lets him go.

This week’s cliffhanger piece is the sight of Jason’s jacket hanging in Mr. Jones’ closet. We last saw that jacket in the hidden car last week so it could be that Mr. Jones torched the car, Jason had multiple jackets, or someone else fired up the vehicle and then planted the jackets in Mr. Jones’ trailer . Mr. Jones is too obvious to be the killer so we can scratch him off the list. (As my Polly/Betty multiple personality theory got shot all to hell, I have a new one . . .  which I’ll share before next week’s episode. Stay tuned!)

What is a happy home in Riverdale? It almost doesn’t exist because every household is so rife with drama and problems that it seems impossible. But this episode was all about hope for a happy home and we can only assume that our dear characters will find exactly that, in one form or another. Even if it’s just an air mattress on a friend’s floor. Just hopefully not anytime too soon because the drama on this show is just so much wicked freakin fun! 

STRAY THOUGHTS OF AWESOMENESS . . .

- Polly jumped out of a window and, despite there being blood on the glass, she survives completely unscathed. I think it’s safe to say that Polly is a mutant/immortal/vampire or something to that effect.

- The Cooper’s attic is the place scary things go to die. What’s with those freakin dolls?!

- The Betty/Jughead (Bughead as the kids are calling it online) is still pushed to the back of the bus again this week. Juggie putting his arm around Betty causing Archie and Ronnie to address the gesture brought some of it to the surface but it’s still not sitting at the forefront of the story. Understandable though as there’s a ton of other stuff going on.

- The Team Blossom hunting crew has actual hunting dogs. Dogs are well known to be very useful when tracking pregnant teenagers.

- I’m seriously looking forward to when we get to see Mr. Lodge in the flesh. It has to happen. We all know it!

- Mr. Blossom’s wig disturbs me more and more every single week.

- Alice Cooper continues to be evil. Not Penelope Blossom evil. But evil. Press conference outside the church? What? Why? Worst mother of the year award goes to . . . 

Andrew Buckley attended the Vancouver Film School’s Writing for Film and Television program. After pitching and developing several screenplay projects for film and television, he worked in marketing and public relations, before becoming a professional copy and content writer. During this time Andrew began writing his first adult novel, DEATH, THE DEVIL AND THE GOLDFISH, followed closely by his second novel, STILTSKIN both published by Curiosity Quills Press. Andrew also writes under the pen name 'Jane D. Everly' for his HAVELOCK series of novels. Look for his first upper middle grade novel HAIR IN ALL THE WRONG PLACES available now fromMonth9Books with the sequel scheduled for release in August 2017.Andrew also co-hosts a geek movie podcast, is working on several new novels, and has a stunning amount of other ideas. He now lives happily in the Okanagan Valley, BC with one beautiful wife, three kids, one cat, one needy dog, and a multitude of characters that live comfortably inside of his mind.Andrew is represented by Mark Gottlieb at the Trident Media Group.

Website | Twitter | Facebook |Instagram | Goodreads

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Latest story from https://movietvtechgeeks.com/logan-disappointments-made-well/

'Logan:' Disappointments Made Well

In all honesty, I didn’t have my hopes up for Logan. Though I had some positive things to say about X-Men Apocalypse, with the X-Men franchise’s messed up timeline, I couldn’t comprehend what sort of explanation Fox could give me why his future has become so dystopian for Logan and his fellow mutants based on the trailers. I watched Logan after all the positive reviews on the web and wondered what all the fuss was about. To rephrase that, I was going to watch it anyway, and the positive reviews got me intrigued. I resisted being plot-spoiled on YouTube until I saw the film for myself. I was ready to be disappointed, but you know, I was disappointed that I wasn’t disappointed. Make sense yet? The movie was as great as the many articles and YouTubers I subscribed to said it would be. Before you go on, SPOILER ALERT if you haven’t watched the film yet. You SHOULD watch the film. Not because the film is Hugh Jackman’s final outing as Wolverine, as well as Patrick Stewart’s final outing as Charles Xavier, and not because you’re just curious, but because the film is actually good. Regarding both actors, they did really well on the movie. I also loved that heart-breaking scene with Xavier later on in the film and could understand where Sir Patrick Stewart was going with when he said he’s done with Professor X for good. Logan is a fitting send off to him as Professor X. We know that Fox X-Men films are a hit and miss with critics unlike Marvel which has a good track record. The hits include X2, X-Men: First Class, X-Men: Days of Future Past, Deadpool and now, Logan. What’s ironic is that like Deadpool, some say that Logan was another throwaway film by Fox to send Hugh Jackman off, in a way that the creative team can do whatever they wanted. They chose the Marvel Comics’ Old Man Logan story by Mark Millar as a basis and to introduce X-23. How they’ll pull it off without other Marvel characters was anybody’s guess. Kudos to them for actually being able to do it. Now for the story. Remember how we continue to cheer behind Professor X’s dream of peaceful co-existence between humans and mutants in both film and comics despite several depictions of dystopian futures? Well, in Logan, the dream of peaceful coexistence between humans and mutants is gone. Not with a bang, but because of something as lackluster as GMO foods. Mutants worldwide, so numerous as was shown by Cerebro in X2 are gone, not because they were wiped out by Sentinels or super-powered forces but by getting poisoned by an ingredient that targeted the mutants’ x-gene. GMO foods either de-powered them, sterilized them or killed them instantly without them knowing it. Just like how the Leviathans in Supernatural Season 7 planned to make humans docile enough to be eaten by introducing agents into the corn syrup which is mixed into practically everything. The mutants’ extinction wasn’t as spectacular (the word I was looking for) as the Scarlet Witch declaring ‘No More Mutants’ in the comics, but it was explained rather well. That could happen which is also what all the fuss is about regarding GMOs. If you watch Logan from a perspective of a standalone film as the internet said it’s supposed to be, then yes. There would be no spectacular X-Men involvement in the mutants’ extinction. Logan himself is weakened and suffering from both GMO and adamantium poisoning. His weakened mutant healing factor is the only thing keeping him together. Speaking of the X-Men, where are they? Again, watching in the perspective previously described, they’re nowhere in the movie which might get fans disappointed. There is no flashback. There is hardly any explanation except for a news byte you shouldn’t miss and Charles’ Xavier’s statement in the middle of the film. I won’t spoil it too much, but Charles is responsible for the X-Men’s demise which I could theorize was loosely based on the Marvel Comics’ Onslaught Saga, had Onslaught succeeded in the beginning. Xavier became the being known as Onslaught because of all his repressed negative feelings (they had to go somewhere) and part of Magneto’s psyche that entered him when he mindwiped Magneto in another story. Onslaught would have succeeded in killing the X-Men if it weren’t for the time-travelling Bishop. In Logan, Xavier killed the X-Men, but he didn’t mean it. In the film, Charles is suffering from a degenerative brain disease that’s causing him to have seizures that paralyze everyone around him which could have killed everyone in what is called the Westchester Incident. That was the disappointing but well-explained reason for losing that beautiful DOFP ending that could have really re-booted the present X-Men, but Fox decided to do another prequel instead to keep J-Law and McAvoy. So the Westchester Incident explains why old Xavier is running around with old Logan in the trailers. Kindly allow me to cite a couple of differences in film and comics. In the comics, Xavier is currently dead, killed by a Phoenix-possessed Cyclops and it was Logan who killed all the X-Men (in an alternate reality) under the influence of Spider-Man nemesis Mysterio causing Logan to hand up his claws. For anyone expecting a small appearance by Magneto, they’ll be disappointed. He was either killed by GMO food or died with old age, but again, this film isn’t about the X-Men. Speaking of villains, they’re a disappointment as well. There is no Mr. Sinister here as teased in X-Men: Apocalypse. There is instead a very human scientist named Zander Rice whom I only last saw as Darwin Mayflower in Hudson Hawk (a favorite of mine). Donald Pierce and his Reavers don’t do much except look tough with their cybernetic enhancements. No high-tech arm lasers or cannons here and little X-23 can easily handle them. But they serve their purpose, and with their numbers and Logan’s weakened condition, they are a viable threat. The only notable villain here is Hugh Jackman himself as X-24, a successful Wolverine clone who is also the reason that X-23 and her fellow children (yes, there are more) are being hounded by Zander Rice. Why grow and teach mutant kids to be killers when they became successful in making a mindless programmable clone? And now for the last two great disappointments in the film. One word, poignant. STOP RIGHT HERE because this is what makes the movie great if you don’t want to get spoiled. Dramatic exits of two great actors of the franchise. In their journey to get away from their pursuers, Logan, Laura and Charles meet with a friendly family of farmers who offer them shelter, despite their best judgement. Charles experiences some real food and comfort after several years in Logan’s custody and while in bed reflects that it was more than he deserved after Westchester. This is when he is stabbed in the chest by X-24 who he thought was Logan. The family sadly dies as well, and Charles later dies after bleeding out. Very sad and a wonderful performance by Sir Patrick Stewart. Now that you’ve read this despite not seeing the film, you still need to see it for yourself. And lastly, in the final confrontation with Rice, Pierce and X-24, the near-indestructible Wolverine we all know and love also doesn’t make it in the end, succumbing to his wounds because of his weakened healing factor at the hands of X-24. Pierce is killed easily by Laura’s companion children using their various mutant powers. If there’s any new mutants film of TV series coming out, it could involve these very children. Rice is killed nonchalantly by Logan and X-24 is killed by Laura using Logan’s adamantium bullet he kept since X-Men Origins. About the film itself, Logan is full of great but brutal claw action that earns the film its R-rating. No sex scenes here like in Deadpool but the violence and swearing is all over the place including swearing from Charles Xavier himself. The film is bloody including those scenes with Laura. Not sure if actress Dafne Keen would even be allowed to see her own film. The violent claw action people expect from a film with Wolverine and X-23 can be seen right here from the film’s beginning to the end. There aren’t many over-the-top effects as in X-Men: Apocalypse, but this film is more action-oriented and is described as a revenge western played with claws instead of guns. For a film like this, they’re not needed. Lastly, as mentioned before, the acting from Hugh Jackman, Patrick Stewart and Dafne Keen was amazing. Patrick Stewart’s and Hugh Jackman’s final scenes were heartbreaking. Many comic book fans expect an average or messed-up film from Fox, me included. But we were disappointed and are happy about it.

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[forgetmenotblues]

52 in 52

So last year I tried to read 52 books in 52 weeks (aka a year, if you're nasty), and because I was a shiftless philosophy student, I managed and then some.

Here are the books I've read, with some thoughts on them, for posterity, or recommendations

1) Sandman Overture, Neil Gaiman

Pretty solid, usually I hate prequels, but sandman was always pretty meandering and non-linear, so it works well. Just annoying it doesn't fit in with my pretty leatherbound absolute editions

2) Radioactive: love and fallout, Lauren Redniss

Very cool artsy biography of Marie Curie, and glows in the dark!

3) XKCD What if?

Extremely fun science, makes some abstract concepts approachable, I mean it's Randall Munroe, it's solid

4) Rise to Rebellion, Jeff Shaara

Historical novel (gonna be a few of these, I'm dead into them) about the build up to the American revolution . Kinda dry for a lot of it, but can ratchet the tension up, taught me lots I didn't know, and there's a bit towards the end where John Adams' wife calls him out on his privilege and it's pretty rad

5) Dune, Frank Herbert

I hate myself for saying this, but I was expecting it to be a bit more... dry. But seriously, everything described it as complex philosophy and politics, ASOIAF in space, and then it was a pretty straightforward adventure. The dynastic politics boiled down to a family of cool beautiful good guys vs an evil family of "hilariously" fat perverts. It was a great read, but more Laurence of Arabia than anything else

6) Squirrel girl, Ryan North 

Fantastic, fun, brilliantly written - it's Ryan North, nuff said.

7) Virgil, Steve Orlando

A cool, dark, "queersploitation" comic. Your basic "beaten and left for dead, wreaks vengeance" type story, brutal, but honestly pretty cathartic

8) the house that groaned, karrie fransman

A comic about a bunch of dysfunctional people. I didn't care for it, it was a lot of kinda shallow Freudian psychology and slightly tim burton esque "quirky" characters. It was kinda like the A Dolls House arc of Sandman, but... not good

9) The Last Continent, Terry Pratchett

Discworld is always fantastic, and I've got a real fondness for the classic travelogue style rincewind ones.

10) Night Thoughts of a Classical Physicist, Russel McCormmach

The story of a German physicist who's dedicated his whole life to ether model physics and is realising his life's work is being disproved by recent advances... so a barrel of laughs. All about mortality, the fear of obsolescence, nationalism, and academia.

11) The Property, Rutu Modan

Indie comic about a girl learning about her family's heritage in Europe, lots of post war stuff and exploring "the old country". Very good

12) The Wake, Paul Kingsnorth

This was one of the real wins of this year, a story about the Norman occupation of Anglo Saxon England after 1066, and resistance thereof. Written in a conlang made to simulate old english, it seems totally unreadable, but you pick it up, and it makes the story infinitely more engrossing. A cool setting plus a whole other language wouldbe enough, but kingsnorth goes one further and makes it a savage deconstruction of nationalism and a beautifully painful exploration of tropes these sorts of books tend to embrace. Can't recommend enough.

13) Adventures of Hergé, Jean-luc Fromental

Biography of hergé written in the style of a tintin comic, a lot of fun

14) Carpé Jugulum, Terry Pratchett

Another Discworld, another classic. A lot of fun stuff with vampire tropes, although also a pretty serious discussion of "all evil comes from utilitarianism", which I felt didn't entirely fit, and I disagreed with. But again, the biggest criticism I've ever had of a Pratchett book is "his intelligent discussion of philosophy felt a little out of place", so not the end of the world

15) Fifth Elephant, Terry Pratchett

I went on a bit of a discworld binge here, another great one

16) Half a King, Joe Abercrombie

Great deconstructive low fantasy  novel, one of the many ASOIAF-esque books out there, and one of the few I've really enjoyed

17) Batman and Robin Eternal, D.C. Comics

Fun story about the batfamily, one of the rare bat-titles to really say "hey maybe this should be fun, you guys?"

18) Magical Game Time, Zac Gorman

Brilliant comics about video games, capture the real magic and freedom you found in games when you're a kid, the epic narratives you'd weave out of very simple Zelda games on the NES. makes me happy on a fundamental level. A lot of its available as webcomics, look it up, you won't regret it

19) The Truth, Terry Pratchett

Another brilliant Discworld book. Not much to say as there's a lot of these another all just consistently amongst the best books ever.

20) Wonder Woman Earth 1, Grant Morrison

Grant Morrison's always got a gift for finding the heart of a character, and he doesn't disappoint here. A lot of weird analysis of wonder woman as a feminist character, but he handles it pretty well overall.

21) & 22) Half the World, and Half a War, Joe Abercrombie

Parts 2 and 3 of the series, stays brilliant. Abercrombie is apparently best known for more adult stuff and this is more YA, but if anything that refines his writing - stops him being another grimdark game of thrones wannabe, and keeps it slightly more reconstructive and intelligent. Brilliant use of characters, the hero of the first book ends up almost the villain of the last, and all for entirely understandable reasons.

23) Machine of Death, various authors

A short story collection about a high concept: a simple blood test can tell you your cause of Death, but not the time or any specifics. A brilliant idea is explored in a lot of clever, beautiful, and hilarious ways.

24) The Last Hero, Terry Pratchett

Another brilliant Discworld, acting as a bridge between the classic fantasy of the older books, and the renaissance era politics and science of the later books - v poignant

25, 26, & 27) Harlequin, Vagabond, Heretic, Bernard Cornwell

Historical novels about the battle of creçy and the start of the 100 years war. Cornwells always good, although honestly these aren't his best. Pretty cool comparison between the chivalry of grain quests, and the reality of medieval warfare.

28) Long Halloween, Jeph Loeb

A classic batman, the story they based Dark Knight on, with a cool transition from down to earth organised crime of Year One to the zany madness of later batman

29) Little Brother, Cory Doctorow

A novel about post-911 culture, and counter culture rebellions against it. Fantastic novel, available as creative commons, so you can get it for free, so no excuses not to read! Very inspiring in that fuck Bush and fuck this war aesthetic, and Ihve a feeling it's gonna get real relevant in the coming years

30) Enders Game, Orson Scott Card

Pretty fantastic sci fi, analyses the psychological impacts of chosen one children saving the world, and the ethics of a "all the enemy are evil aliens" narrative. Obviously all this ethicality is a bit hypocritical from Orson Scott homophobia, so buy it second hand?

31) Black Guard, AJ Smith

Pretty cool fantasy, another faux ASOIAF type one, fairly straightforward, but plenty enjoyable

32) Deadpool vs Hawkeye

Pretty fun comic, read it on a plane back from Costa Rica, so I dont super remember it? But I enjoyed  

33) The Sleeper and the Spindle, Neil Gaiman

Very cool twisted fairy tale type thing, Neil Gaiman's always good, and beautiful Chris Riddel illustrations on top

34) Dial H for Hero, China Miéville

Great comic series, takes a simple idea (guy finds magic phone, when he dials it, he becomes a randomised superhero) and explores it in every possible way, becoming a full blown epic. Plus a scene where he becomes old timey racist heroes from the 60's and has to balance the good of doing superheroics vs the offensiveness of going out as "super chief" or whoever

35) Ravenspur, Conn Iggulden

Historical novel about the war of the roses. Iggulden is always very good, makes extremely readable stuff, and his war of the roses series is fantastic, a complex story made into an awesome action story. However, this last book isn't his best, it spends about 2/3rds of the book on a 6 month period where not much happens, then blazes through 10 years of action in no time at all, the pacing just felt a bit off. Still very good.

36) Howard the Duck, Chip Zdarsky

Very readable, very fun, very witty

37) Stonehenge, Bernard Cornwell

Historical novel about the building of Stonehenge, this is cornwell at his best, at border of very well researched intelligent history and the slightest hint of fantasy, making a brilliant story that brings history to life.

38) Black Orchid, Neil Gaiman

Slightly deconstructive superhero story, reads very much like a companion piece to Alan Moore's brilliant Swamp Thing

39) The Hartlepool Monkey, Wilfrid Lupano

Historical comic about a northern English town that hanged a shipwrecked monkey as a Napoleonic spy. A brutal read, exploring idiotic nationalism, well recommended

40) Turned Out Nice Again, Richard Mabry

Cute non-fiction musings on the meanings of weather and it's effects on our day to day life

41) The Heroes, Joe Abercrombie

Another deconstructive low fantasy, this time part of his adult series, which actually kind of works against it. Without the lighter edge, it can be a little bit of a downer. Nonetheless, well written, solid characterisation, and an excellent take-down of fantasy's belief in the glorious nature of war.

42) Thief of Time, Terry Pratchett

Another fantastic Discworld, fun, funny, and clever

43, 44, 45, 46, 47) A Game of Thrones, A Clash of Kings, A Storm of Swords, A Feast for Crows, A Dance with Dragons

Reread all of ASOIAF, absolutely fantastic, better on a second read. The first 3 are great as last time, plus all the foreshadowing that now makes sense. And 4&5, which I felt bit more ambivalent about the first time round, I've since read various analyses of (check out @asoiafuniversity), and I'd now consider them some of the best books I've ever read.

48) Gettysburg Address, Jonathon Hennessey

Absolutely brilliant comic, dissecting the Gettysburg address, using each line of it as a jumping off point to explore the history and philosophy of the civil war, incredibly high recommendation

49) Lazarus, Greg Rucka

A fantastic sci fi comic series, brilliant writing and characters, rucka is always great, and this is some of his best

50) Night Watch, Terry Pratchett

Another Discworld, but this one is even better than usual, this is one of the ones that stand out as serious business, much less comedic and much more epic than usual

51) A Brief History of Vice, Robert Evans

Hilarious and informative book from a cracked.com writer about use of drugs and alcohol through history, with recipes and recommendations for legal highs and drink recipes

52) Just City, Jo Walton

Sci fi / fantasy /philosophical novel, where great thinkers from throughout history are brought together to build Plato's perfect city. All about the clash between high ideals and practical reality. Very enjoyable, the sort of book where action scenes are philosophical debates.

53) Goldie Vance, Hope Larson

Fun cool progressive detective comic

54) Temeraire, Naomi Novak

A really fun fantasy novel with a concept that seems so simple, you don't know how no one's done it before. Essentially it's just the classical trope of dragon riders, but updated from pseudo medieval to the Napoleonic era, with all  associated tall ships and iron men and officer and a gentleman tropes