#do not want to address the elephant in the room but uuh

[pygian-weapon]

Gonna nitpick (and I'm loving the movie so far) but I'm getting a bit of whiplash between the "this is set in magical fantasy mishmash Italy" and the "we're gonna ground this story in a very specific geographical area and historical period"

The original fairytale is set in Tuscany, but if you want the plot point of the WWI bombardments you need to shift the setting in northern Italy since that's where most bombs dropped during the Great War (from Conte Volpe's leaflet I think it's implied that we're in provincia di Alessandria, since the next stop is Livorno and they're certainly not at sea). Given that, from a localisation perspective, I wonder about the choice of keeping the Tuscanian vernacular in the dub (which would otherwise be weird for Italian viewers, to whom Pinocchio has a very specific regional connotation) while the protagonist yodels and skips around with clogs?

Should they have gone with a more "neutral italian" dubbing, since this is a story being told by someone outside of the culture to an audience that is also mostly outside?

Prima volta in anni che guardo un film doppiato in italiano perché se sento Pinocchio chiamare Geppetto qualcosa di diverso da "Babbo" mi parte un embolo

[maxwell-grant]

OK, I know this will probably be painful, and I may be a bad mutual for asking but...would you be willing to identify what, in your opinion are the bottom five worst Shadow adaptations, and give a detailed breakdown of why they were so lousy?

Oh christ, okay. I don't think you're gonna get as much of a detailed breakdown for these compared to some of the others, because I take more issue with adaptations that do have good qualities but also big or deep problems to talk about.

For example, I can't include Garth Ennis's Shadow in this list because the comic has a lot of strong points to it, despite a deeply, deeply detestable take on The Shadow's character, where as the rest of the Dynamite run doesn't reach neither the lows or highs of his run. Likewise, Andy Helfer's run has a couple or a couple dozen moments every issue that make me want to tear something to shreds in frustration, but it's also at many points a really good comic with great art and some occasionally very inspired writing. Really, I'd just be repeating myself talking about what I hate in those.

But, fine, let's list some of the others.

I think I'm just gonna have to get the elephant in the room out of the way here, and address that I won't be including Si Spurrier's 2017 Dynamite mini in this list, and I think at least some of you might be angry it's not Number 1 by default. I'm doing this because I intend to one day really revisit it, think about it and it's reception and what it was trying to do, and talk about it on it's own, now that it's been 5 years and everyone has moved on and we can maybe talk about it without kneejerk hatred driving everyone nuts (your mileage may vary on how warranted it was).

I'm also not going to be talking about James Patterson's new novel, because I haven't read it. It seems to be considered a forgettable potboiler by mainstream critics and a resounding failure by everyone who likes the character whether they've read the book or not, and frankly I don't have it in me to learn what the fuzz was about anytime soon, I got my hands way too full as is.

And I won't be including the Batman x Shadow crossovers here, because again, they do have a lot of virtues that put them far ahead of some of the really worst Shadow media, and I've talked enough about how badly I think they mangled The Shadow, which is really the big problem I have with them (well, that and Tim Sale blatantly copying a Michael Kaluta cover, that was really shitty). I don't really hate them anymore, I just get tired and frustrated thinking about parts of them, I said my piece as is. Really, my frustration over this comic is what inspired me to start writing about The Shadow here, so I guess in a way I do owe it at least that much.

5: Archie Comics's Shadow

I think some of you might be wondering why this isn't ranked higher, but to be honest, I don't actually harbor any hatred towards this. I mean, I have to include it, but I find it kinda silly that some people even today actually care about the existence of this comic enough to hate it.

For fans back then? Oh yeah, obviously, but this dropped to such instantaneous backlash that it never really got to live past 6 issues. Really, everything wrong about it can be understood immediately from the covers, and I've actually read the comic in it's entirety to see if there was anything worth taking. I found only a couple of things of note but, no, this really is just a painfully mediocre superhero comic that happens to have a couple of Shadow names in it. If anything, it gets too much credit.

The actual contents of what it is are never going to justify it's reputation, but the existence of it and the disproportionate response to it is the funniest and most enduring legacy it could ever ask for. This whole comic is The Shadow's version of Spongebob's embarassing Christmas photo.

4: David Liss's The Shadow Now

This is another "The Shadow as an immortal in modern times" comic and I think you may have noticed the pattern with those by now. I may revisit this eventually and I do have some moments from it saved for reference, but overall: It sucks, and it doesn't even suck in a way that lets me talk much about it, it's a diet version of Chaykin's Shadow. If Archie's Shadow is a generic mediocre superhero comic wearing The Shadow's name, this is a generic crime story playing beats from movie. The Shadow is an asshole and not even a grandiose or sinister one, he just feels like a sleazy douche in a costume. The art is a 50/50 coin toss between appropriately moody and "Google images with a filter on them", I don't remember anything about the plot other than Khan had a bomb again and he had a daughter, and there were new versions of the agents and the Harry stand-in turned evil and Lamont shacked up with Margo's descendant which, uh, no. I don't really hate this but I really have nothing nice to say about this comic other than Colton Worley's art is nice sometimes. I can't really muster anything else to say here.

3: Invisible Avenger

ZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZ

ZZZZZZZZZZZZ

ZZZZZZZZZZ...

...uuh, wha-

Yeah, I remember nothing about this one other than it's painfully boring and nothing about it, nothing at all, works in the slightest and I drift off to sleep even now trying to give this a rewatch. To be honest pretty much every other Shadow serial not starred by Victor Jory sucks and I don't really have anything to say about them, this one is just the worst of the lot. I dearly wish there was a good Shadow tv series but, if it was going to be like this pilot? Good riddance.

2: Harlan Ellison's The New York Review of Bird

This isn't really a Shadow story as much as it's a Harlan Ellison story that happens to feature The Shadow, but man am I glad that Ellison's "Dragon Shadows" was canned, because holy shit what a goddamn nightmare Harlan Ellison writing The Shadow for real could have been, going purely by the one time he ever touched the character. New York Review of Bird is a purely farcical parody story that wears real, real thin even before "Uncle Kent" shows up, and we get to see in it what is by far the most detestable and irredeemable take on The Shadow ever put on print, and not even in a critique or deconstructive way or anything that could be remotely worth discussing.

I don't hold any particular affection for Harlan Ellison and his writing (despite liking some of it) and I've come to notice the major red flag that is finding someone who looks up to Harlan Ellison in any capacity as a person, and this story in particular really feels like Ellison aggressively trying to channel his jackass tendencies through every line, just him being nasty because he built a personal brand on being nasty. The only reason this isn't Number One is because it's a very short story that saw zero influence or reputation, and thus it only exists as a brief mention in The Shadow wiki, and a brief mention is all it really calls for.

1: Howard Chaykin's Blood & Judgment

I'm guessing most of you already knew this one was in the top spot before I started writing.

I would actually rather not write a big piece on Blood & Judgment, because I think (or at least I hope) it's influence on The Shadow has waned a lot over the years and I would prefer to draw it the least amount of attention possible, but if I HAVE to talk about this, I guess I'd rather just vomit this out of my circuits now instead of giving it it's own post.

I would prefer to use a less unpleasant image on my blog, but if I'm going to talk about this comic, there's no image to better convey it than this drawing of macho asshole Cranston holding a sexualized mannequin at gunpoint. By leaps and bounds, Blood & Judgment is the most misogynistic Shadow story I've ever read. It's ironic that Chaykin justified the rampant misogyny he gave The Shadow with the idea that this is just a man from the 30s would act like, when he admits in the same breath that he never even touched the stories, and he wrote a story more sexist and demeaning to it's female characters than anything, literally anything, written in the Shadow pulps. It's almost impressive even.

I'll paste some segments from Randy Raynaldo's review

In Flagg, he intended to present his own point of view on American society while keeping his work tongue in cheek and acessible. But this vision dimmed, and Flagg had become a vehicle by which Chaykin could play out fetishes and portray gratuitous and stylish violence.

In The Shadow, stripped of the political and social veneer which was supposed to make Flagg unique, Chaykin's sensibilities and excesses become disturbingly apparent. For all of his liberal posturing, Chaykin's work demonstrates zero difference from the same kind of mentality exploited and made popular by similarly violent popular culture icons like Dirty Harry and Death Wish.

More than half a dozen individuals are indiscriminately and violently murdered in the first issue. Although the victims are characters who played major roles in the myth of The Shadow, we feel little sympathy for them, even for those of us who knew these characters at the outset. Who dies is unimportant, it's how they die that is the fascination.

Chaykin uses sexual decadence as a means by which to establish villains, and undercuts this device by making the protagonists as promiscuous as the villains. For all of Chaykin's seemingly liberal leanings, he demonstrates very little sensitivity in his portrayal of women.

Because everything works on rules of three, this comic also follows the pattern with other works mentioned here, as this isn't Howard Chaykin writing The Shadow: it's The Shadow reimagined as a Howard Chaykin character. He looks and acts exactly like Reuben Flagg and the typical macho protagonist of Chaykin's other works, he's a cynical sleaze with an entirely new origin who half-assedly dons a garb to machine gun people, and I already wrote a separate piece on why the machineguns are kind of emblematic of everything wrong with this take.

I understand that Chaykin has, or used to have, a big following of sorts, and I've tried to wrap my head around this for years, but I genuinely still don't get why Shadow fans stomach this comic unless they happen to be Chaykin fans first and foremost, I really don't. Everything, fucking everything Shadow fans hate about modern depictions of the character can be traced right back to this. The parts that stuck and changed the character for the worse, like him being defined as an immortal, bloodthirsty warmonger who got all his skills and powers from a magic city in Tibet, or Lamont Cranston being a coward who fears and hates the Shadow, or his agents being expendable slaves, stuff that has been ingrained into the mythos through this and the Alec Baldwin movie and other comics, to the point that people now think of it as the norm, that it's the baseline of what The Shadow is, and I hate it, I genuinely fucking hate it,

I hate it so much that it's a big part of the reason why I created this blog and why I want so badly to get to write The Shadow, because I plainly couldn't stand not having ways to tell people that this is all wrong, that this is actively shooting down the character's odds for success, and that they are missing out on something really great, because the well has been tainted with garbage that won't go away and everytime I read the words Shambala in a Shadow comic, even an otherwise good or great one, I get just a wee bit cross.

The only semi-redeeming aspects I can think of for this comic is one or two cool moments, like when The Shadow hijacks a concert using his Devil's Whisper or when he tames dogs with a stare. Just breadcrumbs of "not garbage" amidst an ocean of anything but. I hate that talking about why I hate this comic in-length can almost feel like I'm still enticing people to check it out of curiosity, but if you wanna do that, fine, just know this: The worst part of Blood & Judgment, even if you don't care at all about what it did to The Shadow, is that it's boring.

It is a deeply boring comic. If you like Howard Chaykin to begin with, you'll probably like this okay (although even Chaykin fans told me that this is his weakest work and that even he seems to agree). If you don't, I plain don't see what you could get out of this.

The comic itself is just nothing. It's the comic book equivalent of a pre-schooler trying to get a reaction by swearing. It has nothing whatsoever other than half-assed attempts at shock value. The plot isn't there, the ideas are stale, the dialogue is needlessly oblique and comprised entirely of unfinished sentences, interrupted conversations and one-liners without build-up. The characters are all unlikable and uninteresting stooges with no personality, or joyless cartoons. There's no heart or emotion or logic, and it isn't even funny enough to succeed as just an outrageous exercise in 80s excess. There's nothing in here.

I get "why" it was popular enough at the time, a rising star creator penning a modern revival of an old character based on controversy that pissed off the old fans, it's an old story that still gets repeated today. But manufactured controversy is not a replacement for storytelling and it rarely ever exists to benefit the people who actually want to enjoy the stories, it only benefits those for the crude benefit of those who want to sell you something out of the controversy.

I guess they got their money's worth back then.

------------------------------------------------

Phew, okay, I did it, I finally vomited out a piece on Blood & Judgment and some others, allright, let's put this piece of negativity behind us now.

[bloody-wonder]

Every time I read a fic where Nicky just inexplicably ~understands~ Andrew or is the one to explain Andrew’s actions *TO* Neil, my suspension of disbelief automatically snaps. I get that people want to like Nicky and therefore make their versions of him more palatable for themselves, but it’s annoying. That’s not who he is. He doesn’t make any more of an effort to understand Andrew than anyone else and he doesn’t have an inate knack for it either, which some fics would have me believe

the all consuming, uncritical, absolutely blind love for nicky in the fandom is one of my biggest pet peeves. welcome to another rant.

i remember when i read aftg for the first time and dived into the tumblr fandom i very much expected to see posts calling him out at for what he did during their first trip to eden’s bcs isn’t it the bread and butter of tumblr discourse - taking one problematic thing a character did and cancelling them for it forever. however i was surprised to find not a single such post. seriously i’ve been in the fandom for almost a year now and i have been lurking on the old blogs and following the new ones and i have yet to see such a post. here’s the one i wrote back then

https://bloody-wonder.tumblr.com/post/189107928398/so-nicky-discourse

there i mostly talk about the eden’s incident but the point i tried (and probably failed) to get across was not that what he did is Problematic but rather that why he did it is. bcs like with roland it’s self-evident that nicky did a bad thing and it’s also framed as such by the narrative. but taken out of context this single incident can be easily dismissed as a mistake commited by a young inebriated person which they realized was a mistake and apologized for. the fandom is certainly ready to dismiss it and to accept nicky’s apology to neil. fair enough. in fact it would be an example of some very mature thinking on the part of the fandom - if the context of nicky’s behavior and personality wasn’t discarded along the way.

and the context is this: nicky has very rigid and one-sided views about what’s normal and what’s not and he acts accordingly. he thinks it’s normal to feel attraction like he does and to strive for a romantic relationship - hence the “neil you have to date someone or you’ll die unhappy” pep talk. he thinks it’s normal to casually kiss a guy he likes at a club despite him being very obviously uninterested. he thinks it’s normal to comfort people by touching them, so he will do it to andrew although it’s common knowledge that andrew doesn’t like to be touched. when andrew lashes out at him for it - it must mean andrew’s not normal bcs “normal” people like to be touched. andrew doesn’t behave like a “normal” person would, ergo andrew’s crazy. how do we “fix” andrew? how do we make him “normal” again? apparently by forcing “normal” things and behaviors upon him until he’s magically healed by the abundance of care and hugs.

instead of trying to understand andrew and connect with him “from below”, he’s dead set on imposing “normalcy” on him “from above”. like i said in my old post, he doesn’t even seem to give andrew credit for defending him against those jerks and winding up on the pills bcs of it. nicky just doesn’t get andrew to the point of calling him soulles, but seems to be under the illusion that he does everything in his power to understand him. well, on second thought, is it in his power though? i had some hope that after nicky finds out about the nature of andrew’s trauma, he’ll realize some things and his treatment of andrew will change. that didn’t happen as far as i remember. when the gang returns from the easthaven with andrew, nicky’s like “andrew won’t you ask neil why he’s all beaten up? well that’s just rude”. in fact, now i’m remembering that nicky and aaron were telling everybody that andrew’s much worse when sober but?? what’s worse about him? that he isn’t smiling at them? what a scary behavior indeed. or that he isn’t chatting with them? well it’s their problem that they aren’t as stellar conversationalists as neil. i digress. what i’m getting at is that it may very much be not in nicky’s power to understand andrew bcs they are very differend people and come from different circumstances. i’m not saying that you can’t write a plausible arc where nicky learns to communicate with andrew but most people don’t even try. as far as i understand nicky is seen as nothing but kind and if sometimes he makes mistakes, well, they don’t count bcs his intentions are good. but there’s a road paved with good intentions. you know where it leads.

that’s the insidious thing about nicky, that’s why i think he’s one of the most well-crafted morally grey characters and why he fills me with rage - the problematic side of him is hidden beneath the good intentions, the kindness, the jokes, all the other little things that make him nice and relatable, that the fandoms tend to latch on to. we have no problem engaging with characters like andrew critically, it’s easy for us to separate his good sides from his flaws bcs he’s upfront about it. we sure love andrew but we don’t romanticize his bad boy attitude and his knives bcs the media shift in recent years has taught us that “bad” boys tend to be Problematic and you have to watch out. andrew is hard to swallow so you swallow only if you absolutely want to, but nicky is so palatable you don’t even have to drink anything to wash him down, all the while oblivious to what you just swallowed. the “good” boys you have to be critical of as well.

sorry, this metaphor was weird.

lastly, we have to address the elephant in the room - nicky’s gay as the fourth of july. he’s the uwu gay cinnamon roll that has to be protected at all costs. we’re still at a point where, despite gradually getting more and more media rep, gay people feel like the characters they’re represented by have to be paragons of virtue lest the general public think that all gays are like this one imperfect character. so i can see how the aftg fans would want to overlook all nicky’s flaws because they like him and relate to him so much. i can also see how, if he were straight but otherwise retained the uuh... lets say “sexually enthusiastic” facet of his canon personality, he’d probably be burned at a stake by now. there’s this wonderful trend where people rehabilitate seth and aaron by treating them as complex characters. i can only hope that the same thing will happen to nicky some time soon.

so yeah, i 100% agree with all you said. nicky doesn’t understand andrew and the fics where he magically does are ooc. or, you know, those where nicky explains demisexuality to neil. don’t. make. me. laugh. nicky who has forced himself on neil and when that ended in a disaster tried to allo-splain the joys of a romantic relationship to him? nicky, who, upon seeing that neil doesn’t seem to be interested in girls, thought that the only possible conclusion must be that neil’s gay? all of this after neil explicitly told him that he doesn’t “swing”. i’m sorry, writers who hc nicky as some kind of wisened by life sexuality mentor, but he doesn’t know a thing about the ace spectrum.

tl;dr nicky really needs to do some self-reflection but, since he isn’t a real person but a fictional character, the readers need to reflect upon his canon behavior instead, before declaring him to be the kindest, most perceptive and tolerant person in existence.