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werepuppy-steve · 1 year ago

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Between discovering the Russian bunker under Starcourt, discovering their plans to get into the Upside Down, being caught by said Russians and tortured, after making sure Dustin and Erica got out of there, Steve was confident that this was an isolated incident.

Hopper had assured them that El had closed the gate at Hawkins Lab, saw it with his own eyes. So maybe if they (he, Robin, Dustin, and Erica) dealt with this one on their own, it wouldn’t be so bad. There were no monsters this time, at least.

Steve had naive hope that the others wouldn’t have to get involved.

But as the four of them are chased through the mall by a big guy with a gun, Steve and Robin still coming down from a truth serum high, his hope turns into dread.

Because a show car is suddenly flung from the floor and into the group of Russians that have them cornered behind a counter in the food court, and there’s only one person he knows with the ability to do that.

They all slowly peer over the counter, and sure enough, El is standing at the forefront, her hand extended in front of her and her nose bleeding. The other kids plus Nancy, Jonathan, and Eddie are with her. Steve’s stomach drops and the nauseating feeling from earlier is back, but it’s not from the drugs this time.

Eddie makes a beeline toward him and Robin while Dustin greets the others with enthusiasm, Erica a little starstruck over El.

“What the hell happened?” Eddie demands, eyes flitting frantically all over Steve’s face and taking in the worst of the damage. Steve knows he must look like shit– he can’t see that great out of his left eye and that whole side of his face has gone numb.

Billy bashing his face in last year has nothing on the pain he’s feeling now.

“It’s a long story,” Steve says as he leans heavily into Eddie’s space. Eddie’s hands land on his shoulders and he holds him gently, like he’s afraid of hurting him even more. “I’ll tell you after this is all over.”

“Steve–”

“Teddy.” Steve pulls back and looks him in the eye, as well as he can. He must have not puked everything out of his system like Robin thought because he still feels a little giddy when he reaches up and taps Eddie on the nose. “Later. I promise.”

There’s really no time to say anything else because Robin and Erica need to be brought up to speed about everything and he and Dustin need to be caught up on what’s happening now, and when they are, Steve desperately wishes that it was just the Russians they had to deal with.

Help comes in the form of Hopper, Ms. Byers, and a balding man that Steve’s never met. While they’re all squabbling and trying to come up with a half baked plan, Eddie finds a first aid kit in one of the kitchens and makes Steve sit on a counter so he can try to patch him up. They don’t speak, but Steve grips Eddie’s unoccupied hand while Eddie stands close between his legs.

There isn’t much time between then and everybody splitting off into groups. Scoops Troop plus Eddie all pile into the TODFTHR (“You sure you’re her daddy, sweetheart?” Eddie teases with a smirk and Steve’s glad the bruising hides his blush.)

Everything gets a little fuzzy after they leave the kids at Weathertop. When he’s asked later, he’ll say he remembers hearing that song from that one movie, but he’s not sure if it actually happened. He’s so hyped up on adrenaline, it’s probably the only thing keeping him conscious.

Steve doesn’t remember making the decision to t-bone Billy’s car, but he does remember the horrific scene inside the mall; the Mindflayer screeching and its tentacle-like appendages swinging this way and that. He remembers pelting it with explosives to distract it from attacking El. He looks down and his stomach lurches when he sees the monster go straight through Billy’s chest.

He hears Eddie let out a strangled curse beside him and Steve has to ignore the bile rising in his throat. He knows there’s been casualties; Barb in ‘83, Ms. Byers’ boyfriend last year, however many people the Mindflayer had killed this year.

This is the first death he’s ever seen in person.

He’s still reeling from it when Owens and the military swarm the building once the monster is finally defeated. They’re all pulled in separate directions for medical attention and questioning. Steve feels downright miserable, sitting in the back of an ambulance with Robin, a shock blanket over his shoulders. He squeezes her hand and gives her a small smile.

“I’m sorry you got dragged into this,” he says.

Robin takes a shaky breath. “Yeah. I’m still trying to wrap my head around all of it. I think for once in my life, I’m speechless.”

Eddie finds them after he’s been looked over and Steve opens his arms to pull him in for a hug, wrapping both of them in the blanket. Eddie presses a kiss to his forehead and Steve sags against him. They take a moment to breathe each other in, basking in the fact that they’re both alive.

“They want to take us to the hospital,” Steve says. “They’re pretty sure I have a concussion but they want to run tests to make sure there isn’t any other damage.” He nods to Robin. “And they wanna keep us under 24 hour observation 'cause of the drugs.”

“Jesus Christ,” Eddie breathes, eyes sliding shut.

Steve frowns and uses the corner of the blanket to brush against Eddie’s cheek comfortingly. “I’m sorry,” he apologizes with a grimace. “This probably wasn’t how you were expecting to spend your birthday.”

Eddie turns his head and kisses his fingers. “No, baby,” he says. “Absolutely nothin’ for you to be sorry about. Had me and Wayne worried sick when you didn’t come home last night, though. I was close to callin’ Hopper when Lucas started screaming code red over the radio.”

Steve doesn’t want to think about how that probably worried them even more. “Your present’s in my car,” he says instead. “You can’t have it until I’m discharged, though. I wanna see your face when you open it.”

Eddie raises an eyebrow. “That just makes me even more curious, sweetheart.”

He pinches Steve’s side playfully, but gently. Steve stifles a giggle and leans into him more, very aware of how Robin’s watching them like a hawk.

“No peeking,” Steve warns, pointing a finger in Eddie’s face. “It’s a surprise.”

Eddie only nips at his finger. Steve doesn’t even blink. Sighing, Eddie releases his finger and marks a cross over his heart. “I promise I won’t do any snooping.”

Steve pats his cheek. “Anyone ever tell you you’re a shit liar, Munson?”

They break into giggles, their heads bent forward, and Eddie would’ve leaned in for a kiss if it weren’t for Robin clearing her throat rather loudly. Steve curls into Eddie’s front, Eddie’s arm going around his shoulders. God, he’d give anything to be at home and asleep in their bed.

“I’m still very confused about this whole thing,” Robin says, waving a hand in their direction. “I just fought a monster from a whole other dimension, but this is probably the biggest shocker of my life.”

“Strange things follow this group around like a shadow,” Eddie says, like it’s the most casual thing in the world. And for him, it is. “You better get used to it, Buckley, 'cause you’re one of us now.”

written and originally posted for @flowercrowngods birthday 🤍 dio is an absolute treasure and a great friend to have and is my #1 gseb stan. happy belated birthday!!! 💙

🥐☕💕 buy me a coffee?

#cj talks #gseb #steddie #steddie ficlet #dio 🤍#steddie fic #cj writes

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highdio · 7 months ago

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Pleeease, write your thoughts about the musical lol. I really like your Dio meta posts <3

Just a disclaimer: this is really opinionated but I don't like to drag media for its own sake. There were lots of things to like in the Phantom Blood musical, just ... Dio wasn't one of them. Also, Mamoru Miyano threw himself into the performance he was asked for, so it's hardly his fault. It's just always amazing to me that people feel the need to rewrite Dio into someone else when the way Araki's written him is already perfect, complete and a lot of fun.

So, where to start? Basically, the Phantom Blood musical re-writes Dio, giving him a different personality and different motivations through OOC stage direction along with a bunch of original dialog and scenes. What results is a version of Phantom Blood where "Dio" is just a normal guy without charisma who had a bad childhood and spends most of the story being miserable. Dio as he's written in canon has an uncommon charisma and appeal that's allowed him to remain relevant as one of those 'all-time great' villains. Scene after scene in the musical prove that its creative team either didn't read the manga or just really didn't like Dio.

fwiw Araki wrote Dio as thoroughly fleshed-out, with consistent traits and behaviors and consistent motivations behind his actions. He also left a paper trail of interviews and author's commentaries that develop Dio even more fully beyond the manga. So there's really no excuse for media that treat Dio as some sort of empty vessel waiting to be filled by narrative cliches we already know and expect.

It's annoying too, because, along with its OOC content, the musical is peppered with occasional manga-consistent moments. It's like the musical is camouflaging its Very Bad Take on Dio by having Mamoru Miyano periodically re-enact the canon character's most famous panels. The musical wants simultaneously to take credit for bringing Araki's vision to life on the stage, while at the same time completely undermining its most important element: a capital V "Villain" who, according to Araki, "accepts and embraces his evil nature, and follows his dark path without hesitation." This is the biggest change the musical makes to Dio: musical!Dio has none of the confidence that allows canon Dio him to move so decisively and destructively through the narrative.

Musical Dio is introduced by a scene where he's bullied on his way home, before breaking into a song about how terrible his life is, where "everything is always taken from [him]" ("it's hell …I feel nauseated …[I'm] under a cloudy sky.") The song is alternately tearful and hopeful. "I'm going crazy from being robbed!" he laments and then pollyannaishly muses, "hey, Joestar, can you turn my [cloudy] skies to blue?"

If Dio being introduced as a sad sap and self-described perennial loser hoping for any break sounds attitudinally unfamiliar that's because it is. Araki went in the opposite direction: he started his story by subverting the cliche - wide-eyed poor boy victimized by circumstance leaves his sorrow-filled life hoping for a new start - and instead gave us a kid with surprising, even sinister agency. Dio is not just given a hero's upward narrative arc (something Araki crafted very deliberately), he's introduced improbably in his first scene from a position of control. This fact is important because in the manga it's a position he won't lose until four chapters and nearly 100 pages in, when Jonathan finally fights back. From the time young Dio is introduced - reading a book with his back turned to his bed-ridden father who he's secretly poisoning -

- to the time he's systematically broken down his adoptive brother's spirit by alienating him from his friends, taking Erina's first kiss, and of course kicking his dog, Dio is shown as being in control and on top (Erina drinking the muddy water is the only exception). It's OOC to imagine 12-year old Dio feeling sorry for himself because at the time he's introduced, he's already made a habit of getting what he wants. By the time he sets off for the Joestars after killing his first dad, he's already developed full confidence in his abilities and the inevitability of his rise to riches (something Araki has him explicitly state and then underscores with a panel illustration of a steam train signaling the rise of Modernity).

But the writers and director of the musical don't find this characterization interesting enough or something. So they lose the canon entirely and in its place they invent a version of Dio who's despondent. And they didn't get Araki's steam train memo so they miss the Modernity theme (even though Araki's tied Dio so tightly conceptually to the idea of the Modern that he has him "use a 20th century boxing technique in the 19th century"); instead they double down on class difference being determinative. It never occurs to them that Dio is written specifically by Araki with the freedom to move outside of his social status because he sees it as artificial (the "evil elite" monologue later reveals Dio thinks of the whole social contract thing is arbitrary and voluntary).

Throughout the musical, Dio (although it's not fair to Mamoru Miyano since he isn't responsible for writing this mess, let's use mamoDio from now on because it's easier) seems to idolize the Joestars for what he calls their "beautiful blood." Not "beautiful" because usable calories for the vampire he will become but "beautiful" because noble. The Joestars' noble status and the honor that's apparently behind that status become the shining "star" toward which mud-bound mamoDio flailingly, failingly reaches. I don't need to tell you that in canon Dio doesn't have respect for nobility.

"Mud and stars" is heavy-handedly introduced as a dominant theme of the musical. According to the play, Jonathan, noble and bright, looks to the stars while human Dio, pathetic, conflicted and even confused, can only see life as a mud-soaked prison.

Now, the mud and stars thing was only used in Part 1 as a single text element on a Volume 1 illustration but, in spite of its marginality, it's becomes a liturgical text for some fans looking for an explanation for Dio's actions beyond what Araki gives them in the actual narrative. To this sort of fan, a guy who embraces his inner talent for evil and never had the misfortune of developing a moral compass isn't the right type of villain because he's unapologetic. If the villain doesn't have excuses how can you apologize for him? So they need Dio and by extension Araki to give them a "good enough" reason to accept Dio's ever-escalating atrocities. If the reasons Dio has for doing the things he does lie outside of what's considered good or acceptable, they are simply rejected and new reasons are invented in the hope of making Dio much less objectionable.

Now, like I said earlier, Araki's repeatedly told us in his writings that Dio has an upward narrative trajectory, not a downward, "mud"-bound one. The mud and stars duality fails to describe the narrative journey of the two main characters: both look upward to transcend their circumstances and travel along a shonen manga hero's rising path. (In fact, it's Jonathan who needs a good push to realize his potential, something Dio happily provides). And it's Jonathan, not Dio, who Araki first gives a downward arc, being handed defeat after defeat for those first four chapters before gaining his footing and progressively rising to Dio's challenges. "Mud and stars" isn't just a bad choice of metaphor, it's a misleading one.

Back to the musical, mamoDio is the exact opposite. An air of sadness and insecurity haunts his performance. An original scene where George presents the mud and stars dilemma as a lesson highlights Dio's lack of confidence and the depression that lurks behind it, as Dio bemoans how people doomed to "struggle and die" cannot possibly summon the hope it takes to look up to the stars (he's talking of course about himself).

Likewise, and here's where mamoDio's failure as a character really comes into full relief, seven years after this, when Dio's machinations are revealed and he's about to be arrested, before he uses the stone mask, mamoDio drops to the floor and spends the better part of a musical number in tears, bemoaning his sorry life ("I'm trapped in a prison covered in mud… no matter how hard I struggle I'm crushed…") and his lack of noble blood.

(btw this is after the manga scene where Dio fake cries; here, mamoDio is genuinely distraught).

Contrast this to the actual scene in the manga. His expressions in these panels are memorable because of how assured Araki draws him. Dio's entire world - his poisoning scheme, his grab at what one can assume would have been the entirety of the Joestar estate - is about to end but instead of despairing, he launches into a philosophical soliloquy. His body language is haughty: this isn't mamoDio crawling on the ground and decrying his upbringing and lack of noble blood, instead this is a man who apparently, almost irrationally, perceives himself as noble. When he uses the mask, Dio is smiling widely. Metaphorically speaking, he's looking at the stars.

When mamoDio uses the mask? He's on his knees. He's in tears. On one night he interjects, "Mother…" In short, he's conflicted.

One of these depicts Dio. The other does not.

Now obviously the writers and director of the musical must think making these seismic changes adds something to Dio's character. But (and I feel like this is a theme whenever I write these things) I'd argue it only makes him more basic. It makes him predictable and formulaic, someone we've seen in countless other stories.

(Oh! and did I mention mamoDio repeatedly calls himself "useless"!! Because he does this.)

Now, because mamoDio has no confidence and as a human acts out of desperation, when he becomes a vampire he still isn't Dio. Mamoru tries to make his vampire Dio evil and scary by expending a lot of energy, running about the stage and sticking out his tongue ad nauseum. When you look at how Araki has Dio move physically throughout the manga, it's the opposite of kinetic. Dio is a point of fixity who's charisma draws others toward him (ask me for more on this if you want because there's enough here for its own post).

Now for the worst of the worst: at the very end of the production, after the manga ending that features Jonathan's death and Dio's (presumed) defeat as a head imprisoned in Jonathan's arms, the musical takes an original twist in which, following a finale number featuring most of the cast, mamoDio is lead offstage by Jonathan. You read that right. mamoDio is hunched over, resigned, and Jonathan seems to take on a paternal role. Although the lyrics would have you believe this has something to do with "two fates becoming one," it's clear from the stage direction that any embers of Dio's ambition are being tamed and extinguished as Jonathan takes Dio's grasping hand, subdues him, and leads him docilely into the darkness.

It turns out Dio's vampire arc was just a phase, a hurt and lonely child lashing out and making a mess for attention.

His body language here is obscenely out of character. Consider the following because, as I said in the opening, in spite of what all these re-writes of Dio would have you believe, Araki crafted Dio with specificity and consistency: Araki only draws Dio (with very few exceptions) 1) standing tall, looking down at you; 2) back turned, looking back and down at you; or simply 3) back turned, (performatively?) ignoring you. Dio is never on the ground except when he's knocked down (think, young Jonathan finally fighting back in the Joestar home or, much later, Jotaro stopping time and landing those punches). By constrast, mamoDio has spent an incessant amount of time of the ground, crouching, kneeling,, bowing, hunched down. Who is this guy? So his hunched-down exit in the final moments of the production, literally being led by Jonathan (controlled??), is so amazingly stupid that if I didn't have a gif as proof, you might think I'm just making this stuff up:

There's plenty more to unpack that I won't address here: ghost Dario. The lack of grave-spitting. The complete absence of true joy or leisure expressed by Dio especially during his vampire era: no woman eating her baby, no owlcats, no Poco's sister. No chaise lounge. No roses(!). No fun. Not for Dio. That would be too manga-consistent. That might mean Araki wasn't giving us the appropriate message that bad guys are actually just sad guys.

tl;dr Dio isn't in the Phantom Blood musical. He's replaced by a normal guy who's motivated by a lack of self-esteem and despair that he wasn't born into an upper-class household, or something. He's boring. The result? There can be no Part 3 in this musical's world (and presumably no Parts 4, 5 or 6, no Giorno, no Jolyne, … you get the picture) because mamoDio just gives up. It's a nicely produced little tale about Jonathan Joestar and some random other guy who at some point gets a funny green coat.

#Anonymous #replies tag #jjba #jojo's bizarre adventure #dio brando #mp #dioposts #jojo no kimyou na bouken #jojo #phantom blood #phantom blood musical #dio talk #long post #the fact that media that's otherwise faithful to the text goes out of its way to rewrite Dio and only Dio consistently sends me

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