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mrsbrekkers · 4 years ago

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Hi! How are you?

Could I get a Kaz Brekker imagine where he opens up to the reader after a job about his past and the next day he tells her it was a mistake and a lapse of judgement, quite harshly. And then the reader gets hurt after a heist and he realises how much he actually needs her.

Thank you <3

i’m doing pretty good! first kaz fic tehe, i’ve been waiting to do kaz brekker one-shots since i read the books. he is v much a comfort character. i understand his aversion to physical touch ( i have panic attacks at times because of so ), his humor, and inner dialogue so he is v dear and near to my heart yeeee

i switched up the next day bit and did it as the same time since it made more sense to me?? i’m not sure how to explain it haha

pairings! kaz x reader / jesper x wylan + nina x matthias ( with inej third wheeling because she’d so do so. )

reader is female in this, but i can make it non-gender specific if one would like me too! just let me know i’m very flexible in my writing!

warnings! talking about jordie, ptsd, trauma, talk of death, loss of a brother + mother, swear words, kaz being sad, panic attacks, blood, near death experience, pekka a-hole rollins,

word count; 2610 ( proud again haha )

one-shot under cut!

COMPANIONABLE SILENCE

The Slat had become uncharacteristically quiet. A successful heist on part of the Crows made for easy celebration amongst the Dregs. Most sat gambling at the Crow Club, drinking the night away. Jesper had been having a weirdly lucky night, the money in front of him displaying such. Wylan had been on Jesper’s leg the entire night, and the occasional ‘This is my lucky charm’ could be heard from Jesper. Inej and Nina sat drinking together, Matthias looking like an unwilling bystander to the girls' fun. And yet, Y/N found herself back at the Slat after the long day. Her back screamed at her to call it a night, but instead, she found herself in front of Kaz’s door.

It was a routine the two had when they were the only ones at the Slat. Y/N would sit on the bed, head in a book, and Kaz would sit quietly at his desk planning whatever it was Kaz Brekker decided to plan. It seemed the same tonight, with Y/N quietly reading, until her head lifted to see Kaz rubbing his eyes.

“You need to get more sleep. The amount you manage is minimal. I’m surprised you’re not dead yet,” Y/N commented, her book falling into her lap, the page she’d left off on now folded at the corner. It surprised her how Kaz managed to live off of his, if lucky, two hours of sleep. She’d never understand it. Granted, she slept less than the suggested as well, but she always made up for it with at least a nap during the day.

“I’ll sleep when I’m dead.”

That might be sooner than you think at this rate. But Y/N wouldn’t take that for an answer. She wasn’t usually a pushy person, especially with Kaz Brekker. She’d learned being pushy with him was never a good idea, considering the amount of people who did were left with a ruined reputation and nothing to live with.

“Sleeping when you’re dead isn’t an option in Ketterdam. Even when you’re dead here, you’re really not. Especially when people know of you. And last time I checked, the entire city knows you, and half of it wants your head on a silver platter. I’m actually sure people outside of the city know you, and may want the same,” Y/N said, standing and moving over to the wooden desk, sitting across from Kaz. Her eyes landed on the work Kaz worked on, seeing another heist plan he was drawing out.

Kaz wasn’t going to give in easily, anyone who knew him knew he was stubborn. One of the most stubborn people who lived in Ketterdam, but he knew what Y/N was saying held some truth in it. One was never truly dead in Ketterdam. He suspected people would dig up his body to hand over to Pekka Rollins - no, he wouldn’t die before Pekka Rollins did, that was a promise he’d made himself after Jordie. Brick by Brick. He couldn’t pull Rollins apart if he was dead. Maybe that’s why he wasn’t dead yet: his vigor to destroy the man who’d killed his brother. But he did suspect that when he, Kaz Brekker, was dead, he’d never truly be dead.

“Even so, I have things to do, plans to make-”

“At 1 in the morning? I’m sure such plans aren’t going to disappear overnight.” Being cut off, Kaz casted Y/N a glare, eyes narrowing. Why she had such influence over him, he’d never know. Or, maybe he did know and wasn’t going to express why. Because why would he? Kaz Brekker didn’t need a reason after all. He always had reasons though.

Finally, Y/N sighed. “I don’t expect you to listen to me, but I’m not going to let you rot away from the lack of sleep you get, Kaz. I am just as stubborn as you, and if I must? I will sit here and bug you about your lack of sleep until sunrise. Or until I inevitably fall asleep.” The smallest glimpse of a smile reached Kaz’s lips, an instinct to roll his eyes almost playfully too. Stubborn about the well-being of her friends was a Y/N special. Kaz had simply thought he’d have time before she got on his ass about his own health.

She’d already gotten on Wylan about his self-destructive habits. His tendency to blame himself for not being good enough. Y/N had practically choked him out once when he’d gone on a rant about how he was a problem for the Crows. A burden. Kaz himself had been somewhat frightened. She’d found ways to help Jesper and his gambling addiction, which usually included them gambling, but in ways that didn’t involve money. She’d gotten on Matthias for his excuses to not kiss Nina.

If Kaz remembered correctly, she’d called it ‘redirecting the issue’.

“You’re avoiding something,” Y/N then spoke, crossing her arms. Weren’t they all avoiding something? Kaz thought, huffing as he sat back into his seat. This was Ketterdam after all. If you weren’t running from some rich merchant, then you were running from their son. Wylan had simply been a lucky break in that usual streak.

“You say that as if we all aren’t running from something,” Kaz finally said out loud, his eyes casted downwards.

“Avoiding, Kaz. Not running, and something tells me the thing you’re avoiding isn’t something, but someone.” Y/N knew the look Kaz had on. She’d worn it herself dozens of times.

“I had a brother.” Kaz couldn’t bring himself to look directly at Y/N. It would make talking about this all too real. Too much. Was this a lapse in his judgement? Why was he telling her this? Had she managed to get so under his skin?

“We moved to Ketterdam after my father died. My brother . . . Jordie-'' the name came out with a small crack in his voice. He hadn’t said that name out loud since he’d laid on his sick brother’s chest. “Was hopeful about what the city would bring, and it brought peace for some time. We worked with a man for some time, and my brother was in on a deal. One that seemed too good to be true,” Kaz scowled now, his anger seeming to rise as he spoke.

Y/N sighed, knowing where this was going now. “When an offer is too good to be true-”

“It usually is. That man went by a different name then. One to scam people for their money to rise through the ranks of the Barrel.” Kaz finally lifted his eyes, seeing the realization rush over Y/N’s face.

“Pekka Rollins.”

“Pekka Rollins is the reason my brother is dead.”

The room fell silent for a few moments, Y/N contemplating what to say. She had a feeling she was among the few who knew Kaz’s story. She was tempted to ask how Joride died, but she could infer. She’d been around Ketterdam during the time firepox had plagued the city. Her mother had been taken from the disease. She’d been the same age as Kaz. It began clicking in her head too.

“I’m sorry,” Y/N murmured. “I know you probably don’t want my pity, but really, I’m sorry.” It made sense why Kaz felt like he needed to best Pekka Rollins. He wanted revenge. He wanted Rollins to be just as down as him and his brother had been.

Kaz sucked in a deep breath, standing and running a hand through his hair. His regret for telling the woman before him began to consume him. This was a mistake. Why had he told her? A harsh look fell over his face, looking down at the plans he had laid out. “I need to finish these plans, and I’m sure you need some sleep,” his tone was harsh, but it was clear there was hurt underlying it. He wasn’t going to be an outright asshole, but he needed his space now.

“You need sleep too, and I doubt you’re in the right headspace to try and make plans-”

“Y/N, leave.” He internally was begging. And Kaz Brekker never begged . . . but Kaz Rietveld would, and that’s who was begging.

“Kaz-”

“Leave.” Anger washed over his features, his eyes directing Y/N to the door.

Y/N sighed, walking towards the door. Before she turned the knob, she stopped. “You know being open about your past doesn’t make you weak, right?” But Kaz said nothing, afraid his voice would fail him. With no words spoken for a beat, Y/N opened the door, shutting it as she paced down the steps.

Her book still lied on the bed, the folded paper to the chapter she was on prominent. Kaz took one look at it before sighing and sitting in the chair, one tear making its way down his face.

---

It was supposed to be in and out. Another job. Another however much Kruge. Where is she? Kaz thought. Y/N was never one for being late. Sure she was working with Jesper, who was notoriously late, but she should’ve been out before Jesper was, and she wasn’t.

It’d been a week of no speaking. Kaz couldn’t speak to her after revealing so much. He feared it would become all too real. A common fear he had. Stealing, picking locks, it was all real to him, yes, but he never experienced reality when he was on a job. It was his way of ‘avoiding’ as Y/N would put it. But now, he couldn’t avoid the reality of this job.

The reality was: He’d ignored Y/N for a week in fear, and now she wasn’t at the rondevu point.

She’s Y/N, she isn’t dead. But that may not be true. She could indeed be dead. She could be, She could be, She could be.... Dozens of potential outcomes came to mind.

The world seemed to spin as he paced. Nina and Matthias had already tried to calm him. Nina had even tried to calm his heart rate down. Wylan seemed to be just as worried as Kaz as well, Jesper still out there alongside Y/N and all. Inej was calm, but it was clear she was worried too. They all were, but Kaz was being unusually emotional.

“At this rate, you’re going to have a heart attack Kaz,” Nina had said.

And if he did, then that’d be a first for the Bastard of The Barrel.

“And you’re not close to having one?” Wylan asked, shooting a glare over at Nina.

Kaz mentally thanked Wylan. At least he wasn’t the only one close to breaking down. Get in and out. In and out. What had gone wrong?

But then he heard the sound of boots running across the muddy ground, his eyes shooting up to see Jesper carrying a bleeding Y/N.

She’s bleeding. Who had hurt her? Kaz wasn’t sure, but anger filled him. That was until he fully internalized that Y/N was bleeding.

“Jesper, what happened?”

Jesper helped Y/N into the safe house, his breathing heavy as he helped her onto the bed of one of the rooms. “Rollins. He got word of the job. We became overwhelmed and Y/N here took a bullet to the shoulder.” Then Wylan was practically engulfing Jesper in a hug.

How? Was Kaz’s initial thought, but with a huff, he closed his eyes. Moving over to follow Jesper, he took off his coat. Upon entering the room Y/N was sitting in, he nodded towards her good arm, silently asking for her to take off the sleeve of the arm that was hit.

“I thought we weren’t speaking?” Y/N asked, groaning as she pulled the sleeve of her bad shoulder off with some help from Inej who pushed everyone else out of the room. Inej left as well, but gave Kaz a nod to let her know when he would need help.

Kaz didn’t lift his eyes to look at Y/N, his eyes steady on the bullet lodged in her shoulder. He pulled out the medical kit under the bed. Always prepared, Y/N thought.

“How did Rollins find out?” Y/N asked, watching Kaz pick up tweezers from the small medical kit.

“I’m not sure, but I plan on figuring it out. Stay still.” And Y/N did, knowing this was hard enough as it was for Kaz, she didn’t want to make it any harder. Squeezing her eyes shut as she prepared for the pain. She gripped onto the bed, seething as Kaz took the bullet out with the tweezers.

“I hope you know, I didn’t mean any harm last week.” Kaz knew what Y/N was referring too, and he simply nodded for the moment. Picking up the bandages from the kit, Y/N shook her head.

“Get Inej to do it, you’ve already pushed yourself enough.”

“It’s fine,” Kaz spoke, his voice firm.

“Kaz, don’t-”

“I want too.” His eyes lifted to finally look up at Y/N. She looked down as well, silently nodding. She understood Kaz enough to know this was his apology for ignoring her the past week.

“My mother, she died from firepox,” Y/N spoke quietly. She didn’t know how Kaz would take her bringing it up, but she felt that if she didn’t, they’d build up all this anger again. They’d ignore one another again. Kaz stalled. Flashes of Jordie and Reapers Barge consumed him for a few moments. Y/N’s skin turned cold, icy and raw. He flinched away from the feeling.

Then he heard it - Y/N’s heartbeat. She was living. She wasn’t a corpse. The heartbeat and blood were testament to that. She isn’t dead.

“I never told you how he died,” Kaz spoke quietly. He wasn’t used to talking about such subjects with anyone. It was the reason he’d taken on a different surname. That way he could cut ties with his past.

But for some reason, Y/N was able to make him feel . . . though begrudgingly, open with his past.

“I can infer, Kaz,” Y/N said with a small hiss as Kaz finished with the bandage, his hands shaky. “Now, you can continue ignoring me if you wish, I imagine you enjoy avoiding me.”

“I don’t enjoy it.” Kaz now had someone he connected with on a level he wasn’t used to. He wasn’t going to enjoy being apart from that.

“I know, I was simply making sure,” Y/N teased, her lips quirking in a small smile.

Kaz gave a small shake of his head, his lips pulling into a smile as well for just a moment. Then he picked up his coat he’d taken off. “I imagine you’re cold, here,” he spoke then, watching as Y/N took it and wrapped it around herself.

Then the door swung open, Nina rushing over to give Y/N a hug. “Kaz here almost had a heart attack. Wylan almost did. Jeez, never do that again,” she said, laughing a bit.

“Ouch, ouch, Nina,” Y/N spoke, referencing the still open wound on her shoulder.

“Sorry, sorry. We made food for you,” Nina said, smiling before handing Y/N a tray of food.

Kaz exited the room, allowing the others some time to talk to Y/N. Inej followed him, her arms crossed as she leaned against one of the walls.

“What information do you want me to get on Rollins?”

“Whatever you can find.” You’re not taking her from me Rollins, and you’d better be ready when I do come for you. Brick by Brick.

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meeko-mar · 4 years ago

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Can I just compare Bakudeku to Korrasami for just a moment

Not as in, their relationship, but in terms of fandom experience, perception and how it became Canon.

So, some years ago, LOK was on it's 4th and final season. So of course, shipping discourse was high. Who would Korra end up with? Would she end up single, be back with Mako?

Or....there was a big calling for the couple Korrasami, that is, Korra and her female friend Asami, to get together.

Now, up until the point of the finale, (and grant that I haven't watched in a while so I'm speaking in an overall sense and recalling my experience) Asami and Korra had been teaming up more and more. Korra had been really, badly, injured in the last season, leading to her isolating herself in the SWT for about 2 or 3 years to heal with Katara, and upon heading back to Empire City, she takes an abrupt turn to spend more time isolated and on a sort of spirit journey in the wild because she didn't feel ready to face her destiny and her friends and was suffering from PTSD. She later returns to EC, and to Asami, and they are close together for the season.

This all caught the attention of the Korrasami shippers who had, at the time, kind of only been casually shipping them because, hey, wouldn't it be nice? and they were slowly and steadily getting more crumbs, and the ship gathered momentum as the seasons progressed.

But lo and behold, everyone else was saying such things as:

"they're a female/female ship, it will never happen, even if you want it to" (even shippers of Korrasami were resigned to this because the precedent in youth animation in western cartoons at the time, was of course, not inclusive of same sex couplings).

We SAW the subtle development between the two and DARED to hope and dream that it might one day become canon, even though we thought it unlikely because of the trend towards heteronormativity. We saw their interactions and toiled over if they were trying to hint at something more between them.

"They're just friends. You're reading into it"

Because the "just friends" behavior of Korrasami in later seasons were:

-Asami being deeply supportive of Korra when she was injured (and for a time, disabled) Like, literally, getting on a knee, putting her hand into Korra's and saying "I'm here for you, for ANYTHING you need" kind of supportive, even offering to COME to the SWT with her. (Korra sacrificed her desire to have Asami close because she didn't want Asami to drop her duties as basically a CEO to tend to her)

-Korra receiving letters from all of her friends during her healing period, but ONLY responding, in a very beautiful letter, to Asami's.

-Korra honestly apologizing for being gone so long without writing more than one letter or sharing more of what was going on or where she went

-Asami complimenting Korra's new hair and Korra BLUSHING and looking SO charmed(and returning the compliment of how amazing Asami always looks) --there is no hetero explanation for this.

-being battle partners and constantly having each other's backs

-Asami protecting Korra from pursuing enemies while she's in the Spirit World(leaving her physical body vulnerable)

-other characters in their circles being literally like "What's going on with you two??"

-Culminating in the final episode after the final battle with Asami breaking down, confessing that she wouldn't know what she had done if she had lost Korra in that final battle(she'd even lost her father the same day) AND THEN Korra comforting her and suggesting that they, the two of them, alone, take a trip together, to get away from it all for a bit.

-It ends, when They literally walk into the spirit world portal holding hands and staring lovingly into each other's eyes as the camera pans from them into the spirit portal

Which, LET ME TELL YOU, watching this when it first premiered, for the first time, WAS AN ALMOST TRANSCENDENT EXPERIENCE. It was a soft scene, emotional, beautifully animated, and the MUSIC just hit you right in the heart. Like, they didn't even kiss to really hammer it in that THEY ARE IN LOVE, however, it was an EMOTIONAL PAYOFF and there was NO arguing that they were not a couple. Creators soon after confirmed, yes, they are both bisexual women, and they are in love.

And so, you could definitely say that Korrasami could have been interpreted as just "Very Good Friends" behavior, of "Gals being Pals", and many people DID argue that, and would later claim that there wasn't "enough build-up to the relationship". And part of the atmosphere in media back then(esp. Nickelodeon at the time) they really couldn't be blatant about it up until that ending. It was even a thing that Nickelodeon had been kind of shooting them in the foot for a while with switching around air times, and eventually taking it off air and putting it only available to view ON THEIR WEBSITE. There was a lot of fuckery with the studio at the time, and It wouldn't have been far off to think that they had issue with the idea of this series ending with two girls together romantically.

It just kind of makes me think of people telling BKDK, not only "They're m/m, it'll never happen in shonen manga" but ALSO anything from "they hate eachother" to "They are toxic because Bakugou bullied him(blatant disregard for any current development of Bakugou's character) and so it can never ever happen" to "Ok sure they're becoming friends again, but that doesn't mean they love each other or will by the end of the story"

When arguably, Korrasami was basically given the same dismissal.

And my dudes, it's only gonna get more intense from here.

Like, Bakugou and Izuku are friends now(again). There's no denying that. They would literally die for one another. Their relationship, and the emotions between the two of them in the coming arcs will only be compounded, with how the last arc left off and how Izuku SUDDENLY left and how Bakugou has so many unresolved feelings, and how, like Korra being the Avatar and having to save the world multiple times over(and the PTSD she got from it), Izuku is carrying a heavy burden that Bakugou is determine to help him see it through to the end without LOSING Izuku in the process. Their stories are so closely tied together and they are SET to return to each other, and it CANNOT end WITHOUT them being together, in some capacity, even if it is just platonic.

So...I wouldn't write BKDK off just yet. We're at the same spot right now that Korrasami shippers were when they were starting to seriously think that there was something canon about Korrasami.

So, Am I saying that I for sure, 100% believe that BKDK will become romantically canon? Not really; the hurdle of it being a Shonen-oriented manga being actively marketed for boys, is admittedly a huge hurdle to overcome, and I, as an American, cannot begin to understand all of the cultural barriers, or implications breaking any of those barriers would have to a Japanese audience or for Horikoshi/his career as a manga-ka.

I still don't know what Horikoshi is thinking when it comes to BKDK, he's obviously very private and all we can do is speculate on what he feels about it; there's still a possibility, however small, that he may actually be the biggest BKDK of us all, and "telling the story he wants to tell" may yet include BKDK becoming canon(that quote may also have nothing whatsoever to do with any romance, but we don't know)...But, much like I was at the point in the Korrasami tale, I'm still painfully aware of the precedent that remains in the way.

Like the Korrasami tale, though, I suppose there is that possibility that we will see something completely amazing and groundbreaking, and I will once again have that transcendent experience where an unlikely ship suddenly becomes reality. At this state in the Korrasami tale, I had NO IDEA that we were shipping the real, canon deal, and it honestly surprised me, being that I usually attach myself to something that never becomes canon, lol(*cough*Zutara).

We're in the thick of it now, we just gotta wait it out and see.

#Korrasami #Bakudeku #antis dni #bkdk #a small essay #bit of a ramble #hope this makes sense #Korrasami crawled so she-ra could run and so voltron could fall face first lmao #all speculative #like do u understand #we had NO IDEA #We had no idea that it would actually become canon we were just like HEY THIS IS ADORABLE AND THEY ARE SO CUTE TOGETHER #and they're battle gfs #there was the added spiciness that these girls were BOTH on opposite sides of a love triangle with mako #so it started out as a J O K E like Korra forget mako and date asami shes so much better #YOU BOTH DESERVE BETTER THAN MAKO #and they DID

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thehappyrealityproject · 4 years ago

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Message from Mariya:

Creating a Happy Reality

Hey everyone! I believe an update is in order! Last time I posted on my blog was September 2019, and now it’s April 2021.

First, I’d like to say that I’m very thankful for my friend, who agreed to type up this message and post it. I’m also very thankful for this incredible tech-free journey, which turned out to be more like a gradual letting go of things rather than letting go of everything that I wanted to let go of at once, and the many wonderful discoveries I made because of it.

Recent discoveries: Not using artificial lights makes it a lot easier to go to bed earlier and promotes a sense of inner peace, while not checking the time lowers anxiety.

At the core of why I wanted to leave modern technology was a deep desire to reconnect with myself and the magic of real life. And the electrical sensitivity – which reflected my deep dissatisfaction – provided me with the motivation to actually do it.

“Technology is the knack of so arranging the world that we do not experience it.” – Rollo May

The aim of everyday modern technology is to get things done faster, but what that actually does is keep people away from fully living.

Relatable excerpt from a book I was recently writing:

“I see what’s going on here,” said George.

“You do?” I asked.

“Yes. People are skipping the journey and going straight to the destination. You want food? Pop a package in the microwave. You want clothes? Order some online. You want to travel to a new faraway place? A plane will get you there while you sleep. ‘Instant gratification,’ they say. Yet that’s not gratifying at all. Life isn’t about the destination, it’s all about the journey. There is joy in cooking. There is joy in growing your own food and making your own clothing, too. The end result contains only a tiny fraction of the joy compared to the whole experience. People have forgotten this. They’ve replaced the whole experience with activities that only leave them feeling empty, like sitting online all day or watching television. On the flip side, if they returned to the whole experience of things, they might appreciate it much more, knowing that the alternative is senseless; it literally doesn’t require most of the senses. So there is a great lesson in this, one that I’ve learned myself. Maybe that was the reason for why it all came to be this way,” he replied.

I learned that many of the things that people think they need and often seek happiness through are not only the very same things that distract them and keep them away from the happiness they seek (which happens to be our natural state), but also cause harm to them, the environment, and the very life that sustains us – stuff that we actually do need!

For instance, something we really need – like clean air – is completely taken for granted and diminished because of car fumes (one of the top causes of air pollution) and smoking. The population of bees, which are vital to many of the foods we eat, is decreasing at an alarming rate because of cell phone signals and pesticides.

Wild nature, another thing we really need, has also diminished. The less I distract myself, the more I feel like I need to be there. I wonder, are we all consciously or subconsciously distracting ourselves from that need? After all, deep down, we are wild creatures who were conditioned to be otherwise.

In other words, we need much less than we think we do, and we need to protect and take better care of that which we actually do need.

As I was letting go of electronics/modern technology, another interesting thing happened: I became increasingly aware of the state of modern society, AKA the comfortable prison, and it didn’t take long for me to want to leave that behind as well.

I noticed that cities have significantly small amounts of trees; some blocks don’t have any at all. There’s concrete all around, “Keep Off the Grass” signs, overcrowded stores with plastic everywhere, car/train/construction noises, saturation of cars, car fumes, and contrails being dispersed in the sky, releasing carbon dioxide and soot into the atmosphere. Some people are afraid of opening windows because of fumes.

Suburbs have perfectly manicured lawns, so much so that nobody steps on top of them. “Private Property” signs. There’s still concrete all around. Nobody is outside. Why? They’re all inside, staring at screens.

More rural areas have power lines hanging everywhere. Any sensitive or energy-intuitive person can feel the unpleasant energy coming from them. Houses are farther away from each other, and there are larger lawns. More “Private Property” signs. Again, nobody is outside. Same reason. Whether here or in the suburbs, people don’t usually take walks, they take their car everywhere. Unless people choose to exercise, movement is minimized and so is strength. A common theme in these places is stagnation and isolation.

Most people pollute their bodies with drugs, alcohol, or smoking, and it’s considered completely normal to do so. In fact, many of them get startled when they discover that someone chooses not to do that.

Ironically, organic food, AKA real food, which is our birthright, is considered a luxury now and costs more than fake food.

Is this what they call progression?

I just want to add that even if this really upsets some people, it’s important to know in order to be inspired to create some real and amazing changes. Once you know what is going on, you can turn your attention towards creating what you do want.

I never used to be one of those people who focused on global issues much, but they’ve gotten so out of hand that they are affecting normal day-to-day living. This is not normal.

Meanwhile, I was just looking for a quiet place in nature where I could take walks barefoot on grass (a very natural and beneficial practice), relax, breathe fresh clean air, and not have to ask someone to drive me to a state park.

Can you live in nature without a car? YES. By becoming more self-sufficient.

Last summer, I met a family that grows their own organic fruits and vegetables (and what a magical thing that is!) without any machinery. They shared their strawberries with me. By the way, there are books that teach you how to grow everything, even how to make your own flour and yarn. That’s how they learned their skills.

I realized that you don’t actually need money to live a joyful life and that the money and exchanging goods and services system is an outdated fear-based system that completely eradicates the joy of giving – one of the highest joys we can experience here. Giving to receive doesn’t feel nearly as good. That’s why many people don’t feel comfortable with that system, even if they do what they enjoy.

So if modern technology or modern society isn’t progression, then what is?

Love. Becoming more loving and allowing yourself to be loved!

Treating ourselves, others, and the planet with kindness and love, realizing that we’re all connected. That includes not using substances that pollute your own body.

Falling in love with your uniqueness and the uniqueness of others.

Falling in love with life!

That’s what it’s always been about, folks.

At this point, however, it’s also about creating a completely different and better way of life. So what I’d like to do is bring The Happy Reality Project into real life, where it was always meant to be, and create an intentional community that reflects happiness and the true meaning of progression. This community can later extend to other places around the world.

Details below:

I’m looking for people who feel like they’re done with modern society – done with distractions, staring at screens all day, being around drug use/alcohol/smoking, air pollution, light pollution, and all the other pollutions, the concrete jungle, the rat race, stagnation, hiding and feeling shame or being shamed for their own beautiful bodies, etc., and done with being under the spell that this is all normal. I’m looking for people who see through the illusion and know that this isn’t progression, but actually quite the opposite. I’m looking for people who want to create something new with me and would be interested in living off the grid without electricity or electronics, observing a sky full of stars, dancing to or playing live music, rediscovering the magic of nature, becoming more self-sufficient, and exploring what it truly means to be a human being and to naturally feel happy, free, and alive!

Let’s put life back into life!

Harmony and being in awe with life is the norm.

Location = open for discussion.

If you’re interested or have any ideas or suggestions, send an email to ------, where my friend has agreed to respond.

Almost 4 months later, update: The email has been deleted due to no responses. Perhaps the internet isn’t the best place to find people who want a lifestyle without electronics. Regardless, we still think it was important to share this message.

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elyvorg · 4 years ago

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Maki Harukawa: What She Wants Matters

As much as I love Maki and her character arc, I didn’t use to think there was any need for me to do a big analytical ramble about her like the one I did for Kaito. After all, Maki’s arc is very clear and in-the-open thanks to Kaito encouraging her to talk about things. Look at her opening up and making friends and learning to trust people and be trusted herself! It’s lovely to behold.

But I realised as I thought more about Maki that there is a part of her arc that’s a lot subtler and likely gets noticed and talked about a lot less, which is a shame when it’s possibly the most interesting aspect of her issues and development. I’m referring to how difficult it is for her to believe that her own feelings and desires are important in any way, and the series of events that pushes her into finally acknowledging this and beginning to embrace what she wants for herself.

So let’s talk about this. Because just like everything that goes on inside Maki’s head, it matters, and it deserves to be talked about.

Her feelings don’t matter

Throughout chapters 3 and 4, Maki gradually makes a lot of progress in opening up to Kaito and Shuichi about herself: the people she’s killed, the horribly gruelling training she’s been through, and eventually even her happy days back at the orphanage before her life became hell. But one aspect lags noticeably behind compared to her just talking about these things, and that’s her ability to acknowledge how she feels about any of this.

Maki repeatedly calls her stories about her horrible past “boring”. Really, they couldn’t be further from that – it’s heartbreaking learning how much suffering she’s been through – but she genuinely doesn’t expect Kaito and Shuichi to be having any kind of emotional response to hearing it all. She has so thoroughly convinced herself that her suffering doesn’t matter that it doesn’t occur to her for a second that anybody else might think it does – not even the people she’s just about beginning to accept are seeing her as a friend. There’s also the way she has a habit of calling Shuichi’s expression “gross”, specifically whenever he shows signs of caring about her feelings and seeing her as a person. She’s trying to write off his concern for her, because no, that’s not a thing he’s supposed to be doing. Her feelings don’t matter. Nobody else – not even someone who might be her friend – is supposed to care.

You’d think, when people found out her talent and became afraid of her, the most obvious way for Maki to defend herself would have been to explain that she never chose her profession and was basically forced into it against her will. Yet it never even crosses her mind to say that. It’s only more than a chapter later, in the chapter 4 training session where she talks about her past at length, that Maki finally fully admits for the first time that she never had a choice in becoming an assassin. But even then, she says it offhandedly, like that fact doesn’t ultimately matter or change anything.

There’s also a comment Maki makes in early chapter 5 about how killing for a living makes her no better than the evil sadist that they’re assuming Kokichi is. She genuinely doesn’t think the fact that she didn’t choose this and doesn’t enjoy murdering people counts for anything in terms of judging how good of a person she is in light of all her murders. That’s so heartbreaking? Of course that makes her a significantly less terrible person than a hypothetical sadist who kills just for fun!

There’s no way out

This whole problem is illustrated even more clearly in Maki’s final free time event. It might seem like a positive sign of progress that the event ends on Maki saying that maybe she’ll be able to quit being an assassin one day, but the way she approaches this possibility is so painfully telling about how messed-up she still is. And this FTE takes place as late in the story as chapter 5’s Daily Life, because Maki still isn’t going to get anywhere with this part of her issues until the fifth trial.

In the FTE, Shuichi offers to use his detective skills to investigate and maybe take down her assassin cult so she won’t have to kill people any more, and Maki instantly tells him that’s impossible. She explains that assassins are currently a necessary evil in this world and suggests instead that Shuichi should try to change the world enough such that nobody ever resorts to murder any more. Only then, Maki concedes, she might be able to stop being an assassin.

Which is a monumentally worse way to approach getting her out of her profession than what Shuichi was suggesting, and completely missing the point. Some assassins exist who actually willingly chose that job for whatever reason, and they should be the only people who “need” to do it. Even if assassins might be necessary, child slave assassins who never had a choice in the matter are very decidedly not. Taking down Maki’s one single child-slave-assassin-training cult is absolutely the simplest and most achievable way to help her.

But Maki doesn’t see it that way, because the fact that she personally never wanted this has never crossed her mind as relevant at all. If Shuichi asks her “but are you okay with this?”, Maki tells him that question is unreasonable and cannot answer it. It’s really a very simple question – the answer is no, obviously! – but Maki has trained herself to block out her own feelings about her situation and write them off as unimportant and irrelevant, so thoroughly that her mind just short-circuits and returns an error message when she’s asked about them.

The reason Maki’s like this, the reason that this is the hardest thing for her to change, is that this is the coping mechanism she’s had no choice but to develop. Trapped in her awful situation with absolutely no possible way out of it as far as she could see (she was ten years old), all of her thoughts and feelings about how badly she didn’t want this would have been just too painful for her to deal with. The only way she could cope was by locking those desires and feelings away and convincing herself that they don’t matter. She’s just had to resign herself to this. When there’s genuinely no escape, nobody could bear to keep fighting against it forever. It’s so much easier to just stop trying, and to forget that you ever wanted to try in the first place.

Maki has grown up telling herself that the impossible is just impossible, so she should accept it and get used to things the way they are. Trying to make it possible is futile and will only lead to more pain.

This is precisely one of the many reasons why Kaito is such a good influence for her and exactly the kind of person she needs to help her out of this!

She killed Kaito, and she definitely doesn’t care

…Or, at least, he might have been, perhaps – if she hadn’t gone and killed him.

After what I imagine was a huge emotional breakdown over the events in the hangar, Maki pulled herself together and suppressed that pain as hard as she could. She’s so well-practiced at doing so that the next morning – the morning after she killed her closest friend – she appears to be just about the same as ever. Even as they find Kaito’s body even more horrifically dead than she was expecting to see it, Maki firmly insists that his death doesn’t bother her.

It’s that same coping mechanism she always uses, for exactly the same reasons. This reality can’t be changed, and thinking about how she wanted things to be different only causes pointless unnecessary pain, so she doesn’t. She can’t. She just accepts things the way they are and convinces herself she’s fine with it.

Maki refuses to investigate with Shuichi not only because she doesn’t want him to figure out she’s the culprit, but also because Shuichi keeps infuriatingly talking as if Kaito might be alive – and as if she should want Kaito to be alive. She just can’t bear to be brought anywhere near those kinds of thoughts about what she might want when she knows that it’s already impossible.

Later in the trial, while fervently arguing that having broken into the hangar doesn’t mean she’s the one who killed Kaito, at no point does Maki ever try to defend herself on the basis that she would never want to kill him. Nobody has brought up the possibility that Kaito’s death could have been accidental at this point, so it would be a sensible argument to make. Granted, arguments about someone’s character and motives aren’t the most concrete ones to make in a class trial, but Maki has to know that it would be likely to give Shuichi pause, because there’s no way he’d want to think that Maki would do that either.

But no. Of course that’s an irrelevant argument to make. What Maki wants never matters, especially when it comes to her having killed someone. She’s just a murderer, and Shuichi should accept that she could just as easily have murdered anybody at all, even if it’s Kaito, no matter how she might hypothetically feel about it.

Even as Maki is confessing to the truth of what happened in the hangar and it becomes clear that her shooting Kaito with the poison arrow was an accident, she never actually directly mentions that she didn’t mean to kill him. She talks only very indirectly about the panic she felt while rushing to get the antidote, without properly expressing why she was so desperate. It’s only “I knew I had to do something about the poison,” and not, “I couldn’t let Kaito die.”

It just hurts too much for her to think of it that way when Kaito still died anyway because of her, and nothing will change that truth.

…Kaito’s alive!?

Until, out of nowhere, maybe something can.

If Shuichi still thinks it could be possible for Kaito to be alive, then maybe it actually is. The fact that Maki listens to him as soon as he expresses this is a subtle but huge testament to how much she believes in her friend’s detective skills. She only ignored Shuichi’s optimism earlier because she knew a lot more than he did about what happened in the hangar, and she didn’t see any possible way out for Kaito from where she was standing. But now that he knows that same information, Shuichi can still see a way out after all.

Maki puts her faith in his judgement and latches onto that tiny possibility that Kaito might be alive with everything she has. She refuses to let it go, despite Exisal Kokichi – aka Kaito himself – continuing to insist it’s totally impossible. I bet Kaito made a point of claiming it was impossible in a deliberate attempt to spur Maki to argue otherwise, and he must have been bursting with pride in her when she went and did exactly that. The impossible is possible! Maki Roll is finally believing that for herself! She’s finally trying to claw and fight her way into a better reality instead of just accepting the awful one she’s stuck in!

An equally important and absolutely lovely part of this is Maki finally expressing the fact that she didn’t want to kill Kaito, that she hates the thought that she did that. Based on her wording and her hesitant tone, it’s still difficult for her to admit it, but she’s finally doing so. It’s not quite so unbearably painful to think about when it might not be the truth after all. And it’s so wonderfully appropriate that this is the first moment we ever see Maki cry – she’s finally letting herself acknowledge and express her painful emotions and feel like they matter.

She also openly admits for the first time that she likes the nickname Maki Roll, not just begrudgingly accepting it, but actively asking Himiko to call her that! She’s desperate for anything that’ll remind her of Kaito and help her hold onto what she felt like back when he was alive, so that she can keep believing that maybe he still is. Maki is finally beginning to embrace how much she cares about Kaito and treat that fact like it’s important and deserves to be acknowledged, and it’s adorable.

Half a lifetime’s worth of forcing herself to just accept her lot as an assassin and ignore how desperately she wants to be a normal kid was always going to be nigh-impossible to break through on its own. But caring about Kaito and not wanting to lose him are new feelings that Maki hasn’t spent half her life suppressing. She only had a single night to shut away her pain over Kaito’s death and accept that he’s definitely gone – it’s far easier for that to be undone. The moment a tiny glimmer of a possibility opens up again thanks to her belief in Shuichi, Maki couldn’t ignore it if she tried.

Maki’s arguments for Kaito’s survival aren’t even all that logical. Her statements in the Nonstop Debate about the video are too caught up in what if it wasn’t Kaito? to make any meaningful suggestions like everyone else is; she insists the weird video angle “proves” a trick was used when really it only opens up the possibility; she’s the first one to hastily summarise everyone’s discussion about the video trick and just get to the point that this means Kaito’s still alive, right? Maki’s usually one of the best at taking the rational approach in trials and focusing on all the logistical details, but right now she doesn’t even care about any of that stuff, not when Kaito being alive is what she wants to be true, more than anything else in the world.

It would hurt so much for this to all be for nothing and for Kaito to turn out to be dead after all. Holding onto this hope is such a huge risk, and it’s terrifying – but it’s worth it. Even the tiniest chance of Kaito being alive is infinitely better than the alternative, no matter how terrifying it is. Whether she likes it or not, or even realises it at all, this experience is teaching Maki that fighting for that tiny possibility of something better, no matter how much it hurts, is always worth the pain.

Maki’s desperate defence of Kaito leading into her Argument Armament, though she doesn’t admit it and keeps trying to insist her argument is logical, is also her acting on her emotions. Her only real reason for it is simply that she doesn’t want to believe Kaito could have killed anyone.

And the only way for her to run away from that is to insist that she really did kill Kaito after all – which incidentally forces her to express a narrative of “this happened even though I didn’t want it to,” and not brush that latter part off like it’s irrelevant. This time it’s just a lie, but this is nonetheless a very important kind of narrative that Maki needs to learn to understand and accept. Sometimes things happen that she wishes never had, but that doesn’t mean that the fact she didn’t want it never mattered!

Losing Kaito after all

Maki is forced to learn this even more harshly at the end of the trial. Kaito’s alive, she didn’t kill him, he’s right here – but he’s dying anyway and there’s not a thing she or anybody else can do about it.

The Maki from before all this happened would have just given up, accepted it, and immediately begun insisting to herself that she doesn’t care in order to cope. Kaito is clearly a dead man walking on two separate levels – his illness and the execution – and changing his fate at this point really is completely and truly impossible. Maki is a smart and pragmatic person; she knows this perfectly well.

But the Maki who’s here now refuses to let that stop her from trying. She’s furiously determined to fight the Exisals to protect Kaito, despite knowing that even her assassin skills aren’t enough for that, despite knowing that Kaito is sick and dying anyway no matter what she does. She doesn’t want this, so she’s going to claw and scream and fight against it with everything she has, no matter how futile her efforts will be in the end. I love her line, “I don’t want this to end… I just… don’t…” – the only reason why she’s doing this is that she doesn’t want Kaito to die, and that’s the only reason she should ever need.

Amongst all this, Maki desperately admits to her romantic feelings for Kaito, because even if this can’t do anything to change his fate, her feeling this way about him still matters and she’s still feeling it and it deserves to be said. She’s not even really saying it for Kaito’s benefit like she expects a response from him about it; she’s just saying it for her own sake, because she wants to make it real.

Usually I’m the first person to roll my eyes and lose interest when romance rears its head. Yet I can actually appreciate the fact that Maki’s feelings for Kaito have a romantic aspect to them, because it makes this moment work for Maki’s arc in ways that it wouldn’t if her feelings were purely platonic.

Kaito was obviously always trying to get Maki to consider him a friend, so her having done that is still essentially her just doing what someone else wanted of her, like always, albeit at least someone who has her best interests at heart for once. But Kaito never asked or expected Maki to fall in love with him. Maki’s romantic feelings came from nowhere but herself. And while that in itself can’t quite be called her “choice” because that’s not how romantic attraction works, Maki accepting and embracing those feelings to make them a part of her and let them drive her actions is entirely her own choice. It’s a choice nobody else, not even Kaito, encouraged her to make. That’s such a huge, huge deal coming from her.

Maki caring about Kaito as a friend is something that was already pretty apparent from her actions and never really needed to be said. But her caring about him romantically was something that nobody would have known (Tsumugi’s incidentally-right-for-all-the-wrong-reasons amatonormative bullshit aside) if Maki hadn’t decided that it mattered enough to want to express it.

Maybe she manages to admit to all this now because she hated having to suppress all her feelings about Kaito like they didn’t even matter the last time he “died” on her, helping her realise just how important these feelings are to her and that she can’t bear to just ignore that any more. Kaito has been so, so good for her; of course she wouldn’t want to lose that, nor brush it off like it’s nothing.

Seeing him about to die for real this time with no way out, Maki’s probably also driven by some desperate irrational sense that if she just explodes with all of the exact reasons why she doesn’t want this to happen, maybe it somehow just… won’t? This is the very opposite of the lock-it-all-away coping mechanism she’s been employing for a lifetime, and even as it’s heartwrenching, it’s also so lovely to see her doing this.

Maki partly tries to cover up these emotions of hers at first with her fierce assassin mask. She’s still instinctively using her usual defences to try and block out some of the pain, but it’s not enough to stop her expressing things, nor to stop her from crying as she does so. As Kaito responds to it all by showing his usual painfully selfless pride in how far she’s come and can keep going from here, making it all about her and not himself, Maki finally seems to fully accept that there really is nothing she can do to save him, and she drops the assassin mask and just breaks down completely.

Kaito is inescapably about to die, even though she doesn’t want this, and both of those facts are allowed to co-exist. She lets it hurt; she lets herself cry over his death, because no matter how painful it is, it’s worth it. It’s so much better than pretending she never cared about Kaito and all the things he did for her. Maki tried doing that once, and she’s never going there again.

In their Kaito memorial training session after the trial, it��s such a big deal that Maki is the one to nudge Shuichi into talking about how he’s feeling and how much it hurts. She’s finally realising and learning for herself that opening up about her painful feelings can help, and by sharing that with Shuichi, she’s helping him deal with his grief, too. She resolves to honour Kaito’s memory by showing how grateful she is for everything he did for her, not even because that’s what Kaito would have wanted her to do, but just because she wants to for herself.

It’s all “fake”

But losing Kaito isn’t quite the end of Maki’s arc regarding all this. There’s still a little further for her to be pushed in trial 6.

When Shuichi reveals in the trial that Kokichi wasn’t actually a Remnant of Despair, Maki is subtly the most shocked out of anybody to hear this. She never explains why, but knowing what we know about her issues with never having her own desires and always being used as a puppet by somebody else, it’s clear that that’s what this is about.

Maki thought that her decision to kill Kokichi was her own. She even still basically kept thinking of it that way even after learning he wasn’t the mastermind, and even after realising that the Flashback Light was a motive designed to make her target Kokichi. After all, she’d have chosen on her own to kill a Remnant of Despair anyway; the Flashback Light just happened to let her know Kokichi was one, right? But upon realising that none of that was true, that there was no genuine, non-fabricated reason for her to kill Kokichi at all, it shakes Maki to her core.

It wasn’t really her decision, on any level. She was finally beginning to feel, after Kaito’s trial, that her desires were her own and they meant something – but here’s a sudden revelation proving that this action of hers that she thought was entirely of her own volition was never that at all. It was nothing but her being manipulated and used as a puppet to kill by someone with far more power than her, just like she always has been.

(Maki also overlooks the implications of Kokichi’s motive video during the investigation, even though she’s in the room when Shuichi watches it, meaning she should have seen it and been able to figure out what it meant by herself. The sad truth is that because of her background of suppressing her own desires and ideas, Maki is very susceptible to manipulation. She was quite happy to believe that Kokichi was a Remnant of Despair, because it justified her decision to kill him and made the whole situation easier to deal with. There was no way she was going to question that assumption on her own.)

Similarly, when Tsumugi boasts that the Flashback Lights were being used to control everyone’s emotions and motivations, Maki again sounds more distressed by this idea than anybody else. She thought her determination to “defeat despair” was her own desire, but really, none of it was. In this instance, that’s basically true, but hearing as such is especially painful for Maki. It hits her right in her issues and the progress she was beginning to make about feeling like her own person, making her wonder if she really even is at all.

This gets even more painful for her a little later, as Tsumugi goes right for where it hurts and insists that Maki’s romantic feelings for Kaito were just artificially implanted by a Flashback Light, never truly “real”. Tsumugi probably did this because she thinks that ~romance~ is so much more important than friendship and obviously Maki must be soooo sad to lose that – but that’s not the reason why Maki’s distressed by it at all. It’s because, as I went over before, Maki’s romantic feelings for Kaito were supposed to be hers and something nobody else wanted of her and that she chose to embrace and make a part of her, all by herself. Hearing that actually they just came from some evil asshole manipulating her and using her as a puppet yet again – it tears right into all of the progress that these feelings themselves had been helping her begin to make. Maki’s emotions and desires matter after all? No, they don’t. They were never even hers in the first place. They were never even real.

Someone more self-assured than Maki (such as Kaito) would have been able to stand up for their own feelings here and call Tsumugi’s claim out as the bullshit it obviously is. Even if her feelings were implanted, they would still matter just as much because she’d still be feeling them now – but also, there’s a mountain of evidence for the fact that Maki’s romantic feelings for Kaito were in fact completely real and organically arose throughout her interactions with him. She made it very clear as she confessed to them at the end of trial 5 that this is all about the kind of person Kaito is and the things he’s done for her. That’s where her romantic feelings arose from, and all of that was entirely real and happened after everyone was created from fake memories. Maki is the only one who was inside her own head when she began to feel that way about Kaito, so she of all people should know better than anyone else just how very not-fake her feelings are!

But she can’t realise that on her own. Despite the progress she’d been making thanks to Kaito’s trial, Maki had still spent a lifetime (a fake lifetime, but those fake memories clearly still wired her brain to think this way) suppressing her emotions as thoroughly irrelevant and feeling like she was nothing but a puppet for other people’s whims. She began the killing game with absolutely no self-assurance in who she is or how she feels; of course it would be heartbreakingly easy for her to lose faith in herself and revert back to thinking that way again when given the slightest reason to.

So Maki just buys Tsumugi’s claim completely, without even questioning it. Her feelings for Kaito were fake, as was her desire to defeat the mastermind, as was everything else about who she is. Nothing about her matters, and it never did. She doesn’t even get to be a person at all.

Believing in herself at last

We don’t see Maki reacting much as Shuichi begins his impassioned argument that the pain and emotions and desires everyone felt in this killing game were still thoroughly real. But it must have helped her begin to overcome this. If you feel something, that feeling is real and important, and that’s all that matters. She believes in Shuichi’s judgement; she must have been listening to him.

Perhaps even more helpful for her is how, as Shuichi encourages Maki to stand with him on this, he urges her to believe in herself. It might sound generic at first glance, but really, that’s exactly what Maki’s arc and her struggle with these issues always needed to come down to in the end: her believing that she has worth as a person. Not only in terms of not hating herself and accepting that she deserves to have friends, but in terms of embracing the fact that her feelings are real and important and hers, and they always have been.

It’s so hard for Maki to do this. It goes against everything that’s been ingrained into her throughout her whole life (a “fake” life, but what does that matter when it’s having a real effect on her?), and everything that Tsumugi’s been spouting for half the trial. But she can do it now. Thanks to everything Kaito’s done for her, and the things she felt as she lost him twice, and Shuichi’s continued support, Maki finally makes a conscious effort to believe in everything she’s feeling. She chooses for herself to make her existence as Maki Harukawa matter.

It’s such a wonderful culmination to her character arc, right at the end of chapter 6. She’s finally reached a point where she can fully accept and embrace that she wants to believe in herself like this. Kaito would be so, so proud of her – like he once said, “The only thing that matters is what you want to believe!”, and now Maki Roll is embodying that perfectly! But as much as Kaito would have loved to see this, the best part is that she’s not even doing this to make him proud. She needed her friends’ help and kindness to be able to reach this point, but now she’s not doing this for anyone else’s sake. Maki’s doing it purely for herself.

#danganronpa v3 #danganronpa v3 spoilers #maki harukawa #character analysis #ramble #friends #happy birthday maki roll!#have a lengthy ramble about your issues that you *should* want everyone else to know about because they *matter*

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mattzerella-sticks · 3 years ago

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DC’s Round Robin is Back!

And SPOILER - there are no ‘Robin’ titles 👏🏼👏🏼👏🏼

First round voting is up, through Instagram Stories and either the actual DC website or DC Universe - so vote there!

See below for a list of summaries, with titles bolded for ones I think will be good and also italics for my thoughts - and be sure to VOTE~

Hawkman & Hawkwoman: the Changeling - Hawkman and Hawkwoman have never had children together. They know that for a fact. Then who is Hektor Hol, the hot-headed, razor-winged teen who claims to be their son? Can they trust their own memories - or each other?

Coming off the fanstastic Hawkman run of DC: Rebirth, which expanded the Hawk mythos to include reincarnations across space, time, and even universes, as well as introducing a new origin as to why the duo reincarnate, this doesn’t read as a worthwhile continuation of a story that ended well and left the door open for these two characters. The two of them sorted out their memories, and they’ve stopped reincarnating. A kid isn’t out of the question, as in one of the many histories before storylines were rebooted, they did have a son - so already we as the audience know that they do have children. And, to top it off, there was an already recent storyline between Kendra and J’onn, and their son they pulled from an imaginary future, which I’d honestly rather focus on because it was an interesting pairing I never gave much thought but loved once they were shown together.

Wildcat: Nine Lives - Wildcat’s spent eight of his nine lives showing the ropes to some of DC’s heaviest hitters, and he’s got the scarred knuckles and reset bones to prove it. But now he’s only got one more life to go. How fearless would you be if you knew it was your last round in the ring?

I love Wildcat. He’s a great character and has been missing these last many years, especially as we see Jay Garrick and Alan Scott return to comics. Ted is the Golden Age trilogy. He’s essential. Plus, this is a great story to welcome him back to the universe. Ted has always been about being fearless, but seeing him combat his mortality would not only be great, but can be done well in six issues unlike some of the other suggestions on this list. It’s also an issue many people must confront, which continues Ted’s relatability as he is an ordinary guy who decided to don a mask and start fighting crime (granted he first did it to prove his innocence, but it means something when he continued to do so instead of hanging up the cowl). Plus, with this, maybe we’ll get some reflection on his earlier days when he never had the curse of nine lives cast on him - wondering about how he feels his age more than ever before, not like back then when he was just starting out, and maybe how the threats were easier so it never felt like he was going against the end, unlike today’s crimefighting. Plus, maybe there’s more he’s holding back on, that he always hid from, thinking he can deal with it later only later might not be promised (like maybe even in a queer way)? If this also ends in his funeral it can really set up the transition for Yolanda Montez into the comics really well as his successor, and even bring back his son who got erased in the 52 reboot.

Finally, if this wins than I can already guess who might want to take a stab at doing the art (Doc Shaner):

The Questions: Grand Solutions - What happens when people from all walks of life are activated as faceless vigilantes, each forced to solve an alternate reality game where the stakes are life and death? That’s THE QUESTION, but does Renee Montoya have the solution?

There’s not much I can say about this lol. It’s a cool concept, though done before through other mediums. Will this have a satisfying resolution in only six issues? I can’t be sure but I suspect it won’t. I’m hungry for more Question content - Vic Sage was an interesting mix in the Leivathan event series and Renee Montoya has been sidelined in recent months due to being the new Commissioner, so she hasn’t been showing up as often as I like, so I would like to see more of them together. It’s hard though because there are two Question mini-series out there, both wildly different in terms of quality I would say. There’s the first, The Question, the Shaman, which turns the Question into a more magical figure and it honestly felt muddled throughout the entirety of six issues. Then there was the Question, the Five Books of Blood, which was fanstasic and really set the precedent for Renee Montoya’s tenure as the Question. While it features Renee, I can’t help but feel this is going to be like the Shaman one.

Constantine & the Demon: Vacation from Hell - Arcane guile meets hellish fury! John Constantine is forced to play host to Etrigan the demon as the pair embark on a deeply personal - and possibly apocalyptic - mission. Journeying back home to Liverpool, Constantine must confront ghosts from his past, and Etrigan isn’t exactly his first choice for an ally!

I voted for this but now that I think about it, I can think of better comics on this list winning, or at least more deserving to be made into a miniseries. Not that I don’t love either character - I’m a John Constantine ho - but it’s not like they’ve been underserved as of late, John especially. In fact his last minseries, Constantine: Rise + Fall, worked well despite it only being 3 issues and feels very similar to this summary. The only difference being that Etrigan is now involved. Plus, what I think it means is that Etrigan will be inside Constantine’s body, so we’ll see John transform into Etrigan, which would be my only interest to see if there’s a costume change. Instead of this concept, actually, I think I’d rather see a tale about the World’s Finest of Earth-13, which would still be Etrigan and Constantine (or as they’re known, Superdemon and Hellblazer). I think that’d make for a more interesting, or rather... unique... experience.

Suicide Squad: Dark - A team of occult misfits and monsters, assembled by Amanda Waller and led by Vampire Batman, are forced into a mind-melting suicide mission to assasinate Earth-13′s League of Shadows

It didn’t hit me until I re-read this that they would be going to Earth-13 (I ready 33), and I mentioned the above completely unprompted. That being said, again, I would love a story about the League of Shadows, I want DC to lean more into these alternate Earths and tell stories there (like how they’re doing the Jesse Quick/Teen Justice mini-series, the GoT!DC maxi-series, and the recently announced Gundam DC series). However, I do have Suicide Squad fatigue (which was why I didn’t vote for the other pitched Suicide Squad idea last Round Robin). Plus, I’m tired of this plot where Amanda invades alternate earths. That’s already coming to an end with the War on Earth-3, I don’t see why she and Vampire Batman of all people would work together. Furthermore, I think Suicide Squad: Dark is just an advanced Creature Commandos, which would be a more interesting take.

Justice League: Redacted - Green Arrow has watched many heroes - the great, the good, the kind - be forever scarred by the darkness they swear to fight. Rather than sit by and let any more of his friends fall to the festering abyss, he decides to create a Justice League black-ops team of fighters who can survive a few more shadows - because as far as he’s concerned, they may already be lost. Green Arrow’s team of Nemesis, Killer Frost, Manhunter, Metamorpho, and Cheshire are needed more than ever. Green Arrow was worried about what happens when you look the abyss in the eye? That goes double when Johnny Sorrow and Merlyn team up.

This is a great set-up for a mini-series that might not see the light of day if it weren’t for this type of contest! The characters are all ones that wouldn’t make sense elsewhere but fit in this type of story, and already - given the team build - I can get a sense of the dynamics, and I am excited! Also, of the plots, this one seems the most developed. You have the anchor with Green Arrow, who’s been involved in this kind of stuff already with his Checkmate series and can draw people in based on name recognition, giving these more underserved characters time to shine. Plus, of all of these, this is the only series I can see springboarding into an actual comic run (think an Outsiders but run by Green Arrow instead of Batman, or Justice League’s version of X-Force). And it’s not like Justice League has no experience with a black-ops team, as I’m pretty sure there was a short-lived iteration in the 90′s. Finally, the two characters they chose as villains - Johnny Sorrow and Merlyn - make for an interesting pairing. My only drawback is that this very much sounds like the love child between Bendis’s Leviathan event, and King’s Heroes in Crisis, two series that failed to meet expectations. Hopefully it takes the best of both of these and not the worst (which is harder than you’d think).

Firestorm: Fourth World Problems - When Ronnie Raymond and Jason Rusch make the startling discovery that the Firestorm matrix contains a spark of the Life Equation, Darkseid and his armies turn their sights toward the teenage nuclear heroes. But can Ronnie and Jason put their difference aside and combine into Firestorm, or will Darkseid claim the matrix for himself and Apokolips?

I’ve been wanting them to take another stab at Ronnie and Jason. I think there was promise back before Flashpoint rewrote the universe, and coming off Blackest Night Ronnie was brought back to life. But then New 52 came in with their Firestorms comic which... which the less I talk about, the better lol. But this at least holds similar promise as to where things were left after Brightest Day, as there’s truth in the above statement that the Matrix holds a spark of the Life Equation. Ronnie being brought back to life was, in part, so he could help protect the Life Entity and revive the Avatar of Life - the Swamp Thing. The Darkseid choice... I’ll bite my tongue on how they could’ve chosen a better antagonist and, instead, leave off with how maybe the way they put aside their differences is if they kiss a little?

Kid Flash: The Speed of Fear - Reverse-Flash melds with Parallax in an unprecedented combination of the Speed Force and the fear-based yellow power ring to create a deadly SPEED RING that will shatter Oa’s central Green Lantern Battery. A confused and isolated Kid Flash (Wallace West) must chase Thawne across a variety of alien worlds to stop him and the Sinestro Corps while his own powers die because of Kid Flash’s slow disconnection with the Speed Force.

Of all the ones on this list, this is the one I’m least excited for - and also the one I see having a chance at winning (much like the Robins mini-series we’re all stuck with). I’d like to start by saying that I love Wallace West, and would like to see him in more comics. That being said - he deserves a better story than this. First off, Thawne is always chosen to be the antagonist these days like, why not Zoom, Inertia, or even Wallace’s dad? I know he’s dead in the main universe, but it’s not like this story cares about canon since they’re using Thawne despite Barry’s forgiveness resetting his time line, the Sinestro Corps working towards good, and the central power battery already being destroyed. It’d’ve been more interesting to see Parallax use Wallace’s dad - and provide more conflict to Wallace - than Thawne who we’ve seen try and fail a whole lot. And besides all that... there’s no way in which Thawne teaming up with Parallax makes sense, especially since we know the main goal (kind of how Johnny Sorrow and Merlyn make no sense either, but since we don’t know what their end main goal is there’s mystery). I hope this loses in the first round.

Black Canary: When Canaries Cry - When Black Canary intercepts an intelligence operative trying to deliver sensitive material on an encrypted disk, she finds herself plunged into the world of espionage to content with an international consortium known only as Mysterium. With the help of a French spy, Dinah must stop this shadow organization from instigating war for their own profit.

Yes, we have already finished an espionage-themed mini with Black Canary (and Deathstroke). The thing is... we can never have enough Black Canary? Especially a story that feels like it could very much be a Birds of Prey story from the late-80s, early-90s. Back when it was just Barbara and Dinah, and Dinah hadn’t recovered her sonic scream yet. That’s very much the vibe of this entry, more thriller less action, which I can dig. Also there’s opportunity with this French spy to go somewhere - like... maybe a flirtationship? She’s with Ollie, but maybe she’s angry with Ollie for something and this comes along at the right time for her to get away and maybe she entertains something with the spy but then decides that, no matter how angry with Ollie she gets, Dinah will still love him and decides to keep the working relationship friendly between her and the spy. And what if the French spy was a girl?

Green Lantern: The Light at the End of Forever - A dark far-future. A galaxy gripped by tyranny. When an elderly farmer in a backwater system is brutallzed by the latest thugs with jetpacks and jackboots to call themselves lawmen, he remembers a forgotten past. An era of champions. A cadre of noble peacekeepers, long since vanished. His name - he’s sure of it - is JOHN STEWART. Whatever happened to the Green Lantern corps... and is it too late to reignite the light...?

Another one that I wasn’t sold on due to the story but I feel will get far because of the character and name recognition. John Stewart is a great Green Lantern, who’s had a resurgence as of late in being the Green Lantern of choice, not seen since the days when he was the Lantern chosen to be on the Justice League animated series. But I have to say - how many times do the Green Lantern corps have to disappear? I mean, this is a new angle in that it’s set in the future and we’ll apparently have to contend with a false narrator as John can’t remember anything. Also, I’m not sure how satisfying this story might be - I can see it as either an anniversary one-shot, like an annual, or a maxiseries of 12-issues, to fit in everything the fans will want to see and know about what happened to the Lanterns. But at this point, if you’ve been shut down after a certain amount of times... it’s not a question of if you would come back but if you should? I’m also not a fan of the setting - being far into the future, and in space makes me think about a lotta high-concept things I spend the better parts of my day not thinking about. But that’s a personal complaint. I can see this gaining traction, though, as the Green Lantern community felt like they got the short end of the stick after voting as, of the two stories still talked about from the first Round that didn’t win, a Green Lantern series wa one of them. They might have organized since then.

DC Horror Presents: Ghost Tour from Hell - A frantic mother begs for Madame Xanadu’s help in finding her missing son - last seen on a ghost tour with friends. Xanadu’s reading reveals there’s a nefarious being behind the disappearances in New Orleans. Enlisting the help of the Demon Etrigan and Deadman, the trio quickly realize they’re on a ghost tour from hell and they’re no match for these supernatural kidnappers.

Nope. I love Madame Xanadu and want to see more of her in the DCU proper, but this ain’t it. I went on a ghost tour in New Orleans. I don’t even want it put out there that this was an option. Also, the plot for this doesn’t seem more than just - we’re going to have six issues of scary things, that’s it.

Animal Man: the Metamorphosis - Buddy Baker, aka Animal Man, has serious problems. His home life is in shambles, his daughter’s powers are awakening, and the world needs him. But he’s stuck. He needs change. Soon Animal Man will enter a coccoon... but when the metamorphosis is complete, what will emerge?

I’ve middled out on this one. It’s been a while since Animal Man’s had the spotlight, but of runs he has been involved in they’ve been mostly good, with stand-outs being his Vertigo run, his part in Countdown to Adventure, and the Death of Animal Man. He didn’t have a great New 52 run so I understand why it’s been quiet on his front, but if Swamp Thing can have a revival then so can he. However... how many times can his home life be in shambles? I want something new from Animal Man, especially since there’s a lot to play with. An adventure through the multiverse would be interesting, and an homage to one of the most interesting storylines of his Vertigo run (the one involving the Psycho Pirate). Maybe they can do that in this, with Buddy in his cocoon trying on new personalities from other universes to see what his ‘new form’ should be?

Green Lantern: The Birth of Conspiracy - In 1947, three events kindled America’s fascination with UFOs: the men in black, flying saucers, and the Roswell Crash. Three low-level government employees, tasked with monitoring superheroes, realize that one person has been at all three events: the Green Lantern, Alan Scott. He hasn’t been seen since.

Now THIS is what the Round Robin was made for! Again, like with Justice League: Redacted, we have an anchor in Green Lantern which spikes intrigue just by name recognition. Then... they hit you with the plot. As much as I don’t care for showing us what characters will look like far into the future, I love stories set in the past (I’m complex like that), and this seems like it’ll be intriguing but also hilarious. Like... already I can picture the entire miniseries being told by the employees as they’re being interviewed, and they give away nothing despite being asked. Maybe because one of the employees hits it off with Alan...? Alan’s another character who’s been on the backburner since the New 52, and since he’s come out we get the chance to add to the amount of stories featuring a gay Alan Scott (which we are sorely lacking) I wished I could have voted for it, but the competiting title is so wacky I couldn’t not vote for it...

Captain Carrot & His Best Friend Darkseid - The interdimensional space epic no one asked for! DARKSEID is trying to eliminate the newest New God, but the EXTREMELY FUR-IOUS (yes, we hate us too) ZOO CREW is determined to reach their long-foretold CAPTAIN CARROT first…before FRIENDSHIP ruins everything!

Of course no one asked for this... because we didn’t KNOW this was a possibility! I’ll keep this short but, if you know you know lol. Captain Carrot & the Zoo Crew deserve more time in the spot light ever since their three-issue mini-series preceding Final Crisis, and with how they’ve shown Captain Carrot outside the multiverse, it intrigues me to see what the other Zoo Crew members might look. Or even how Darkseid will look drawn in the animated style of that Earth, like how Thomas Wayne/Doctor Batman looked:

It’s giving me a mix of those Looney Tunes/DC one-shots plus the wackiness of comics from the 60′s and 70′s, back when they threw anything against the wall. I can only imagine this story ending one of two ways, the Zoo Crew finding that instead of converting Captain Carrot to his cause ends up becoming his friend and going native (like in that episode of Spongebob, with Plankton, ‘F-U-N’) OR Captain Carrot is converted into an edgier version of himself and fights against the Zoo Crew, however is reminded of his true self at the last minute and fights back... with SLAPSTICK COMEDY!

I don’t see how this could win but oh, how I want to see it.

Superboy: the Man of Tomorrow - Determined to find his place in a strange universe, Conner Kent/Superboy leaves Earth behind. But his journey of self-discovery brings him face to face with a group of freedom fighters who challenge not just everything Conner stands for, but what it means to bear the Superman crest.

It’s time Conner gets some love. He’s been kind of floating in the ether the past few years, and has especially been pushed back into the shadows due to Jon Kent. If Kara can go into space on a self-searching journey, then why can’t he? Although, that is my only hang-up about this story is that we recently had a mini-series just like this, with a similar title, too, from Supergirl (Supergirl: Woman of Tomorrow, I heard it was good but... Tom King, so I didn’t pick it up). It’s an interesting concept and I can see it going far given how many fans Conner has who are clamoring for Conner content. But there’s little much to the story that hasn’t already been explored elsewhere. Maybe it’s a trilogy, though, and the final chapter is Krypto: the Dog of Tomorrow, where he journeys into space to figure out the answer to life’s ultimate question - who is a good boy?

Cyborg: Cyber Gods - Cyborg has grown so powerful he no longer needs to leave his cold metal lair. He fights the good fight, but only virtually, with Cyborg replicas. When the super-villain Gizmo and Klarion the Witch Boy mix magic and tech, they become powerful technomancers. Cyborg is joined by Beast Boy, who tries to remind him of his true power: his human spirit. Cyborg must reconnect with his human side and face the world, or Gizmo will become an omnipotent, unchallenged cyber-god and Klarion will get what he’s always wanted: chaos and destruction.

Of all the ones to pit against Superboy: Man of Tomorrow, I think this is the only one that stands any chance of beating it. Cyborg has a solid fan base who want to see more of him, especially since his most recent series made it feel like he was relegated to second-string (understandable in an ensemble comic, that no one character could stand out and shine, but of the Titans he and Gar had the least page time). And it’s an interesting story that succeeds in many areas: originality, stakes, fan service and nostalgia. You can’t have a Cyborg comic without Beast Boy, and the paired team of Gizmo and Klarion is interesting in a Johnny Sorrow/Merlyn way, not a Reverse-Flash/Parallax way. Also, if this one doesn’t make it past the first round, I will say this could be printed as a one-shot. But I think six-issues might be the perfect amount of time for this story - one issue to set up the backstory and stakes, four issues to let the action play out, and the last issue for resolution.

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dwellordream · 3 years ago

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“For whatever reasons—the difficulty of predicting the moving target that was age at menarche, the reluctance to discuss it, the desire to fend off precociousness, the unwillingness to lower the boom on free-spirited daughters— parents and advisers did not agree on when girls were grown, and marked the coming-to-womanhood at a range of different ages, through different social rites of passage.

The English writer Charlotte Yonge marked one end of the continuum. In 1876 she encouraged great freedom for young girls—‘‘a wholesome delight in rushing about at full speed, playing at active games, climbing trees, rowing boats, making dirt-pies and the like’’—which she declared must end at age twelve. Most parents granted girls status as children for considerably longer. The literary figure of the tomboy, which some scholars have seen as ‘‘disruptive to rigid taxonomies of gender identity,’’ in fact reflected a reality in Victorian child rearing, freedoms granted to girls whose parents had yet to rein them in.

The end of youth arrived conclusively with the leaving of school, mandating a new way of allocating girls’ time. Between twelve and twenty, there were harbingers ranging from putting up hair and lengthening dresses on one hand to the prodding toward religious commitment on the other. Different families chose different ages to signify maturity, suggesting a continuum which would not be named until G. Stanley Hall published his stage-constructing treatise Adolescence in 1904.

At the time, contemporaries vacillated between the languages of childhood and adulthood to define the teenage years. The elite children’s magazine St. Nicholas claimed readers up until the age of twenty, and conventional wisdom encouraged the consignment of youth to childhood as long as possible. At the same time, Louisa May Alcott’s famous girls’ book Little Women advanced the premise repeated in endless moralist literature that girls should learn early the self-discipline and control demanded of adult women. Small wonder that actual girls were confused.

The markers of impending adulthood arrived unheralded in the surprising denials or demands of adults. At the age of eleven, Mary Boit, as she always had, wrote to Santa Claus. ‘‘Papa thinks I am too old but I do not,’’ she reported. The next day she repeated the exercise. ‘‘I had supper and wrote a letter to Santa Clause as papa burned up the other.’’ The strength of her father’s denial was matched only by the daring insistence of Mary Boit on her rights to childhood.

Two years later, however, the generational roles in the Boit family were reversed. It was thirteen-year-old Mary who was insisting on the marks of adulthood and her stepmother who was holding her back. ‘‘I think it is just as mean as it can be that I can not have my dresses longer as they are nearly up to my knees and all the girls of my age wear there dresses longer.’’ The gradual transition to adulthood was marked by these regular games of tug-of-war.

Dress length was an interesting issue both for advisers and the mothers who attempted to comply with them. On the one hand, long dresses signified adult status and therefore should be resisted as long as possible. On the other hand, long dresses covered girls’ legs and therefore should be adopted as soon as such legs might invite unseemly attention. Lillian Boit took the former position, the writers of Ladies’ Home Journal the latter. Isabel Mallon, writing under her own name rather than her famous pseudonym Ruth Ashmore, noted that she could ‘‘hear the dress reformers objecting to this’’ but declared that ‘‘keeping our girls modest is of very much more importance.’’

Emma Hooper’s descriptions of ‘‘A Schoolgirl’s Outfit’’ in 1894 recommended that skirts hit the leg halfway between knee and ankle at age ten. At age eight, they should be from one to two inches shorter. Several advisers agreed that at age thirteen a girl’s skirts should reach her ankles, while at fourteen through six- teen they should go just below her ankles. Seventeen marked full adulthood for purposes of dress length, for a girl should wear her dresses ‘‘the length that any lady does.’’ In essence, fashion advisers on hem length were gradual- ists, suggesting that hems travel steadily down a girl’s leg in accord with her increasing years.

According to the Ladies’ Home Journal, hair had its own separate clock; with no implications for modesty, hair should be kept off the top of the head throughout most of the teen years, the Journal urged. At separate times advisers staved off readers’ suggestions that fourteen, fifteen, and sixteen might be appropriate times for a girl to begin wearing her hair up. At fifteen, it might be worn ‘‘braided, looped and tied with black ribbon’’ for novelty, one writer suggested. Only at nineteen might a girl earn the right to arrange her hair ‘‘in any way she wished.’’ As in the Journal ’s recommendations for other kinds of conduct, though, it seems likely that few readers actually complied.

Margaret Tileston, who was brought up conservatively, noted her gradual adaptations to more adult pre- sentation, beginning in 1881, when she was thirteen, with the decision that she and her older sister would begin to wear ‘‘corset waists.’’ (The same year, Agnes Garrison at fifteen noted her astonishment that a new acquaintance wore ‘‘corsets.’’) The next year, at the age of fourteen, Tileston noted, ‘‘I did my hair up myself behind for the first time.’’

A month later, wearing her hair up and behind had evolved from noteworthy event to planned habit. ‘‘I intend to generally now,’’ she reported. At the age of seventeen, after her graduation from high school, she began wearing a bustle, another contested arena of maturity. As with dress length, bustles came calibrated for age and sophistication, with the progression left to family decision. ‘‘Misses’’ bustles had two or three coils, while those allowed to older girls had four, and bustles for fancy wear sometimes had six.

In the incremental adoption of the marks of adulthood, some ages were more resonant than others. In Louisa May Alcott’s novels the age when childish high spirits must be put aside for young adulthood was fifteen. On the eve of Julia Newberry’s sixteenth birthday, she imagined herself saying farewell to childhood, for ‘‘when once a person is sixteen, though they are still very young, they can never be called, ‘child.’’’ Fond parents might grant girls freedom to ‘‘run wild’’ longer.

Frances Willard’s parents chose her seventeenth birthday as ‘‘the day of her martyrdom,’’ as she recorded it in her diary. ‘‘My ‘back’ hair is twisted up like a corkscrew; I carry eighteen hair-pins; my head aches miserably; my feet are entangled in the skirt of my hateful new gown. As for chasing sheep . . . it’s out of the question.’’ Altogether, Willard felt she had lost her ‘‘occupation’’ as a free-spirited and adventurous child. Emily Eliot was allowed to hold on longer, announcing on her nineteenth birthday, ‘‘It is so horrid to get out of your teens and when you are 20 you must leave girlhood behind you and become a woman. I like teens ever so much.’’

The age of eighteen seems to have borne the most cultural freight, though, indicating the time when a girl simultaneously came into possession of herself and became eligible for possession by someone else. If her parents martyred her at seventeen, at eighteen Frances Willard claimed her own destiny, if only in choosing her reading material, declaring: ‘‘I am eighteen—I am of age— I am now to do what I think is right.’’

In elite society, as well, eighteen was a common age for a girl to ‘‘come out’’ into society, and become eligible for courtship and marriage. Birthday gifts of money to serve as a dowry and of tokens befitting young ladyhood suggested these implications. A Paterson, New Jersey, manufacturer gave his daughter yellow roses and pinks ‘‘36 in all,’’ and Lucy Breckinridge’s father gave her $200. Margaret Tileston received a $1,000 savings bond from her grandfather, as well as the news that she would have a regular allowance, a privilege enjoyed earlier by some of her class. The age of eighteen in fact was often thought to be the conclusion of a process of growing up which had commenced years earlier.

Some fond—or negligent—parents demonstrated little relish even then for moving girls from carefree childhood to responsible adulthood. Such girls were lucky. Annie Cooper grew up the youngest daughter of a retired boat builder in what she described as a near-idyllic rural setting in eastern Long Island. When she turned eighteen in 1882, she still found herself enjoying exuberant girlhood. ‘‘I am still spared, well and happy, no care yet hath been put upon me, I am still a happy, joyous, merry, hearty, and healthy, school girl, girl of 16 in feeling, but eighteen in years.’’ In reflection, she imagined the consequences of her new age.

‘‘I can’t bear to think how fast my happy youth and childhood is slipping from me, that I soon will be too big to climb trees and ride horse back straddling, etc. yes, that in fact I am too big already, it makes me feel badly, for although I love the deeper and more sound stuff, yet too I love nature, in all its phases, I love the woods the air, the birds, the storms, the water, the animals of every description, and I love nature’s sports, and I feel that in advancing age I am getting too big to do with propriety all the sports which belong to nature.’’

Her concerns for propriety encouraged her to imagine cutting back her activity, but she felt reassured that some activities were still left to her. ‘‘Thank God who has given them to me, that I still can ride horse back and go boating as much as I please, with propriety, if I can not climb trees (in the front yard.)’’ Of course there was always the back yard, where it was clear that Annie Cooper would continue to retain the entitlements of a girlhood that she remembered in later days as being ‘‘full and rich and innocent and happy.’’

Yet for every such memory of girlhood seized and held, there were other memories of entrapment, of moments when the meaning of maturing was frozen in claustrophobic anxiety. One such memory was recorded by Elizabeth Coffin, writing about her girlhood in Germantown, Pennsylvania, in the 1890s:

I can never forget my first long dress. It had an overskirt, too, which was insult added to injury. I felt ‘tied and bound’ with it, and it seemed as if, on account of it, my old life with its care-free associations had come to an end. . . . When I found myself robed in it, with my pet dog Koko I went to the garden and told my story of woe to the great cornstalks, who I felt understood me as nothing else in nature did. It seemed to me that the cornstalks waved and bowed their heads in sympathy. . . . There would be no more boiling of corn in the old kettle, climbing trees, coasting with other girls and boys, hitching my sled to the backs of sleighs or romp- ing with the dogs. I was grown up now and serious duties were expected of me.

The donning of a long dress was only the beginning of more profound changes accompanying the arrival of adulthood. Girls used available explanatory systems to describe and acknowledge their metamorphosis into adulthood, often slipping into alternating romantic, social, familial, and spiritual narratives. In the early and midcentury, girls’ diaries strove for an appropriately spiritual analysis for such changes. Later in the century, girls were less reliably successful in finding religious justification for their states of mind in an environment of increasing religious skepticism. Whether successful or failed, however, girls’ spiritual quests encouraged them to scrutinize their emotional lives and provided them with the vocabulary to do so. Unlike the keeping of diaries, however, religious commitment often required a public profession, which brought private feeling into public display.

Agnes Lee’s 1850s journal described an intense malaise which evolved through several rhetorics of understanding until resting in a religious crisis. She first considered the possibility that she was homesick, and then wondered whether her longing was ‘‘to be loved, to be worshipped by something or someone?’’ Once out, this thought provided the occasion for a final resting point for the evening’s reveries. ‘‘No—that is sinful, silly and impossible. I hope, I pray my yearnings . . . may be for something holier higher than I have yet felt. . . . I am told and I know I can, I must find it in the bosom of my Saviour and only there. I have tried, but my heart seems shut up, it is so hard! . . . Some- times the awful thought comes to me, I am one of those who are never to be good—one of the doomed.’’ Agnes Lee’s progression, all documented in the pages of her journal, ended by dropping her in the center of a traditional and appropriate script for a girl her age, especially in the early to midcentury: the quest for a conversion experience.

By midcentury and beyond, the expectation of a moment of sudden epiphany had been muted a bit; it was no longer necessary to have a moment of mystical communion to signify an indwelling Christ. Nonetheless, the anticipation of a mature coming-to-God pervaded and sometimes shaped the experience of youth. Sometimes the signs were overt.

Emma Hidden got a severe case of chicken pox during her teenage years and nearly died. On January 28, 1869, she noted the anniversary of her illness. ‘‘One year ago today I was taken sick with chicken-pox—What changes has that year brought to me. One year ago I was so silly and thoughtless—and now I have a sweet hope of a change.’’ Several weeks later she gave thanks to God ‘‘that he has made me pass thro’ the fire to purify me.’’ The loss of ‘‘silly’’ girlhood through spiritual ‘‘change’’ was a clear formula which was applied in anticipation and description of religious commitment.

Ideally, a religious quest had institutional consequences. A religious experience was formalized by joining a church. Parents were centrally involved in encouraging, promoting, and celebrating this process as a critical part of their responsibilities. Sally Dana’s letters from seminary in the late 1850s made it clear that under her father’s oversight she was to have established a connection with a local minister, an acquaintance of her father’s, to facilitate her confirmation.

She wrote, ‘‘Has Mr. Wilmer said anything about me, I have not seen him to talk to for two weeks and that on Sunday a little while after church (he has been here to see me two or three times, since I have been here) but I feel as if I wanted to see him, or his wife more but, perhaps I expect too much of a minister.’’ Dana went on to ask ‘‘God my Father, Friend’’ ‘‘to give me strength that I may continue my efforts and not disappoint my very dear parent and friends.’’ Obligation and succor were reciprocal, with Sally Dana asking God for help so as not to disappoint her father, just as her father asked her to seek help from her local minister so as not to disappoint her God.

Perhaps as early as several weeks later (the year of this letter is not noted), Dana wrote about greater resolution to this crisis. Her letter commenced with a description of a calm joy and serenity. ‘‘Father, I cannot tell you what a pleasant day last Sunday was to me, particularly after church, and after talking with Mr. Wilmer a little while. I felt so quiet and calm and peaceful, I had my Bible lesson early and I had time to read a little and then. I really loved that Sunday I wish I could have others like it.’’

Dana’s description of her state of mind had particular significance, because it accompanied a moment of commitment: ‘‘I am so glad I can be confirmed, I look forward to it with pleasure, I think of it (if I can express my self right) as being a kind of shield and defense from the world and its lusts, as if I should be nearer my Saviour friend.’’ Sally Dana’s confession of religious calm and commitment to her father represented her fulfillment of youthful obligation to both earthly and heavenly father, even without a moment of spiritual epiphany.

If girls sought commitment at parental directive, they often experienced conversion within a youth cohort. Agnes Lee wrote lengthy journal entries about her personal and spiritual journey to God, seemingly an individual in- ternal odyssey out from under ‘‘an angry black cloud that [was] ever over me,’’ which left her feeling and acting ‘‘so strange.’’ This intensely spiritual experience did not happen in isolation, however, for ‘‘Annie, Mary, Ada and Annette took the same step.’’

Individual quests under parental guidance often took place in company—sometimes of family members, sometimes of school- mates, even sometimes in classes. When Sally Dana was attempting to pro- cess her confirmation, she noted that she ‘‘was not in any class yet,’’ an acknowledgment by the churches themselves that routes to salvation might run through education and preparation, rather than through the spontaneity of random epiphany.

…Professing faith, like being good, was emotional work which required the acquisition of appropriate feelings. Unlike the quiet display of pleasantness, though, loving God required girls to verbalize their feelings to parents, ministers, and congregations. Evangelical culture encouraged a language of feeling often embarrassing to girls still trying to get their emotional bearings. Annie Cooper had delayed until what she seemed to think was the last acceptable moment—the week of her twentieth birthday—perhaps partly because she found public acknowledgment of her faith to be excruciating.

When a minister asked Annie Cooper to help with a female prayer meeting, she was thrown into a panic. ‘‘Oh! my God! how can I? I do wish I could but have not the gift of ‘gab,’ I don’t see how I can. I, who can not even, to save my life, say a single word at home, how can I brake through the barriers of timidity and natural diffidence to such an extent as that?’’

Annie Cooper’s worries about her ability to articulate religious feeling came allied with worries of all kinds about her emotional depth, especially her ability to be the kind of understanding, helpful daughter who could assist her parents in their old age. Speaking about religion meant speaking sincerely about feelings; speaking about either constituted a substantial challenge to late-Victorian girls still trying to manage complex emotional protocols.

…By its very nature, the experience of religious conversion, or even the reconfirming of religious commitment, depended on private, personal feeling. What was at issue was not what or how much you knew, or how you acted, but instead what you felt. However, unlike most other circumstances, in which private feeling was appropriately closeted in one’s heart, religious profession meant speaking of that feeling in a compelling way. Just when girlhood’s lessons had been learned, religious profession required that they be overturned in a potentially embarrassing confession of religious enthusiasm. Coming in the context of a life defined by being good and subordinating selfish desires, such public self-revelation was anathema.

…To the extent that Victorian parents and advisers demanded religious profession, they were asking that girls look deep inside themselves and come up with something profound, sincere, pure, and winning. This, of course, was what girls brought to romantic relationships as well, an alliance that brought possibility as well as danger. One mother explained to her constrained daughter the relationship between religious and romantic spontaneity, suggesting that the expression of religious feeling might itself lead to more genuine communion with those around—perhaps even a more direct route into the hearts of men.

Though they may be ‘‘apparently thoughtless young men,’’ Ella Lyman wrote, a woman’s ‘‘carrying into life the life-giving idea’’ might lead men to ‘‘show their best deepest side and one immediately establishes real trust and friendship.’’ With a young woman’s expression of religious sensibility might come the realization of oneness, ‘‘that we are God’s own children with one aim one hope one aspiration.’’

But this experience of spiritual and romantic oneness was just what Annie Winsor’s mother feared. Ann Winsor put off the matter of her daughter’s soul until just a few weeks before Annie’s twentieth birthday. At that point she sent a letter of gentle inquiry to her daughter at college, revealing her sticking point: a need to reassure herself about the role of feeling in her daughter’s life.

Although she urged Annie to express religious enthusiasm, she feared feelings of other kinds, warning about the lamentable career of George Eliot, another intellectual daughter. George Eliot’s extramarital affair with George Lewes gave Ann pause. Without ‘‘clear sight to guide it, and strict ‘puritan’ principle to strengthen it,’’ such feeling could lead a girl directly into the biggest kind of moral trouble.

The cultural critic Nancy Armstrong has argued that the development of a specifically feminine identity in nineteenth-century England rested on the construction of a psychologized, feminine protagonist in the romantic novel. According to Armstrong, the drama of the domestic heroine lay in the richness and the interest of her feelings and her sensibility, not in the interplay of bold actions on a large stage.

What Armstrong’s theory overlooks, which was especially significant in the United States, is the central role that the search for a religious self played in the development of a feeling and romantic self of any kind. Not all advisers agreed about the need for girls to demonstrate engaged spirituality. Some moralists feared excessive piety in the same way that they feared sensational fiction: it might divert girls from their little duties at home.

…The expectation that girls speak about religion, like the expectation that girls like or dislike books, was a cultural demand that girls have and then be able to communicate an interior, private being. When girls like Ellen Regal, daughter of an itinerant minister in Michigan added ‘‘secret divotion’’ to her attendance at family worship and her memorizing of the Bible, she was exercising a private, personalized religion which would pay dividends in the development of an enriched sense of self. Girls’ reservations in speaking about such a private subject as religion revealed their discomfort in speaking about, or perhaps even in having, feelings they could trust and report on. Once mastered, though, religious profession might lead to emotional assertions of other kinds.”

- Jane H. Hunter, “Interiors: Bodies, Souls, Moods.” in How Young Ladies Became Girls: The Victorian Origins of American Girlhood

#history #how young ladies became girls #jane h. hunter #victorian #fashion #religion #american

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maeamian · 4 years ago

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I did speech and debate for a year in high school, a very rigid and structured format. Every year there’s like, a Topic, and everyone builds a case that they think will address the Central Problem, the year I was doing it the Topic was something like “The US Government should improve mental health care” which is certainly true, I spent a whole year arguing that the US Military should implement patient-psychotherapist confidentiality which it did not, at the time, have. Still might not, I didn’t actually like, learn to care about the issue, it was an entirely acedemic case to me, but I certainly haven’t continued to care about it since then. It was allegedly a solid case that year, but mostly me and my partner were assigned a mentor and they were running that case and could better advise us if we ran the same thing. It was one of the more common ones, it was called Jaffee after the court case that established patient-therapist confidentiality and we ran into it a lot of times too. You, roughly evenly, take turns arguing in the affirmative and the negative, so presenting a case and tearing one down, and so we also ran *against* the same case a lot of times too.

When you’re on the negative, one of your options for poking holes is to bring up procedural complaints, for instance a lot of times we would argue that the plan had a federalism problem, it did something that wasn’t *explicitly* granted to the federal government as something it could do. Did I believe that was a workable model? I really don’t know, but I sure argued it regularly because our mentor and some other members of the debate team prepared some stuff we could read to make those claims so we made em all right. One of the advantages of our case is that the rules governing the US military are pretty squarely in the domain of the US federal government and so we weren’t vulnerable to that particular complaint but of course we were open to others, none of which I remember. Another thing you could pair this with is to bring up your own solution to the problem that solves their problem but also avoids whatever you’ve brought up. This usually just involved having someone else do literally the exact same thing, so one of the most common counter plans was just to do the same thing but at the state level in all 50 states, which like, at face value is just obviously wildly impractical but as long as you read the cards that were prepared for you you fast enough none of that matters because the whole thing is based on theory not reality, reality is just what provides the mud to sling around.

But like, the other thing is that if you’re not prepared, an obviously bad argument can knock you on your ass. Our mentors never bothered preparing us for that Federalism charge against our plan because it was so self evidently not going to be used against us. So that meant that one time when we had a small tournament against a rival school, and one of their teams suggested that we had a federalism problem and the states should do our plan we got our asses kicked cause we did a bad job, in the moment, of coming up with compelling counterarguments to ‘do your plan but with every single national guard individually’ as if it would address the same set of people as our plan would. The judge was extremely annoyed at us, and said roughly ‘their arguments sucked but you didn’t counter them and now I have to vote for them you assholes.”

Which honestly, is fair thinking back, but it is also reminiscent of another case that we once watched get argued in the varsity semi(?)-finals of a big tournament where they were roughly arguing that we should improve mental healthcare by banning animal testing, which would improve the mental health of the animals. The varsity team they were facing was better prepared to think on the fly than we were, and had a compelling counterargument about how topical the case was as well as some specific problems I don’t remember anymore, but the affirmative team was equally prepared to counter those with charges of anthropocentrism because the topic didn’t say *human* mental health care. I don’t remember who won and who lost, but they took that case to a major (HS) tournament final rounds, which means they won at least three rounds with it. And like, as a thing to do it’s probably solid in many cases, honestly it’s not something I’ve looked into enough to have a strong opinion on either way, but it was also absolutely a case no one else was running that year, and being equally trained in the rules of debate the person who’s had more time to think will usually win.

Oh, and the other thing I learned was to talk really really fast because if you speed read all your points and you make enough that your opponent can’t address all of them then you win by default. All of this to say this is why some people think Ben Shapiro is smart.

#I have not and will never look into it #but I know in my heart of hearts that Ben Shapiro did policy debate at some point #Because the ways he pretends to be smart are the E X A C T ways that debate teaches you to #Anyhow sorry for the rambling post but also I'm not

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groovegalaxxxy5 · 4 years ago

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The Art School AU nobody asked for

I’ve had this idea for an emercury AU fic kicking around in my head for a while now, but I have so many other projects on my plate rn and nowhere near enough time or energy to write it. So instead I’m just gonna post all the deets in the hopes that one day I’ll be able to come back and actually do something with it.

Emercury Art School AU Summary:

“Emerald Sustrai may have managed to get into the dance program at one of the most prestigious art schools on Remnant, but she has one big issue – after just one year of study, she’s barely managing to stay afloat even with two part-time jobs and her grades have been suffering for it. Fortunately for her, her school offers extra credit to any students who are cast in the school’s yearly exhibition performance. Unfortunately, this year’s production’s theme is “passion” and the only spot up for audition for sophomores in the dance program is for a couples’ dance performance based on said theme.

Enter one Mercury Black—a fellow dance student with a reputation unsavory enough to overshadow his considerable talent, and quite possibly the last person on Remnant Emerald would ever want to work with…He also happens to literally be the only other person she can find to pair up with her for the show. Somehow, improbably, the unlikely duo actually make a pretty good team once they finally start to work out their differences, but as they perfect their routine for the big audition, Emerald finds herself in a whole new predicament: She may have set out to steal the show, but if she’s not careful she might just end up getting her heart stolen in the process...”

So yeah…as you can see, the basic premise is that Em and Merc are classmates at this school for the arts, but both of them are having trouble earning passing marks in this one foundation course they both need to graduate—Emerald because she is completely on her own and has to work a lot to pay for her living expenses and studio fees and stuff even though she has a pretty decent scholarship, and Mercury because he keeps really odd hours and misses class quite a bit for unexplained reasons. Noticing that she’s struggling even though she is a gifted dancer, one of Emerald’s teachers suggests that she try out for the big show that their school puts on every school year, since anyone who makes the cut receives a bunch of extra credit and each faculty also gives a grant to the students who they judge to have put on one of the top three best performances. The problem is, there are only a limited number of spots up for audition for each graduating year of each concentration course due to time and resource restraints, and this year’s 2nd year dance spot happens to be billed as a couples’ performance.

Emerald hits up everybody she can think of, but they're all too busy or can't commit to the project for other reasons. Pretty much out of options at that point, she’s just about ready to give up when she has a chance encounter with a classmate, one Mercury Black, after school. Through some sort of clerical error they managed to book the exact same practice studio for exactly the same time, and since they both really need the extra practice time and neither one is willing to back down, they end up sharing the room for a few hours. When they do, Emerald is really surprised to find out that Mercury is actually a really talented dancer, she just never noticed before because even though they have some classes together he comes in very irregularly. After a long, sleepless night contemplating doing something really, really ill-advised, she ends up approaching him at school the next day to propose that they team up and audition for the big show together since they appear to both be failing the same class and need the credit really bad, and to her surprise he agrees rather easily.

Thus, the two of them become reluctant accomplices. However, once they start working out the choreography together, they just can’t seem to see eye-to-eye on anything, which doesn’t bode very well for their performance considering that it’s supposed to embody the show’s theme. Emerald is more of a ballet dancer, while Mercury is more of a street dancer, having started out with breaking and had almost zero classical training before starting school. After a while (with a lot of practice and a LOT of unsolicited intervention from their nosy friends) our two favorite mayhem children finally start to bond and find some common ground, and naturally, lighthearted romantic hijinks ensue and sparks fly between the unlikely duo as they struggle to cooperate and put together a passionate couples’ dance good enough to get into the final production.

The Supporting Cast:

Em’s peeps -- Cinder (in the class above, sort of her mentor and was the one who encouraged her to apply to school in the first place), Weiss (met in freshman year, in the same ballet, jazz and contemporary classes this year, snarking buddies), Blake (ended up in most of the same classes together this year), Coco (upperclassman in the design course, loves dressing Em in different outfits and often forces her to stand in as a house model for her when she needs to work late into the night to meet a deadline)

Merc’s peeps -- Sun (met in class in freshman year, breaking and sparring buddies), Neptune (met thru Sun, in pop class together this year), Scarlet (ditto), Blake (in a few classes together, waits tables at the same diner where he works), Yang (met at a stunt training camp the Summer of freshmen year, waits tables at the same restaurant, fellow gym rat and occasional sparring partner)

Salem -- Headmistress of the most prestigious arts school on Remnant; has a bitter love-hate (mostly hate) relationship with her ex

Oz -- The headmistress’ ex-husband who runs a very successful Circe du Soleil type show and recruits a lot of his performers from her graduating classes

Glinda -- Chair of the dance department; Contemporary and ballroom dance instructor; is so so weary of her faculty’s incessant bickering

Winter -- Ballet instructor; came up in a rigid traditional Atlesian ballet school and generally looks down on all the other dancing disciplines and their instructors (”What they do can BARELY be described as dancing”); wishes the dance department were as disciplined as the music department

Qrow -- Jazz and tap dance instructor; doesn’t think that what his sister does really counts as actual dancing; jazz hands, rain hands and double dream hands and he’s dead serious about em

Raven -- Acrobatic and contortion instructor; thinks jazz hands look really stupid, just like Qrow and his corny, goofy ass dancing; was actually trained extensively in traditional Mistralian Highlands step dancing from childhood alongside her brother and used to perform internationally before switching disciplines

Tai Yang -- Hip-hop and pop dance instructor; specializes in pop and lock; Raven's ex; constantly catching strays from Qrow and Raven’s feud; just happy to still have a job tbh

Arthur & Tyrian -- Co-chairs of the theater department; Arthur teaches classical acting and Tyrian teaches method acting and they both think the other doesn’t teach “real acting”; somehow their department is actually really popular and all the students love the yearly musical theater production, which is the only time they ever seem to agree on anything

Hazel -- Long-suffering theater production instructor; works really hard to keep things running smoothly in the background despite the department heads' antics; hates the headmistress’s ex with a burning passion

Ironwood -- Chair of the music department; runs his department like a well-oiled machine and has put the fear of god into all his students; has won the national marching band championships seven years running

All the other students are in various departments at their school—e.g. Ruby plays the sax, Yang and Jaune are both acting majors, Oscar plays the cello, Nora and Ren play the tuba and the erhu respectively, Pyrrha is a triple threat etc.

A bunch of random plot points:

-Merc, Em and their friends are all in the same foundation classes together and the two of them start off vaguely aware of one another mostly owing to the fact that all their friends are friends, but they don’t really know each other (…or DO they??? *DUN DUNNN DUNNNNN*)

-Most of the faculty at their school can’t stand each other and the different departments have been engaged in bitter rivalries for years but somehow they all work really well together because at the end of the day they’re all professionals who are good at their jobs

-All of their friends are convinced that they’re secretly dating or hooking up at the very least, because they suddenly start hanging around each other a lot, holing up in the practice studio together until all hours of the night and showing up school at the same time the next morning and are constantly snipping at each other whenever they interact. Merc’s squad is actually v supportive and (against his wishes) are doing their very best to try and help their boy lay down the mac (Sun: “Hey Merc! Thanks for letting me drive the convertible last weekend!😉👍”) , even though they all generally acknowledge that he’s way out of his league and is headed down the path to utter destruction. Meanwhile, Em’s friends are pretty appalled by her abysmally low standards (Weiss: “Emerald, you’re dating down....WAY down.🙁”) and think that shes going thru some kind of self-destructive phase or something. They’re convinced she’s about to have her life absolutely ruined by that one smirky fuccboi type from their grade who has super sus habits and “reeks of criminality” (also Weiss).

-Almost everybody including most of his friends are convinced that Mercury is doing something really, really shady for cash on the low because he keeps super odd hours, misses class a lot and is always showing up with all these bizarre, unexplained injuries. In reality, Em finds out that it’s all because he’s been training as a stunt-man outside of school and works a lot of weird hours at his part-time job so that he can pay off his prosthetics, finance his extra courses and pay for his own living expenses, etc. Although he actually was involved in some serious criminal activity in the past, he’s been trying his best to stay on the straight and narrow ever since he finally cut ties with his scumbag dad, and now just works a lot of nights and weekends as a short order cook at the local greasy spoon.

-Once Mercury realizes that Emerald is like...constantly on the brink of starvation because she’s a destitute vagabond baby but has too much pride to ask for help, he starts subtly bringing her leftovers from work, which she grudgingly accepts (because he owes her for putting him onto the whole extra credit thing, so it’s not really charity...definitely NOT because she is extremely susceptible to offerings of food and her partner also happens to be a surprisingly good cook).

-Cinder is in the year above them and has known Emerald since they were in the foster system together as kids. She’s a prodigy at ballet and also a very accomplished acrobat and contortionist (as in, like, can easily shoot an arrow into a bullseye with just her feet while her legs are bent backwards all the way over the top of her head and stuff). At some point she sits in on one of Em and Merc’s rehearsal sessions and ends up dragging the hell out of them both for being way too stiff and exhibiting almost zero chemistry despite the “obnoxiously obvious sexual tension” between them. She basically ends up barking directions at them until they alter their choreo a bunch and finally start to look somewhat like an actual couple ("For fuck's sake... Lift her like she's the most precious thing you've ever laid eyes on and you're about to make sweet love to her, you idiot, not like she's a frigging sack of potatoes you're bringing home to peel!!!" "This man is supposed to be the moon to your stars...if you don't loosen up and melt into his arms like your soul is on fire, I will flip ALL this shit over and burn this wretched studio to the ground with both of you trapped inside!!!" ), after which things gradually start to get all awkward and messy between them because they start thinking about one another differently.

-They get into a bunch of compromising situations by virtue of the fact theatre and dance people are just kinda naked a lot and don’t care. At various points in the story their friends will walk in on the two of them in some sort of really eyebrow raising situation, get the complete wrong idea and run away, which in turn makes the two of them start to feel awkward as hell toward each other.

-Coco forces them to wear matching outfits that she made just for their performance.

-Their act ends up being this spicy contemporary couples’ dance that incorporates a lot of elements of acrobatic dance, breaking and ballet, essentially blending together both of their unique dance backgrounds.

This story idea has absolutely nothing to do with canon and Remnant is a lot like modern-day Earth with some exceptions, so there are no semblances etc. There’s no antagonist; in fact everyone around them is generally supportive and wants them to succeed--the main conflict comes from Emerald and Mercury only having three brain cells between them and not being used to caring about someone else in a lovey-dovey sort of way. I got the idea when I was watching dance videos online and started remembering all those cheesy dance-themed teen movies from the 90’s and early 2000’s. It’s pretty much just a wholesome little meet-cute/will-they-won’t-they type school romance in that same vein, where Em and Merc are forced to team up out of necessity, start to fall for each other and then have to deal with all the awkwardness that ensues...all with a bunch of help from their extremely eccentric, meddling-ass friends who are all convinced that the two of them are either already dating or about to be and are trying to keep them both from getting their hearts broken lol

Whew! Guess that’s about it for now...I’d like to try and flesh this one out more and maybe even publish it as a legit fic one day, but first I’ve gotta get back to work on *signal lost*

#rwby #emercury #emerald sustrai #mercury black #fic ideas

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redvanillabee · 4 years ago

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MCU Phase 4: S.W.O.R.D and the Collapse of the Multiverse

I’ve been seeing a lot of theories about Phase 4 floating around, and with the finale of Agents of SHIELD, I reckon I’d collate all the theories here, as well as add in a few of my own theories, and get a feel of what Phase 4 might hold for us.

WARNING: contains slight Agents of SHIELD S7 spoilers.

1. Leaving Endgame: unresolved issues

The infinity Saga (Phases 1-3) ended with Avengers: Endgame. Regardless of how you feel about the narrative, the film wraps up the story based around Thanos’ encroachment on earth. So that should leave no loose threads, right? No world-bending problems left to resolve?

WRONG.

Avengers: Endgame actually left a lot of paradoxes and loopholes. There are objects remove and added into different points of time, characters killing their past selves, etc.

These problems with their Time Heist can’t just be left there, unattended. These paradoxes also can’t be brushed aside simply with a “new timeline” theory. As we learnt in Agents of SHIELD Seasons 5&7, while time can indeed be changed, there will still be paradoxes, which will result in anything from confusion to deaths and destruction.

Are the Marvel execs that stupid? That they would painstakingly explain the logistics of time travel to the audience in the film, then blatantly break all their own rules? Even mass-market films aren’t that stupid. Especially not ones by a studio that is known for planting Easter eggs and somehow planned a whole 10-year, 22-film franchise.

Rather, I believe this is a pantomime moment. Remember, the Thanos storyline--the Infinity Saga--may be over, but the MCU is far from it. I believe they are leaving behind these gaping holes in the spacetime continuum, luring the audience to point at the screen and shout out the inconsistencies, to name the problems themselves. So let us peel back the story, and identify those time-travel and inter-dimensional problems ourselves.

2. Far From Home is our primer for Phase 4

Here’s the funny thing: Far From Home is classified as the last film of Phase 3, with Black Widow as the first film of Phase 4. But narratively, it seems odd to class FFH as part of Phase 3, stringing it with the rest of the infinity Saga. Apart from the plot thread with Tony Stark, what does FFH have to do with the main premise of the Infinity Saga?

This awkward position of FFH might make sense if we view it not just as part of Phase 3, but as that transition instalment between Phases 3 and 4. On the one hand, FFH continues its legacy from the Infinity Saga, by physically having Peter inherit something from Stark, arguably the lead star of the Infinity Saga. At the same time, FFH melds that with a whole new element that will bring us forward: the idea of dealing with threats from not just different points in time, but different realities altogether. Even though Mysterio isn’t really from another dimension, Pandora’s Box is now open. This idea has officially been introduced into the MCU, and as we will find out later, there are heavy suggestions of the MCU going in the direction of inter-dimensional threats.

FFH also bridges the past by reintroducing to us the idea of an overarching organisation governing or monitoring the actions of the superheroes. As mentioned above, MCU superheroes have been freelance superheroes since Apr 2014, with the fall of SHIELD in Winter Soldier. However, with FFH, we see a return of... well, some kind of SHIELD, with the intervention of Fury and Hill. Granted, this is not really SHIELD. Fury and Hill, as we find out in FFH, are impersonated by Skrulls. Regardless, an authoritative organisation has been reestablished in the MCU. The return of ““SHIELD”“ also gives FFH the feel of Iron Man 2/ The Avengers (2012), harkening back to the early days of the Infinity Saga, which I would say is rather appropriate for opening a whole new arc. And, as I will explore below, we might be seeing more of SHIELD in MCU’s future.

(Incidentally, is Peter Parker supposed to know that, for what it’s worth, Nick Fury is supposed to be “dead”?)

FFH is not the first time MCU has played with alternate dimensions, of course. The Ancient One has introduced the idea of borrowing powers from alternate dimensions going as far back as Doctor Strange (2016). But during that film, they have left it at a tease. However, it seems that we might finally be meeting alternate versions of our known reality.

3. Black Widow: Taskmaster is a little too familiar

While we still haven’t seen the Black Widow standalone (damn you coronavirus), based on what we know from trailers, BW will likely follow FFH’s angle of bridging elements of the past (e.g. a secret organisation with Fury at the helm) while introducing elements from the future (alternate dimensions), But this time, Mama Spider is going to kick it up a notch.

Firstly, it seems that BW might be introducing a nemesis to the SHIELD-equivalent in Phase 4. In the Infinity Saga, the main villain--at least when SHIELD was a thing--was HYDRA. With the fall of SHIELD, the last of the HYDRA bases are also wiped out of the MCU at the start of Age of Ultron.

(If you go with Agents of SHIELD, Thanos is very very vaguely connected to HYDRA, what with him being known to/ part of(?) the Confederacy, who are working with HYDRA).

So what will be the main villain in Phase 4? BW trailers focus very heavily on reconnecting with the past, which reminds me of how FFH calls back to Fury being in charge of the big picture. But in BW, it seems that a reconnection is also made with shady characters. There is a lot of discussion about Natasha’s Red Room past, of other Black Widow graduates. There are grey areas, and the focus on reconnecting to the Red Room reminds me of the “the other Winter Soldiers” arc from CACW, as well as the Dottie Underwood arc in Agent Carter season 1. Will the Red Room be our new HYDRA? Or... are they just a smokescreen?

Because there’s the Taskmaster, and they are very strange indeed. We know nothing about the Taskmaster--their motives, their affiliations, their goals--but they already strikes an eerie chord with the audience. They seem to be an amalgamation of so many notable heroes in the MCU. Why would a villain just... happen to be a combination of so many MCU heroes? Or could the Taskmaster be paving the way to how the Madness of Multiverse “may reportedly feature alternate-reality versions of known MCU characters”?

First Mysterio, and now the Taskmaster. The threat in Phase 4 is gaining steam, and is gearing up to be a force that can only be defeated if the superheroes are once again brought together. The Avengers was initially designed by SHIELD, but were brought together by Loki’s invasion (and Coulson’s death). But where are they now? Who will take up the mantle of the fallen? Who will be there to unite the forces needed?

4. SHIELD, TVA, and SWORD

For those who only watch the films of the MCU (like myself until recently), SHIELD has not been a legal organisation since April 2014, and has been completely out of the picture in the MCU since April 2015. However, the organisation has actually been hard at work behind the scenes since.

The actual events in Agents of SHIELD, being so separated from the MCU, are not strictly relevant to the discussion and prediction of Phase 4. What we need to know is that: following a series of events that turned them legitimate, then illegitimate, then legitimate again, SHIELD should be a legitimate organisation again by the time of FFH.

(Side note:

There is some debate as to whether Agents of SHIELD is still taking place in the same timeline as the MCU. I personally like to think yes, AOS is still taking place in the same timeline as the MCU. Some have argued that the Snappening never happened in AOS, and when Daisy stopped Talbot from destroying Earth at the end of Season 5, that launched AOS into a branching timeline. However, I would argue that they are in the same timeline because Daisy stopped Talbot. Based on the words of the alien Confederacy, it does not seem that the Snappening and Talbot are two inter-dependent events. If Talbot had cracked the Earth in half, it wouldn’t matter what the outcome of Infinity War was, because, well, there’d be no Earth. There’d be no Endgame. So in my opinion, Agents of SHIELD, as it closes in 2020, is in the same timeline as the MCU, at which point the Avengers would have been moping about losing half of Earth’s population. As for the fact that none of the AOS team got dusted... the OG6 Avengers also didn’t get dusted, and the AOS team was small. I think we can let that slide.)

(Besides, if timelines really are going to be fucked up, as we will see below, then it really doesn’t matter if AOS and the Infinity Saga are in the same timeline. They can just cross over into each others’.)

But SHIELD’s reach, after all, is limited. Even Fury did not have a handle on Carol Danvers as she spent 23 years (1995-2018) just roaming the Universe as a space vigilante. With the jurisdiction of the MCU heroes now extending beyond time, space, and dimensions, we will need authorities in space. Maybe some kind of... ambassadors from earth.

In the Agents of SHIELD series finale, Marvel threw us a bone. As the team part ways after their final mission together, Daisy, Sousa (yes that Sousa from that Agent Carter), and Kora take to space, as some kind of SHIELD representative. The showrunners teased the audience by having Sousa describe their little unit as the “Astro Ambassadors”, but the audience immediately know what to ask for: SWORD. SWORD, according the MCU Wikia, stands for Sentient World Observation and Response Department, and is a “subdivision of SHIELD”. In fact, I believe we will be seeing more of SWORD in Phase 4. And with the release of the latest WandaVision trailer, we know that SWORD with Monica Rambeau as one of its agents is definitely going to be a thing.

Even if, EVEN IF, SHIELD and SWORD aren’t going to be a thing in Phase 4, we still have another authority that will be very interested in all these alternate dimension business going on around Earthlings. In what little we know of the Loki standalone TV show, it seems the Time Variance Authority will be part of it. Time, space, dimensions, these will all be threatened in Phase 4.

5. Steve Rogers and Corrupted Timeline Theory

By this point, if we are keeping score, we know space and time in the MCU is fucked up. Timelines are messed up, left in paradoxes, and people are just travelling everywhere and anywhere they fancy. Loki. Natasha. Astro Ambassadors.

And then there’s Steve Rogers.

Since the end of Endgame, a theory has been gaining steam that the actual Steve Rogers is stuck in the Quantum Realm, and whoever/whatever Old Steve is, it is a corrupted version of him. Please click through and take a look at the brief post about how Steve may be trapped in the time stream. It is an excellent analysis on how Steve could be a central indicator to all these time/space/dimensional tomfoolery.

6. What to expect

Here’s what I think is going to happen:

Following the primer that is Far From Home, Black Widow will continue to push the idea of interdimensional threats a notch further. Things that should be resolved, things from the past, are coming back to haunt us. Things start to get uncanny. The Taskmaster’s powers are too familiar. It’s all a little eerie.

Meanwhile in Marvel TV land, things go from “still earthly” to downright insane. The Falcon and the Winter Soldier, in all likelihood, will be the most earth-based of the Marvel TV shows, kind of like how the Cap trilogy is the most earth-based, with the least amount of sci-fi invention compared with the Iron Man trilogy and Thor saga. However, since Sam Wilson and Bucky Barnes are the two people closest to Steve, one literally inheriting his mantle, it might be in this show that we see more signs of reality being corrupted through iterations of Steve.

WandaVision is a result of both anomaly!Steve, as well as the many timeline problems left in Endgame. In WandaVision, Wanda and Vision find themselves flung through so many alternate realities. The anomalies in spacetime catches the attention of the authorities, in this case, Monica Rambeau and SWORD. We officially have our overarching authority for Phase 4.

The madness in time and space goes even further when Loki, now armed with the Space Stone and somehow looking like his Thor 1 (2011) self again, just... Loki-s it all up. Making jumps. Causing chaos through human history. General Loki shenanigans. The disturbance that this causes alerts an authority higher than SWORD: the Time Variance Authority.

This is also an excellent time to reintegrate the Marvel TV Universe back into the MCU, after having them split off from the MCU in 2013 and 2015. There is a very special cameo in Endgame, an Easter egg reserved only for those who have watched the Marvel TV spin-offs. “James D’Arcy’s cameo as Edwin Jarvis in Avengers: Endgame marks the first time a Marvel Cinematic Universe character introduced in a television production has crossed over into the films.“ Of course, there is no promise that just because they have brought Jarvis from Agent Carter over to Endgame, that they will bring others into the MCU in a similar fashion. But with Marvel Studios/Disney+ branching officially into making their own TV shows (instead of collaborating with ABC/Netflix), we can expect more crossings between the TV shows and the films. With the door now open with Edwin Jarvis, characters from AOS can rather easily be integrated into Phase 4 shows. And, if Daniel Sousa, a character that was last seen in 2016, can somehow be brought forward in a miraculous time escapade, there is no reason why other Agent Carter elements can’t be.

Time, space, dimension, reality, are now all fucked up beyond recognition. The hints of alternate reality characters? They are now coming in full-swing. There will be “alternate-reality versions of known MCU characters“. Marvel’s What If? cartoon ties into this as basically some kind of MCU fever dream: what if skinny Steve had an Iron Man suit? What if Peggy Carter was Captain America? It’s all out of the window by this point.

Captain Marvel 2, being likely set between earth and space, can easily fit into this whole development. Arguably, same for Thor: Love and Thunder. The events in space can rather easily tie into all these inter-dimensional madness. (And if Marvel Studios stop being a coward, they will let Carol Danvers date Dr. Thor).

Fun fact: SWORD was apparently mentioned as early as a deleted scene from Thor (2011).

With the world on the brink of universal collapse, we finally enter Doctor Strange: Madness of Multiverse. In the first Doctor Strange film, we’ve only seen one alternate dimension: Dark Dimension (Dormammu). In the Madness of Multiverse? Get ready for the Actinaria Dimension. The Grass Jelly Dimension. The Flowering Incense Dimension. The Mandelibus Dimension. Btw I’m not making these dimensions up. They are all introduced in the Marvel Studios Visual Dictionary.

Endgame may have ended Thanos’ arc, but it is only the beginning for a whole new chapter of the MCU. Years ago... probably around the time of CACW, I read a meta that discussed how Marvel might be taking the MCU in the direction of a “collapse of the multiverse”. That was predicted to happen in Infinity War/Endgame. While the Universe did not implode in Endgame, the world also doesn’t... necessarily settle into peace at the end of Endgame. To borrow what a friend of mine said,

Aren’t the other timelines just as doomed as the OG timeline where the Thanos snapped ... and the stones [are] gone in the end?

Like if we assume that they came up with the same idea for every other fucked timeline, then we would just end up with even more alternate timelines, and even more fucked timelines

and it becomes endless

Is this why it’s called Infinity War lmao

As we learnt in Agents of SHIELD Season 7, if a timeline is mucked up, actions must be taken to help it settle, if not restore it to its original form, otherwise there will be grim consequences. Between the milieu of timelines created by the Avengers and the Agents of SHIELD, I think Doctor Strange has his work cut out for him in Madness of Multiverse.

Madness indeed.

-----

Further Reading

‘I’m a storyteller, I know when I am in one’ — John Watson, Series Four, and Authorial Intent

Pantomime moments of the storyteller leaving gaping holes for the audience to point out are very common. In this piece, I explore how that technique is used in BBC Sherlock’s Season Four. While it looked like the showrunners are breaking all storytelling rules, they are doing it for a very sound reason.

Don’t Mourn — Avengers: Infinity War and the Five-Act Structure

Aka that time I wrote 7k words on the narrative structure of the Infinity Saga that is somehow still gaining clicks and reads on Medium.

#my meta #i say things #mcu spec #does anyone read things this long lol

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psychologyserviceannoucement · 3 years ago

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I've Done Therapy Before and It Didn't Work

Therapy is a hard thing to go through. It’s success is dependent upon both the participation of a professional and the individual. It requires discussing and evaluating a lot of personal information that can be hard to tolerate, let alone put active work into. While therapy is a proven effective treatment for a variety of mental health conditions, the reality is that it often takes people multiple attempts to actually reap the benefit of it. That may seem like an oxymoron, but there are a few reasons why someone’s first go at therapy may not work out and why it’s still worth giving a second shot.

If you’ve ever gone through therapy before then I wanna give you props for putting yourself out there to begin with. It’s uncomfortable and vulnerable, but I appreciate that you gave it a shot. Moreover, I extend my sympathies that your efforts didn’t end up being rewarded. I can understand if that experience has kind of turned you off to the idea of therapy or if it’s made you doubt the effectiveness of it all together. After all, there aren’t many other medical procedures that have this same problem. If you go to a doctor to get a bone set, you generally expect it to work without a second attempt. It’s not a very flattering look to say the least. Even still, despite how negative those experiences may be, I believe it is important to consider why things didn't work out before. Because when I say that people often need more than one attempt at therapy, that doesn’t just mean that it didn’t work. It also means that it did work later on. So it naturally brings us to question about what made the difference between the first try and the third.

One of the biggest reasons people give up on therapy is because of the timing. When people are struggling, they can become desperate for any sort of relief. However, therapy as a treatment takes time. Without going into too much detail about how therapy works (see here for a longer discussion), the process is essentially attempting to work with a part of your health that cannot be observed through traditional methods. Instead of conducting tests or making measurements, therapists have to rely on a far slower way to gather information, talking about symptoms a lot. Even after they are able to identify potential factors contributing to the problem at hand, enacting solutions can also take time. Correcting maladaptive thinking patterns, for instance, can be an extended process of convincing a patient that the pattern exists, that it should be changed, and helping them make that change. That’s already going to take a few sessions to accomplish. Lifestyle changes similarly take some weeks to show the effects of. And that’s assuming the first attempted solution proves correct. As such, the typically recommended period of time suggested before you may start to see results from therapy is 3-4 months or 12-18 sessions. And that’s a long period of time, especially for some more severe conditions. It’s very common for people to get frustrated with the process because they are being asked to do a lot of work even though they aren’t feeling better yet. In fact, a large percentage of patients quit therapy well before it has the chance to show it’s effectiveness. So although the effort you put into treatment before was likely difficult and shouldn’t be diminished, it’s possible that things simply needed more time before they could work. On the other hand, by the second or third attempt people are more likely to stick with therapy longer. They also have the benefit of their previous experiences helping them to progress more quickly. So if you’re willing to try therapy again it might be a little easier than the first time.

Another obstacle people encounter is finding a therapist that fits. I often describe individual therapists as akin to a primary care physician, a general knowledge health professional that’s able to tackle a wide diversity of problems. However, while they may have a surface level understanding on many topics, any specific therapist is not going to have a deep knowledge of all of them. Just like other kinds of doctors, individual therapists specialize in different fields and are going to have gaps in their information. These gaps sometimes prove problematic if a therapist is attempting to treat someone with a condition they are not familiar with or cannot relate to. They have a lot of skills and tools that are universally applicable to any problem, but they may not always use them effectively. And that barrier to understanding can appear for a number of reasons. Sometimes it’s a lack of personal, academic, or professional experience. Sometimes it’s a difference in cultural background: religion, race, sexuality, gender, or so one. Sometimes they have certain core beliefs that are in contrast with yours. Some therapists are very strict and direct. Some prefer a more patient-focused approach where they have a more passive role. Not every therapist is a good fit for everyone. It’s entirely possible that the first person you saw just wasn’t the right person for the job. If you were dissatisfied with your previous therapist, I would encourage you to seek out one that specializes in the specific issues you are struggling with. Alternatively, you can seek someone with a similar background to you. I would go so far as to recommend interviewing them to see if they have views and personality traits that would compliment your treatment.

The last obstacle I would like to discuss is a bit more personal. I’d like not to come across as if I am blaming anyone for their negative experiences or accusing them of not trying hard enough. However, it is sometimes the case that someone may attend therapy sessions without truly giving treatment a shot. The thing about therapy is that it looks silly from the outside and there are still a lot of people who are hesitant to accept it’s validity. That is perfectly understandable. I do not expect everyone to put the same value in therapeutic techniques that I do. Unfortunately though, therapy depends on patient participation. Therapists can help you identify necessary changes in thinking patterns and lifestyle, but only if you allow them access to the information they need to understand you. Moreover, it is entirely up to the individual to actually enact the changes recommended. As such, entering treatment without an open mind that is ready and willing to adhere to the treatment can often become a self-fulfilling prophecy. If you go to treatment, fully believing that it won’t work and letting that belief drive your actions, then it certainly will not. And that’s not to say that everything will work perfectly if you try hard enough. It will still be a process. Sometimes you will put your best effort into something and it still won’t work out. However, the only way to know one way or another is to try it thoroughly. I understand that those who are seeking mental health treatment are oftentimes not in a place where they are able to be very hopeful or optimistic. That’s ok. I’m not asking you to believe with all your heart that you certainly will get better soon. But I am asking you to consider if you really did give it your best shot the first time around.

At least those are some of the bigger reasons why people have trouble with their first attempt at therapy. It’s possible they apply to you, but I don’t know much about your specific experience. I can provide as many explanations as possible, but I can’t account for everything because sometimes things just happen. The truth of recovery is that it’s work, but it’s not like climbing up a mountain. Recovery is more like being lost in a forest. It can take a lot of persistence. You can’t take three steps in one direction and decide that you’ll never find your way out.. You have to walk pretty far in one direction before you can really find out whether something is there or not. If that attempt didn’t work out, you’ll need to change directions and try a different way. It would be much easier if there was a simple path to follow, but it's simply something you’ll have to work on for a bit. Granted, things aren’t always a struggle. There is a way out. The forest doesn’t go on forever. It does stop eventually and there might be signs to help along the way to point to where that might be. You have your therapist as a guide to help you along and the longer you walk, the better you’ll get at navigating. I’m sorry if you feel stuck, or you’re tired of fighting, or you’re frustrated that nothing seems to be working. But hope is not lost. Statistically, you can still and likely will get better. Perhaps it shouldn’t take this much for you to get to that point, but it is still within your reach. Recovery is very much worth the work that it takes to get to it. So despite the obstacles, I hope that you continue to pursue treatment and put as much as you can into it so that you can find what’s effective and make therapy work for you, even if it takes a few tries.

For more information on mental health topics, check out our Index

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ivesory · 5 years ago

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Aid with Your First Invention - Dividing Suggestion From Invention

Introduction

Commonly people utilize the idea and invention of the words too freely, never thinking of the precise meaning of these two words. Perhaps in table talk, this practice will suffice; nonetheless, when one is chatting in lawful terms, these words have the various meaning as well as one needs to separate them.

Defining Idea

In legal terminology, words suggestion indicates something abstract, something that can not feel or touch. You could have a suggestion on how to boost a hydraulic wind turbine. Until you create appropriate documentation as well as technical drawings that exactly clarify the inner operations of your machinery, it only stays ... a concept, an abstract as well as vague service to the trouble that you are attempting to address.

Specifying Invention

The invention, on the other hand, is a well-thought as well as the formalized solution to a particular problem. We are no more handling hypothetical equipment or a process; as a matter of fact, the design has been meticulously assessed and recorded. USA Patent, as well as Trademark Office (USPTO), will just grant a patent to the inventor whose work is well written, with directions composed sufficient to be recognized by the individual of similar skill as the innovator. USPTO urges developers to define the supposed "The ideal mode requirement" - implying that a creator ought to disclose the best approach used to attain the desired results.

Should all inventions be patented?

Should all inventions be patented? In my viewpoint, inventions that have no sensible purpose and also unrealistic in their application must not be patented. Some developers end up being so consumed with their inventions that they end up being callous reality and also stop working to recognize that their invention idea is not practical. They advance, spending cash on patent lawyers only to realize in the long run that their invention is just a castle in the sand. In situations like this, all that is required is a fresh look at the issue available. The original idea might have been dazzling, but the innovator has chosen the incorrect path in creating a unique remedy to the issue.

Recap

In summary, an investor needs to set apart in between the suggestion and invention of the word. This terminology is available in convenient when a developer prepares to make his next step in securing his invention by patenting it.

If you are interested in learning more, please visit the IdeaJets website [http://www.ideajets.com/inventor_resources.asp] that is devoted to bringing top quality information to the creators around the world!

Invention Marketing

Do you have a terrific suggestion that you've thought about attempting to turn into money? If so, the adhering to might maintain you from signing up with the hundreds of other inventors who have lost money to questionable invention advertising and marketing firms.

Some companies assert to stand for makers on the lookout for new items. Ask for proof before you authorize an agreement with any kind of company that states it has unique connections with manufacturers.

The company might inform you that it needs to do a market analysis of your concept-- a service that will cost you several hundred dollars. The "study" is phony, and the "positive" report they'll give is an initiative to get you to pay them much more.

If a company is enthusiastic regarding your suggestion-- yet wants to bill you a charge upfront-- leave. Trusted licensing representatives do not normally depend on large front money but rather earn royalties from the successful licensing of their clients' inventions.

If the company wishes to charge you a high fee to register your suggestion with the U.S. Patent as well as Hallmark Office, take your business in other places. To see the actual costs that the federal government charges to register your patent

Ask the company to inform you concerning its success and also failure prices for licensing clients' inventions. Success rates reveal the number of customers who made even more cash from their inventions than they paid to the firm. North Carolina law requires companies to share this kind of information.

Request for the names and also telephone numbers of some recent customers. Talk to those individuals to see if they have obtained help from the company. The firm may just provide you the names of individuals that've had an excellent experience with them, or might send you to someone paid to promote the company.

Ask if the company has ever run under various names. Many firms in monetary or legal problems will certainly go out of the company just to re-open under a new name.

Check out the business before you commit. Call the Chief law officer's Workplace or Better Business Bureau in the state where the company is headquartered.

Check out the agreement very carefully before you sign. Make sure it has every little thing you agreed to as well as expected in writing. You may additionally wish to have an attorney evaluation of the contract.

In North Carolina, invention advertising firms are not permitted to accept money until four business days after you sign the agreement. You might cancel the contract at any moment before you pay by just not submitting a payment.

#InventHelp #inventions #ideas #patent #innovation #technology #inventors #prototype

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thebibliomancer · 4 years ago

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Essential Avengers: Avengers #222: A Gathering of Evil!

August, 1982

You know, I haven’t really thought about how long its been since the Avengers have dealt with the Masters of Evil.

The Masters are the Avengers’ evil opposite team. The Brotherhood of Evil Mutants to their X-Men. The Legion of Doom to their Justice League. The Revengers to their Avengers.

But the Avengers haven’t had to deal with the Masters of Evil since Avengers #83. And in that appearance, they took a backseat to the real master of evil. FEMINISM.

At least according to Roy Thomas.

But yeah. Its been a while without the Masters of Evil. And, uh, any team with Whirlwind has a long way to climb for credibility. Yeah, I said it. He doesn’t wear a shirt.

Also, they put She-Hulk in her at-the-time Iconic She-Hulk Outfit. This is another case of the cover lying. The reality is, somehow, even more embarrassing for her.

Last time: the Avengers had a membership drive because you can only be a kooky quartet for so long. She-Hulk and Hawkeye were recruited and took an instant dislike to each other.

Because She-Hulk cut off Hawkeye in traffic and Hawkeye proportionately responded by breaking her car.

Fun!

So lets get to it.

We start with She-Hulk trying to fix her car.

Annnnd she’s throwing random pieces out of the hood. I don’t think she knows much about auto-repair.

When the electrical system zaps her, she gets so angry that she smashes the car flat like she’s a Street Fighter. Then she jams the wreckage into a public trashcan - also flattening that.

Alas, She-Hulk’s pink Cadillac. You graced our lives for far too short a time. And were taken from us by that heinous bowman Hawkeye. This is the sin which I will always hold against him.

Wasp rolls into the scene, tsking about She-Hulk’s behavior being bad for the Avengers’ image. And hey, yeah! I do like that She-Hulk trying to fix a car in front of the mansion before getting fed-up and breaking it is a good indication that she’s not going to be your typical Avenger.

But despite the tsk she’s not too serious about the admonishment. She even congratulates She-Hulk on getting rid of the car, as it clashed with her skin color.

Reasonably enough, She-Hulk asks who made Wasp the expert.

Except, Wasp did. Wasp made Wasp an expert. She’s literally a professional fashion designer. But relatedly, she’s designed a whole new wardrobe for She-Hulk and can’t wait to dress her up.

I kind of wonder if Wasp views new female teammates as potential canvasses.

Later on, in the Busiek run, she’ll design a new outfit for Firestar pretty much without any input from Firestar herself. And it had an incredibly plunging neckline that Firestar was very uncomfortable with.

If Wasp offers to fashion design for you, feel flattered and a little bit afraid.

Anyway, She-Hulk decides well might be nice to try on a bunch of new clothes.

Y’know, She-Hulk is a bit of a fashion person herself. In her original solo book she started the ‘oops I flexed and my sleeves fell off’ fashion.

Meanwhile, elsewhere, Tony Stark at Stark International.

Big boss himself came down to the Long Island office because one of his programmers has asked for time off.

Brenner’s son is sick and he needs to pick him up from school. BUT: he’s in the middle of a complicated computer project!

Like the idealized fictional caring billionaire that he is, Tony is completely understanding.

Tony Stark, what a guy: “Well, your son is more important than any computer program, take the rest of the day off -- with pay.”

If you end up stuck in the Marvel universe somehow, see about swinging a job with Tony Stark. Tony Stark makes you feel/he’s the cool exec with the heart of steel.

Tony decides he’ll get Ordinary Electrical Engineer Scott Lang to finish the programming work.

Ordinary Electrical Engineer Scott Lang is happy to pick up the project but since Tony Stark is in the room anyway, Scott asks if Iron Man has mentioned any news of Hank Pym.

For you see, although you might think that this Scott Lang is an Ordinary Electrical Engineer, he is actually the new Ant-Man so he feels indebted to Hank Pym.

Tony responds that there hasn’t been any news since Hank Pym went to jail so Scott asks why the Avengers haven’t done anything for him. Tony claims that there’s not a lot that the Avengers can do for him until his case comes to trial.

You could hire him a good lawyer? Or pay for that therapy that you thought he needed?

I guess I don’t know that Tony isn’t doing these things off-screen, to be fair.

Tony further claims that Hank will do fiiiine in jail, because he’s tough. Scott remains dubious since he’s actually been to jail and knows what its like. But there’s only so much you can contradict the boss, even if he’s idealized fictional caring billionaire Tony Stark.

And anyway, Tony has other things on his mind. He’s more worried about Jan than he is about Hank. She’s way too well-adjusted for having gotten divorced after her marriage turned miserable. According to Tony Stark anyway.

Of course, his major misunderstanding is that he thinks “she had [Hank] to lean on for so many years” when it was more the other way around. The Jan he thought he knew was actually playing the role of the Hank Pym Hype Squad.

Meanwhile, we check in on Steve Rogers.

One thing I appreciate about this run of Avengers is that we have more of a sense of what the Avengers are doing when not Avengersing. The Avengers book feels a lot more keyed into the rest of the related Marvel universe.

For example, Steve actually got some art jobs! It looks like comics book actually! And he does art for advertisements too!

And he’s living that glamorous artist life of staying up all night to finish pages and then going ‘oh shit my day job’ when his alarm rings for the Avengers meeting.

Although he’s actually looking forward to getting the costume on and getting away from dealing with ad executives and art editors for a while.A good ol’ several hours in the Avengers gym will help work out the art desk bad posture knots out of his shoulders.

And elsewhere in Chicago, Illinois, where Ordinary Doctor Donald Blake has moved to attempt to make a life for himself separate from Thor. He’s doubtful whether he actually can.

I sorta wonder what the status quo in the Thor books is like because usually when Dr. Donald Blake shows up in the Avengers book, he’s been like a wandering expert doctor, just passing through. Showing up to do the tough medical jobs. He’s settling down in Chicago now.

But at least the thousand mile commute to the weekly Avengers meeting is no problem for THOR!

Now that Hawkeye is on the Avengers again, he’s part of the round of checking in. He’s clocking out of the security chief job at Cross Technological Enterprises. His colleagues all envying how he gets to set his own hours.

He takes a train from Yonkers to his new Central Park West apartment. I don’t know if you remember his living conditions before he got the job at Cross Technological but it was a bit suck. He’s definitely put his steady paycheck to use improving his digs.

Old (from issue #189):

New (from issue #this issue):

Although maybe too much. Because when he gets home he realizes that he has almost no food in his apartment and also no money until payday.

Hawkeye: “Where the heck does $1200 a week go, anyway? I don’t play Pac-Man that much! There was more change in my pocket in the old carny days!”

Psst, Hawkeye. Definitely sign up for the stipend check from Stark.

Another thousand a week will go a long way to keeping you living the can afford food standard of living you’re accustomed to.

He manages to find a bag of potato chips to snack on but decides he’ll have to see if he can find an actual square meal at Avengers Mansion.

Likely. Jarvis seems the sort to keep the fridge well-stocked and heck he’d probably make something if asked.

Anyway, Hawkeye being Hawkeye, he’s not going to take the elevator or stairs. He’s definitely going to fire a cable arrow so he can swing down from his balcony. Because, of course he is. He’s Hawkeye.

And he lands right in front of a taxi, the driver of which calls him a nut

Hawkeye: “You want a star in your cab or not?”

Turns out? No. Hawkeye has to walk to Avengers Mansion and arrives late because the cabbie won’t give him a free ride.

Meanwhile at Avengers Mansion (which fails to elicit the same kneejerk emotional response as ‘meanwhile at the HALL of JUSTICE’ from me), the She-Hulk clothing montage has occurred off-screen.

For shaaaame, James Shooter. And also Steven Grant.

She-Hulk isn’t so sure about the outfit Wasp put together for her.

Wasp: “I call it Arabian Night -- a blend of suppleness, strength and sensitivity to highlight your true nature!”

She-Hulk: “Don’t you think it’s a little... unusual?”

Wasp: “You’re an unusual woman, Jennifer! Your clothes should say that! We want a complete image that’ll drive me wild at the sight of you!”

She-Hulk: “Got anything that’ll drive that jerk Hawkeye one way to oblivion?”

I don’t know if fashion can do that but if anyone could design that, Wasp could. Her or Giger.

Wasp tries to defend Hawkeye but can only manage “he’s okay, just a little... um, well, you know!” but suggests that She-Hulk just be nice to Hawkeye to throw him off.

Which. Sounds like a funny idea.

Anyway, I like the outfit. The colors work for her. And maybe it’s because there are a couple Dragon Ball outfits like this but it feels appropriate for her. Because of the punching.

Iron Man comes in and goes ga-ga multiple punctuation over She-Hulk’s new look, which I guess proves that Wasp hit where she was aiming.

Wasp: “Oh, more flattery! More! I love it! And this is just the beginning. Wait until you see the fighting togs I’m designing for her!”

So I guess that this is just an outfit to look good in and Wasp is still working on the superhero outfit. Can’t wait to see it.

Captain America and Thor come in and Thor too praises She-Hulk’s new look.

Thor: “By Odin’s beard! What emerald beauty stands before us?”

They date later. Its one of those ‘wow expected this to happen way sooner than 2018 honestly’ things.

And then Hawkeye comes in.

He also loses his shit over She-Hulk’s new look. But in more of a Hawkeye way.

Hawkeye: “Waitaminit! Is it Cheryl Tiegs? Loni Anderson? No! It’s the new fashion plate -- the Savage She-Hulk! Talk about trying to get silk purses from sow’s ears!”

You’re a rude, Hawkeye.

She-Hulk storms towards him, offended, and just lifts him bodily.

And kisses him.

Then drops his ass on the ground.

I guessss remembering and putting her own spin on Wasp’s suggestion?

People need to stop kissing each other for spite and revenge reasons, honestly.

I do get a laugh at Hawkwye demanding a rematch. Can’t imagine what form that’d take. But its funny.

I kind of have a problem with the scene, beyond the people kissing each other for spite and revenge thing. Prior to joining the Avengers, the issue where She-Hulk got her pink Cadillac was Marvel Two-In-One #88 where she spent nearly the entire issue hitting on the Thing to his discomfort. And the joke was Ha Ha Sexually Assertive Women.

I really hope that we do not have that again.

Anyway, the other Avengers get some yuks over She-Hulk’s method of shutting up Hawkeye.

Iron Man even suggests that Hawkeye and She-Hulk have just had their first date to Hawkeye’s dismay.

Seriously, someone write an Avengers code of conduct and then create an HR department.

MEANWHILE, CHANGING THE TOPIC AND THE SCENE

In Egghead’s secret Manhattan laboratory.

Egghead: “No, it’s not fair! All I ever wanted was to rule the world -- is that so much to ask? I’m 52. That doesn’t give me many years left -- that idiot Henry Pym blew what may have been my last chance!”

Hah at Egghead having a baby tantrum over being thwarted. And I guess good to know that Hank screwing up the plan by calling the Avengers did screw over more than Hank Pym.

Hank may have saved the world, actually. Good job, Hank.

Egghead laments that he wishes he had another good plan but kind of put all the eggs, hah, in the unstoppable adamantium robots basket.

And then his sexy maid Anna chimes in with a suggestion.

Wait, why does Egghead of all villains have a sexy maid? Who seems to have a crush on him? Why is this a thing? Who in or out of universe looks at Egghead and thinks ‘yes this man is a sexual dynamo’?

Eh, whatever.

Anna: “Vhy don’t choo just buy the vorld, darlkink?”

Egghead: “Anna! Vhat... er, what did you say?”

Anna: “You should make a lot ov money und buy the vorld!”

Egghead: “Work?! Disgusting!”

This is probably the only time I will ever be able to say this but I agree with Egghead.

Anna: “No, no, no! Just invent somethink that everyvun vants -- a cure for baldness, mebbe... or eternal youth!”

Egghead: “That’s silly, Anna! Or is it?”

IT IN FACT WASN’T!

Egghead suddenly stands up, dumping sexy maid Anna to the floor, as he realizes that she’s right! If Egghead could invent cell rejuvenation to give people eternal youth, the world would be his oyster! People would give anything for it!

Granted, he has no idea how to invent cell rejuvenation but that’s tomorrow’s problem. Today’s problem is the logistics. He’ll need research, money, equipment and most importantly of all lackeys to steal all that stuff for him so he won’t have to Effort!

So moments later, Egghead signals a robot spy capsule that he has monitoring Atlantis at all times just because.

Egghead’s spy capsule launches a guided missile at an Atlantean prison, busting out someone mysterious unless you happened to glance at the cover.

And we go from one prison to another prison to pop in on Hank Pym at Ryker’s Island.

Ryker’s is apparently the go-to supervillain prison.

And whoops Hank Pym is one now, at least according to the law. What with being caught with all that stolen adamantium and the mind control prosthetic arm.

Hank Pym: “It just doesn’t make sense! All I tried to do was redeem myself, but things just got out of control! Egghead’s responsible for this! He committed the crime I’m accused of -- and made sure I can’t prove it! Why doesn’t anyone believe me?”

Probably because you did do the crime and were caught in the act and you wouldn’t explain yourself fully afterward. Just saying.

Hank Pym: “Jan! That’s where it all went wrong! If I could get her back, everything would work out! I know it!”

Hank Hank Hank... You’re suddenly a romantic.

A guard yells at Hank that its food time and then further yells that his son had looked up to Hank, which causes Hank to reflect whoops he let down more than just Jan and the Avengers.

When Hank sits down to eat prison chow, he’s accosted by Dave Cannon aka WHIRLWIND aka I guess Hank’s backup archnemesis?

Hank isn’t really spoiled for choice with good archnemeses so he either has Egghead or spin around real fast man.

At least Dave Cannon aka Whirlwind is trying to go for the personal lowblow. That’s a decent, if gross, archnemesis move.

He insinuates that hey if Jan divorced Hank that means Dave has a chance with her and he’s going to visit her as soon as he jailbreaks out of here today.

I’m sure he does have a chance. Like a snowball’s in hell, maybe.

Hank tells Dave to shut up because shut up, Dave.

But Dave ups the ante by suggesting that after Hank Pym gets out of jail in maybe ten or twenty years, he and Jan will hire Hank to be their chauffeur.

So Hank smashes a tray of food in Dave’s face because shut up, Dave.

He also starts punching him because in for a penny.

And because Hank totally started that ‘fight’ the guards haul Hank off for a month in solitary.

You wouldn’t think Hank’s life could get worse in every issue he appears in but you would be wrong.

And wouldn’t you know it? As soon as Hank is out of the room, the jailbreak starts without him.

He doesn’t even get to participate in activities now! Geez, Dave Cannon! You’re ruining prison for Hank.

Anyway, the mysterious figure from the Atlantis jailbreak scene is now jailbreaking Ryker’s and iiiiiits TIGER SHARK!

A guy I know almost nothing about!

-google- Ah, Namor foe. That explains him being a shark man.

He used to be an Olympic swimmer who injured his spinal cord when he rescued a drowning man. So a pretty good guy, starting off. Then to heal his spine he participated in an experimental procedure where Namor and tiger shark DNA was blended with his own and he became a shark man and an asshole.

I think that’s the Namor DNA personally. It makes people into jerks. And Namor is 100% Namor DNA so you can imagine what a jerk he is.

I’ve gotten lost in the weeds.

Tiger Shark busts in through a supposedly impregnable prison wall. The guards try to shoot him with ‘special weapons’ but Tiger Shark thwarts them with a special weapon of his own.

A TABLE!

Which he uses to block the shots and then hit them with.

They were fools to put their faith in high-falutin’ technology when they could have been investing in low-falutin’ carpentry.

That’s right, they should have gotten wooden guns.

With the guards tabled for now, Tiger Shark collects Scorpion and Whirlwind.

That’s two supervillains on his shopping list but there’s one more to get.

So the three detour over down to the women’s wing while the jailbreak of everyone else keeps the guards very busy.

And they find Dr. Karla Sofen, Ordinary Criminal Psychologist who got superpower from a space rock. Y’know, a Moonstone.

She has a few follow-up questions before she throws in with these goons but Tiger Shark isn’t a good conversationalist.

Tiger Shark: “You wanna get snuffed right here, lady?! Move! Negotiations are closed!”

She grudgingly accepts these terms. The caption box says so.

The four supervillains take a remote controlled escape boat and escape on a boat.

Later, in a safehouse on Long Island Sound, the four supervillains are all costumed up and already feeling cooped up with each other. It is a small house and they are all big personalities.

Tiger Shark and Whirlwind even get into a fight when Tiger Shark complains about waiting and about suburbia and Whirlwind tells him to shut up. And by fight I mean Tiger Shark smacks Whirlwind in the head. Because its Whirlwind.

Ant-Man’s backup archnemesis. And Tiger Shark fights Namor. Its a mismatch.

But its enough of a ‘fight’ to cause a stir.

Egghead: “Stop your silly squabbling! Fighting among yourselves won’t further my plans!”

Moonstone: “Wha -- ?! Egghead?!”

Tiger Shark: “What’s an Egghead?”

Hah.

I don’t know why this exchange amuses me so much.

Egghead is perfectly happy to introduce himself slash ramble on and on with words words words. He is PERHAPS the world’s greatest genius (hahahahah noooo) but says he may find a cure to Tiger Shark’s “repugnant amphibious condition.”

Egghead: “If you all follow me without question, you’ll share in my forthcoming power and wealth! In addition to being bodyguards, you’ll perform various tasks for me -- beginning tonight, when you loot a certain Manhattan medical research center to obtain data and supplies! Cross me -- and no one will ever hear from you again!”

I’ll make fun of Egghead any day of the week but I’ll give him this. He evidently delivers this speech with such conviction that ‘shark man who fights Namor’ just nods and apparently thinks yes this sounds legit.

And lets be honest, between Whirlwind, Scorpion, Moonstone, and Tiger Shark none of them look at this eggheaded guy threatening them and think about trying something.

Egghead appoints Moonstone his deputy and team leader. Because, he says, she’s such a well-trained follower.

Okay, okay, okay. Okay.

So, Dr. Karla Sofen first appeared as a henchwoman to Dr. Faustus.

But then she tricked the original Moonstone into giving the moonstone to her and became the new Moonstone. And here I didn’t even know there was an original Moonstone.

My point being, yes, early on you might look at Moonstone’s history and think ‘yes she’s definitely a subordinate person who won’t give me trouble’ but from a modern perspective?

I know Modern Moonstone for basically being the Starscream of whatever team she’s on. Starting from Thunderbolts at least, she’s never the boss, she’s happy being the deputy but she’s always scheming and manipulating and undermining her boss.

I really want this to be a hilariously bad judge of character Egghead has made. I really do.

Meanwhile, Whirlwind thinks that he’ll play along with Egghead’s plans. Until he gets bored.

And then I guess he gets bored like five seconds later because he decides that since the job Egghead wants them to do isn’t until evening, he can go visit Wasp.

And yeah. We scene transition to Avengers Mansion and Whirlwind is just lurking in the bushes spying on Wasp’s limo.

Inside the mansion, with the Avengers’ meeting over, the Avengers all get ready to go about the rest of their business.

Hawkeye saying he has to get home gets She-Hulk to start musing on how she hasn’t had a real home since she left Los Angeles.

Which she did for... reasons? She seemed like she was going to stay in LA at the end of her original Savage She-Hulk book. She probably did it so she could do crossovers. That makes sense.

Wasp tells She-Hulk that since Tony doesn’t charge rent, She-Hulk can just stay at Avengers Mansion for a while. And in a couple days, she’ll take She-Hulk apartment hunting.

Wasp is a good friend.

She heads out to her limo and tells Mr. Carrothers to take her to her Manhattan apartment.

BUT WHOOPS iiiiiiiiiits Whirlwind!

He knocked out Mr. Carrothers over the head and stashed him in the bushes. Wow, being Wasp’s chauffeur is very eventful.

Whirlwind: “Forget him. I’m the man in your life now! I figure with your ex in the slammer, you’re gonna need an understanding shoulder to lean on -- .”

And then Wasp shrinks down and shoots Whirlwind in the face.

Wasp: “That’s awfully considerate of you. But next time send flowers first, okay? By the way, have you ever met me bio-electric sting?”

Get rekt, Whirlwind.

This has been a really good span of issues for Wasp. I’m boggling a little. My standards weren’t super high to be honest but this has been good.

I mean, aside from her wearing her Avengers #194-196 costume again. The one with only one pant leg. Of all your costumes to wear under normal clothes, why this one, Jan?

Outside the limo, Hawkeye is trying to sneak back into the mansion to raid the pantry and hoping everyone else has gone.

Because he doesn’t want them to know that two-jobs Hawkeye is having money trouble, I guess? But dude, just confide in Jarvis. He’s a good guy.

Anyway, point being, because of Hawkeye’s hungry little tummy, he sneaks back to the mansion in time to see flashes of energy from inside Jan’s limo.

Hawkeye runs to Jan’s rescue and instantly gets blasted by Moonstone who has just arrived to yell at Whirlwind for taking off without her permission.

Whirlwind says he doesn’t have to answer to Moonstone and a presumably very frustrated Moonstone answers yes he does, that is the very thing he has agreed to when he joined the new Masters of Evil!

I feel maybe announcing loudly that you are the new Masters of Evil right in front of the Avengers is kind of jumping the gun.

Not to mention having the whole time show up to pose like a team just to pull Whirlwind’s butt out of the fire but like I said, this isn’t a very impressive seeming iteration of the Masters.

They do have this much, at least. Hawkeye recognizes each one of these bozos (muffled foghorns from Titan Up the Defense way) and recognizes that he and Wasp are outpowered in addition to being outnumbered.

Reinforced by Tiger Shark just smacking Wasp out of the air.

I think her one legged outfit is slowing her down.

So Hawkeye fires a flare arrow to try to summon help.

Remember when the Avengers had radio rings? That’d probably be a less obvious way to signal for help. Because Moonstone sees Hawkeye shoot a flare arrow that LIGHTS UP THE AREA and shoots him for sending up a signal.

And then she turns to the others and goes “Why didn’t you blunderers stop him?”

Its a good point. Tiger Shark points out though that she didn’t stop him either.

Again: not a very impressive iteration of the team.

Whirlwind, trying to put on the pragmatic hat way too late, says that they should kill Hawkeye and skedaddle because fighting in front of Avengers Mansion makes him nervous.

But he’s still Whirlwind so he’s still gross so he thinks to himself that he wants to grab Wasp before they go.

And what, dude? You gonna keep her under your bed? WHATS YOUR CREEPY ENDGAME?

On second thought, I don’t want to know. Geez, this is awful but I’m glad that Wasp died in Ultimate comics before an exceptionally creepy Ultimate Whirlwind could show up and keep her in a well or something.

Hey, maybe if we tell Whirlwind that Living Laser is also obsessed with Wasp, the two will fight to the death and I won’t have to deal with either one!

Anyway. Off-track. Anyway.

With a sound of thunder, a Perfectly Ordinary Uru Hammer THOOMs by smacking every villain before returning to Thor’s hand.

Yeah, fighting in front of Avengers Mansion? Really dumb!

Thor: “Stand back, perfidious mortals, or face the wrath of Thor!”

Wasp: “Huh? Thor! I always thought you were handsome -- but you never looked better than you do now!”

Thor: “Fair Wasp, thou art safe in my hands!”

Wasp: (Mmmm! Don’t I wish!)

Well, you’re free to play the field now, Wasp. Go for it.

Meanwhile, over in Avengers Mansion, She-Hulk hears the racket and gets up from her nap to see a supervillain battle taking place on the street in front of the Mansion and just kind of sighs about New York being like this.

Again again: fighting in front of Avengers Mansion? REALLY DUMB!

Moonstone even realizes it.

Moonstone: “This is insane -- wasting our energy battling the Avengers for nothing! We’ve got to end this fight and escape!”

She tells Scorpion to take Thor which either shows a high esteem of him or a very low regard. Either way, Scorpion is happy to try, tail-whipping Thor through the air.

Inside the mansion, She-Hulk decides that the only way to get some peace and quiet is to throw hands. Side benefit: she’ll also get to prove herself to the Avengers.

But I like that the primary reason is that she just wants to have a dang nap and this nonsense is preventing it.

So she OH YEAHs through the window because heck Tony Stark will pay to fix it and runs towards the battle.

Haha look at that tiny alarmed Jarvis in the window. I love that kind of background detail. Amazing.

Wasp takes a break from, I dunno fantasizing about Thor, to fly over in a panic.

Wasp: “Oh, no! That outfit is an original! Tear it -- and I’ll never speak to you again!”

She sure has her priorities. I think maybe she doesn’t think these new Masters of Evil are all that threatening.

Maybe she shouldn’t be so worried though. She-Hulk just jumped through a glass window and the outfit looks untouched.

She-Hulk: “You can’t be serious?! You are. Ohhh... fudge! This is ridiculous!”

She definitely had to stop herself from saying an f-bomb.

So She-Hulk stops running to help Thor and sits down to start pulling the Van Dyne Original outfit off so Wasp won’t friend break up with her.

I’m sure Thor is doing fine though.

Ha ha, just kidding.

Moondragon is keeping him pinned down with her laser blasts and Tiger Shark hits him with something almost as powerful as TABLE.

A CAR.

Tiger Shark: “That Avenger creep thinks he’s the strongest there is. Me, I can withstand the pressures of the ocean’s floor without breathing hard. So when you’re talking strength -- you’re talking Tiger Shark!”

Hey, cool! Its the same thing writers use to argue Aquaman Strong Actually. I wonder if this actually predates that. It’d be funny if Tiger Shark preempted Aquaman in anything.

Wasp (while blasting Scorpion in his Scorpion neck) asks Thor if he’s okay but I think Thor is more annoyed than endangered by being ganged up on by the villains.

Thor: “Aye, the villain’s cowardly attack availed him naught against the might of Thor! I would see this battle ended!”

Tiger Shark basically says ‘nuh uh’ or “Together we can turn him into hamburger!” but then someone punches Tiger Shark from behind and knocks him out.

Scorpion: “Who in -- ? Some chick from Frederick’s of Hollywood?”

She-Hulk: “Don’t tell me you don’t know who I am! I don’t want to hear it!”

So, yeah, She-Hulk has arrived. In her underwear. So she doesn’t offend Wasp.

I guess after the Moondragon arc, Wasp is paying forward the wardrobe embarrassments.

Very rude, Jan.

Hawkeye is also up and raring to arrow. And he nails Whirlwind with said shock arrow annnd knocks him out.

Yup, this is the part of the book where we’re running out of pages so the villains start going down really easy.

Next, Wasp shoots Moonstone and She-Hulk multi-tasks by punching Moonstone into Scorpion and knocking both of them out.

Which means that She-Hulk is MVP of this fight. She arrives the latest but knocks out the most people. Good job, She-Hulk. Even Hawkeye admits that she did pretty good (qualified with “for a beginner!” which She-Hulk just laughs off.)

Meanwhile, in his hidden laboratory, Egghead is thinking that you can’t get good help these days.

Egghead: “Fools! We would have destroyed the Avengers eventually! There was no need to upset my timetable!”

But its only a minor setback and he considers that this stomp may leave them more willing to see that his ideas are best ideas.

I really hope that everyone pins the blame on Whirlwind when Egghead inevitably has to break them out of prison again to assemble his Masters of Evil again.

Hm, and I didn’t wonder this before but why Masters of Evil as a team name? He has no connection with any of the previous iterations, I don’t think. Weird.

Back at the mansion, the Avengers stand around being pretty pleased with themselves for beating up a bunch of people who attacked them for no reason and sucked at it.

The only sour note is that Wasp lost yet another limo (to Tiger Shark’s deadly CAR attack) but even then she says she was ready to trade it in on a DeLorean anyway.

Wait, aren’t DeLoreans known for having disappointing performance for a car and adequate performance as a time machine? Wasp, why are you getting a DeLorean, you kook!

She-Hulk, who sold her dignity to keep Jan’s friendship, suggests that the two of them go looking for new cars together.

OH RIGHT. Issue started with She-Hulk’s poor lamented pink Cadillac being junked. That’s bookends, it is. They’re the Sisterhood of the Broken Cars now.

So a very decent story!

Stuff is being setup with Egghead, the Hank Pym plot thread is still going, and we’ve got a new Avengers roster to settle into.

Although. Between the Moondragon arc and this, I’m wondering if clothing mishaps is going to be a running joke going forward and I hope not. Or at least let the guys in on it. Let Thor get locked out of the house in his underwear. It is only fair.

To the readers, if not the characters.

Although, I guess that is kind of what happened in the Molecule Man story. Tony Stark stuck in only his underwear and had to wear Ordinary Doctor Donald Blake’s jacket around his waist.

Not much more to say about this. Its a solid issue.

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