#i know its a term which relates to a specific character treatment but i feel like it's happening...demographically?...

[divinekangaroo]

thinking complicated inarticulate things about fanfiction over time, current dominant fanfic production trend, and flanderisation

[ewingstan]

Hm, I think I mostly enjoyed Breakthrough's debate with Gary. As a look at the the different perspectives one could hold on power and capedom, it doesn't work at all; the reader isn't gonna seriously consider Gary's argument's when he's been positioned as a Teacher shill who'll go after a nine-year-old. But then, its not really being framed as an actual clash of ideas so much as a battle for narrative control.

And that's something I enjoy reading more than Ward's physical battles. The attempts at crowdwork, the politics and pageantry of capedom, is something I kind of wish had been a larger focus rather than the extended battle scenes. There's a lot of questions (what attempts at new modes of organization and protection have people advocated for in the wake of gold morning? how has the proliferation of groups that get hired out to "heroes" and "villains" alike affected perception of those categories?) that I wish got explored by the text more. I do wish they got explored in ways outside of an anti-parahuman movement created by a shadowy conspiracy, but hey, better than nothing.

Usually, at least. Exploring those questions gets worse when the character's attempts at narrative control intersect with wildbow trying to advocate for his own murky ideas of justice. Hence why I'm theoretically interested in how Breakthrough sells the public on Rain getting to be considered a hero, but am offput when the answer is "one girl at his trial recognizes that he's repentant and bravely forgives him, to the jeers of a crowd, because the reader is supposed to agree that Rain's willingness to be punished is both laudable and necessary." This section has enough of Victoria going "okay we gotta sell this specific point even if I don't believe it" that I don't really have the same sense that wildbow is actually making any prescriptive claims.

That falters a bit when Ashley disconnects her arms and Gary immediately loses rhetorical footing.

Ashley didn't really respond in a way that I see Gary's audience being swayed by. It challenges the "I'm specifically a monster" point but not his actual "we need to do something about Parahumans being in charge" point. He could and should be switching tacts to talking about Rune being with the heroes, or asking why they sought her as a candidate in the first place, or asking what it means that parahumans can so easily be made into a weapon even against their will. Breakthrough's argument is maybe effective in terms of having the reader reject Gary's claim, but that's because the reader has been following Ashley and knows how significant it is that she's rejecting having been a real member of the nine. As dramatic as the moment is, it doesn't really make sense for Gary to lose his momentum, and it feels like he only does to sell how powerful and important a moment it was for Ashley. Maybe its for the best, he's gotta falter somewhere for the argument to stop circling the drain, but I feel like I would've been more onboard if Breakthrough got the win through something more directly related to the narrative they're spinning.

Still, there were a number of good character beats. Ashley being faced with an accusation that she was getting preferential treatment through housing, and responding to it largely as an accusation that she was being kept as an object by the government, was a pretty great way to get across where Ashley's at. And Rain being the one to jump to "its all of us vs the villains," while Victoria privately disagreed and wanted to focus on "its the heroes vs the villains," did a good job of demonstrated Vicky's casual dismissal of non-parahumans. It was much less jarring way of communicating that to the reader than her earlier "we might have to tell them that we don't care about their concerns" comment to Vista, which felt too self-consciously villainous. Her needing to be pushed into treating non-parahumans as part of the in-group was a much more believable way of communicating the same thing to the reader.

[bigskydreaming]

I actually can not believe I've never posted this X-Men headcanon that turned into a whole treatment/outline, but for those few followers who know who Dallas Gibson aka Specter is, or Laynia Petrovna aka Darkstar, or just anything about Academy X in general.....enjoy! (You actually don't have to know anything about Dallas or Laynia to follow this, I don't think.)

Anyway, I give you:

THE GREAT MANIFESTO OF WHAT IF DALLAS GIBSON WAS THE SECRET LOVE CHILD ONE NIGHT STAND CHILD OF BOBBY DRAKE AND LAYNIA PETROVNA: A CRACK FIC THEORY OUTLINE SOMETHING IN THREE PARTS

(Like I GENUINELY thought I had posted this before but found this in my drafts so apparently not. Anyway, I feel like this is particularly relevant again after Laynia was just brought out of comic book limbo as the head of a mutant mercenary group in the wake of Krakoa's fall. She's massively OOC in the one issue of X-Factor released so far and I don't like it, but it did reignite this particular headcanon so....there's that I guess).

Anyway! My treatment for revealing Dallas Gibson as actually being Dallas Drake, secret child of Bobby Drake the Iceman and Laynia Petrovna the Darkstar from when they were on the Champions together when they were both only nineteen.....without actually destroying continuity to make it work!

A triptych of linked five issue minis:

ICEMAN AND DARKSTAR: SHADOW GAMES

ICEMAN: A HOUSE OF DRAGONS

DARKSTAR: SONS OF SNOW AND SHADOW

So I have approximately 80 different pitches for what to do with Iceman at any given time, but let's go with one that I know would never in a million years happen purely because the X-Office will never let the 05 be the ages I perceive them as which is mid to late thirties at this point. Like I picture Bobby as around thirty-six or so, though for him it actually makes sense for him to be eternally portrayed as LOOKING like he's in his early 20s, since that was the age he first transmuted to his ice form and so makes sense to be his default template/molecular blueprint his power resets him to every time he has to make a new body from scratch.

Anyway, wildly self-indulgent pitch ahead, which ties into a cracky headcanon I've had since Academy X, a couple OCs, and combines my ideas for giving Bobby an antagonist of his own, more characters to interact with other than major X-Men so his story beats aren't reliant on whatever's going on with other X-Men and who's available,  and gives him concrete reasons to want to level up quickly in terms of how much social influence he wields among mutantkind, take more prominent/proactive stances on things, etc. While still leaving room for him to be goofy and always trying to use humor to seem more relatable, less threatening, etc.

So. I'm picturing this as a triptych like Sabretooth, three interlocked minis of five issues each that form a trilogy by the end.

First mini:

ICEMAN AND DARKSTAR: SHADOW GAMES

ISSUE ONE:

First issue opens with Bobby in his apartment in LA, sometime after he's left the most recent X-Men lineup and is back to living off of Krakoa. He's just gotten in and is going through his mail where he comes across a card with no return address. Opening it, he finds its a condolence card that says "Thinking of you on this anniversary of such a tragic day." His internal monologue, conveyed in caption boxes and a key element of this whole mini, shows he's totally confused by this. He has no idea why this date would hold any special significance, or who would have sent the card or why. (The specific date would just be somewhere around the date of publication, in a world where this actually got published, lol. Let's go with April 27th, for instance).

Deciding to just shrug it off as some weird thing, Bobby's basically just being moody for a page or two of reflection before Scott calls. They're trying to do better about keeping in touch even when they're not on the same team. Some generic catching up, and Bobby eventually mentions he's just been in a weird mood all day, to which Scott says he's not surprised. Turns out Scott's noticed that for as long as he can remember now, Bobby's ALWAYS in a shitty mood every time April 27th rolls around. Yes, Scott being Scott, after years of Bobby being weird around the same time every year, he eventually narrowed it down to its epicenter. This very day. Bobby is both weirded out and touched by Scott's attention to something so specific about Bobby...more attentive than even Bobby himself. When they hang up, he's still clueless about why today would be such a big deal to him, but apparently there's a pattern. That card might not have been so random after all.

Confused & uncomfortable now, Bobby decides to get out of the house & just do hero stuff. That always makes him feel better. He helps put out some fires, divert a tidal wave, gating back and forth across the planet, restless. The whole issue, even as he uses his usual banter to make the people he helps feel at ease in the wake of whatever catastrophe they were just saved from, his internal monologue shows he's second-guessing himself constantly, being his own worst enemy, criticizing every choice he makes about his saves, how he could've done things better, etc. Things come to a head when he intervenes at a protest - I don't have a specific cause in mind but ideally something non mutant related - as a group attacks the protesters until Bobby drops in to protect them.  

The protesters thank him but are pretty cynical about the whole thing. They note that this happens constantly and most of those same people will be back stirring up trouble and violence at another event like this down the line. They hope for change for the better but point out that some people never will, because they're not interested in better. They're happy with their hate. Bobby reflects on what they said, and here's where his thoughts start to take a particularly dark turn. He thinks of some of the ways his powers could be used to ensure those ppl never hurt anyone again, how the full potential of his powers include a lot of lethal options, and why shouldn't he use them when its true most of these ppl will just commit heinous acts in the future, and he might not be around to protect their victims next time. He even reflects on how he's used some of those darker options in the past, so its not like it'd be crossing a line he hasn't already....

Disturbed by the fact that the only reason he can think of not to go there is he's a hero and heroes don't do that, he just wants to be anywhere else in a hurry so he skips heading for a gate and does something he does only rarely....turns himself into mist and starts to disperse, to teleport somewhere far away, but as he does he gets the weirdest feeling, like his spread out consciousness is brushing up against someone else's. He's not alone he realizes. And he stops and recoalesces right there and talking to the empty air he demands that someone show themselves. A man appears out of nowhere, laughing.

Stranger: Your observational skills are a lot sharper than they used to be, Drake. Back in the day, you had no idea when I was around.

Bobby: Who are you and why are you talking like I'm supposed to know who you are? I've never seen you before in my life.

Stranger: Wow, it sucks to realize you left way less of an impression on someone than they left on you. I guess it makes sense though. I mean, when you KILLED me almost twenty years ago, this very day - that was obviously a big deal for me, but hey, I've been out of the loop awhile so what do I know? Maybe it was just another Tuesday for you.

Bobby: Are you the one who sent me that card earlier? Who the hell are you and what kind of game are you playing?

Stranger: Same one we were playing all those years ago, Bob. Before you got all pissy and flipped the board before I got a chance to make my next move. But thanks to the wonders of Krakoan resurrection, now we can pick up right where we left off. It really is a miracle, isn't it?

Bobby: Well maybe you should check with the Five and make sure they didn't bring you back with a few screws loose, because I'm pretty sure I'd remember this if it was actually me you were playing this game with.

Stranger: Maybe you just forgot. Or who knows? Maybe someone made you forget.

Bobby: Okay, yeah, I'm bored now. Time to put you on ice.

He starts icing the area around the stranger, intending to trap him in a block of ice, but the stranger just laughs and turns incorporeal, becoming a transparent outline hovering above the street....so to anyone who hadn't been watching their conversation - like the very protesters Bobby had saved earlier - it looked like Bobby was just furiously creating some kind of ice attack that didn't seem to be aimed at anyone...other than them. The now ghost-like stranger zips over to the crowd and starts weaving among them, seeming to whisper in a bunch of peoples' ears....and before long, the crowd that had just been saved from one attack and were primed not to just sit down and take another, were ready to choose fight over flight...and all of that fight now seemed focused directly on Bobby.

He constructs some ice barriers to just keep them at bay, not really worried they'll hurt him and more concerned about not hurting them, when the stranger's ghost form swirls around Bobby, hovering above his shoulder and now whispering in his ear. But there's no dialogue in the stranger's speech bubble....just caption boxes displaying Bobby's internal monologue....and now calling into question every single box earlier in the issue.

Caption box: Isn't it surreal how the right words whispered in the right ears can dramatically change a person's perception of something....or someone? How easy it is to change peoples' courses....even the course of their entire life?

Caption box: And fear, well, fear's one of the best motivators there is. So much easier to get someone to listen to you when they're afraid of something else.

Caption box: But maybe you can't really relate to that. A guy as powerful as you, you're probably not afraid of much these days.

Caption box: That wasn't always true though, was it? This take you back at all? Remind you of when you were just a kid, and there was a mob gunning for you just for the crime of being mutant and vulnerable? I bet you were scared then.

Caption box: Considering what a guy like you could do if he were scared enough, if the right person used the right words as the spark to ignite all that fear....the world's probably pretty lucky that Saint Xavier was there to be the voice you listened to back then, huh. Y'know, instead of someone like Magneto or Apocalypse being the ones to tell traumatized, impressionable little you what to do with all that fear and anger you felt....

Caption box: Do you ever think about that, Drake? Wonder if all that separates you from the worst of the worst is you had the right voice in your ear at the right time? That maybe there's nothing special about you at all, nothing innately noble, heroic.

Caption box: That you were just....lucky?

Caption box: Food for thought. Anyway, I gotta run for now, but I'll be seeing you, Bob.

Caption box: We have so much to catch up on.

Then its just Bobby left keeping the crowd at bay with his ice structures, him visibly shutting down, trying not to think too much and just running on instinct, until a hand reaches down from above and snatches him up into the air, until the streets are just a speck below them. Bobby looks up and to his shock its Laynia Petrovna aka Darkstar, his old friend and teammate from back when he was on the Champions as a teenager. The issue closes with her saying: "Hello, Bobby. I'd say its nice to see you and all the usual pleasantries, but we don't have much time. And we need to talk about our son."

ISSUE TWO   

This issue switches to Laynia's POV with her internal monologue in caption boxes, and picks up with them having teleported somewhere secluded via Laynia's powers (she's much more practiced using hers to teleport than Bobby is using his that way). This issue goes back and forth between past and present, as during Laynia's narration of past events they're shown as if they're happening in real time.

Bobby's pointing out that they were never together, and considering she was the one who turned him down, you'd think she'd be aware of that. Laynia responds that no, they were never a couple, but they did sleep together once and once only....she'd been feeling particularly down about her ex-boyfriend Yuri after running into him, it was a rebound thing for her and she never hid that but Bobby took it to mean more than it did anyway and acted a fool about it, aligning with their canon interactions at the very end of their Champions run, before getting on the same page and they went back to just being friends.

Except, Laynia says, then she found out she was pregnant, and he flew to Russia to join her and decide what to do together, while everyone else thought he was still at UCLA. He doesn't remember any of this, because blocks were put in their memories, hiding everything related to this. But it did happen, and they do have a son. She'll explain everything, but they need to keep moving around, as she doesn't want the man who just confronted Bobby to overhear any of this and its very hard to detect when he's around. Their best option is to keep on the move, teleporting frequently and not staying anywhere long enough for him to track where they are.

Bobby: Oh crap. HE'S not our son, is he?

Laynia: Hell no.

Bobby: Phew, I was worried we had a Stryfe situation for a second there. I am barely holding it together as is and I am NOT equipped to handle an evil Bobby Jr. from the future.

Laynia reaffirms that he is definitely not their son, but he is the reason for much of what happened back when they were eighteen. They only ever knew him by his moniker, 'Doubting Thomas' and honestly were never sure when exactly he started watching them and messing with their heads. That's his MO. His power lets him turn from flesh and blood into a form made solely of psychic energy...an astral ghost that's invisible, immaterial and can travel via the astral plane. But his only power to affect the material world in that form lies in telepathy. He can project thoughts into someone's mind and its almost impossible to keep him out or tell his intrusions from ordinary thoughts.

She's not sure how he'd fare against other telepaths, but at least with non-psychics, even the best psychic shielding or anti-telepath technology isn't a guarantee against him. Because he doesn't try to break into minds, or even sneak past mental defenses. He just surveils his targets, watching them invisibly, learning all he can about them, and then he looks for cracks in whatever mental shields they have. Tiny gaps here and there that he can just whisper into, slipping a thought in amongst the chaos and chatter generated by someone's own mind.

All of which means they never were sure where their own natural fears and paranoia ended, and his whispering began. They were eighteen, she reminds Bobby, already freaking out about this giant life change neither were sure they were ready for, even if they did keep the baby...and neither of them was an ordinary civilian. They were powerful mutants with lots of enemies....from day one, they were concerned that their child would be born with a target on their back just from that. And then there was the fact that one of the things they'd always bonded over was resentment for how early they felt their childhoods ended.

Laynia and her twin brother Nikolai were taken from their parents at birth, and raised separately with government agents for foster parents. They were always intended to be mutant operatives for their government, their lives scripted out for them, and their training began in their early teens. Laynia didn't even know she had a twin brother until she was in her twenties.

And Bobby had always quietly nursed resentment for being put out into the field at the same time as the rest of the 05, all years older than him and with a lot more focus from the Professor. Scott was his protege, a tactical genius, Jean was his preferred pupil in terms of power development, Hank was a bonafide genius, and Warren was a millionaire playboy, a natural spokesman and inevitable future celebrity. Bobby was just Bobby though, with no awareness of his full potential, and the only one the Professor didn't seem to have any real purpose for or interest in. Like he was tacked on as a spare, his presence more of an afterthought than intentional.

So especially in his late teens, after the 05 went their separate ways, Bobby had always been bothered by the fact that he'd gone through all the same traumas and hardships as the rest on their various missions, but always wondering what he was even doing there when it didn't even seem like there was any reason he was supposed to be. Privately he'd always wanted someone - his parents, the Professor, even the older 05 - to question whether there was really nobody else Xavier could have been sending out to fight Magneto, than a fifteen year old too afraid of being abandoned to say no on his own behalf. After all, the issue was complicated by the fact that when his parents weren't fully on board with Bobby going to the Institute, Xavier mindwiped them into thinking he was just at boarding school, and it was only when Bobby was eighteen that the Professor restored their full awareness of what Bobby had been doing for years.

All of which played into why Bobby and Laynia didn't tell anyone about the pregnancy, even their closest friends. It started out as them just putting it off, wanting to be more sure of their own thoughts on this before someone else tried to make the decision what to do for them, but by the time Laynia gave birth, they'd fully isolated themselves, paranoid that Xavier or the Red Room would take the baby and just make them forget all about it. And problem is, as Laynia put it, they couldn't tell how much of that was Doubting Thomas whispering all the right things to ramp up their anxieties and specific fears.

And obviously someone did mess with their memories anyway, Bobby points out crankily. This all is partly meant to seed two ongoing character arcs for Bobby in the future....the first, his awareness of how often his mind and memories have been messed with over the years, by enemies and allies alike, to the point he's honestly not sure how much of 'him' is really even him, and how much he's just the end result of people just editing his mind whenever he started heading in a direction they didn't want him to. With how long the memories of their time travel trip were hidden, now these missing memories, what other holes could exist in his memories without him ever having a clue?

And the second character arc is his misgivings about Xavier and the role he played in Bobby's childhood. Knowing what he knows now of his omega potential, aware that all the biggest developments and learning curves with his powers happened when Bobby WASN'T Xavier's student, Bobby's increasingly convinced that Xavier never trusted Bobby with his own power, and while he might not have actively stunted his growth, he certainly didn't help or encourage it the way he did his other students. The foundation is there for Bobby to wonder if the only reason Xavier ever even recruited him was to keep him from falling into anyone else's hands and becoming a threat.

As Laynia reminds him of what they were like back then and how they viewed things, things fall into place for Bobby and its very easy for him to see how they could have ended up hiding this from anyone in Xavier's orbit, etc...and this starts to become less abstract for him. It wasn't that he thought she was lying at any point, but its hitting him now....he has a son, and someone made him forget. He's someone who has always yearned for family that won't judge or condemn him, leave him, always been determined to be everything his own father wasn't and nothing like him, and yet he has a son who's grown up without him. Whose name he doesn't even know.

He does know his son though, it turns out. At least somewhat. Its one of Bobby's former students before M-Day. Dallas Gibson aka Specter. He has no idea who he really is, Laynia says, but the parents who died when Dallas was ten were his adoptive parents. But he was born Dallas Drake, as Petrovna wasn't even Laynia's real last name and she had no idea what it originally was. Heir to the merged powersets of both his biological parents, with his father's elemental form but made from his mother's signature Darkforce energies.

As for why Laynia remembers when Bobby doesn't....she didn't originally. But then years ago (during the Morrison run), she was possessed by one of Weapon X's most dangerous creations, the Huntsman. However, thanks to how her powers were designed to let her mind travel through the Darkforce Dimension to do things like teleport, when she was possessed, her mind tried to flee into that dimension. When Fantomex killed her, he only killed her body, and her mental tether to it. The shock and trauma of her physical death broke down the barriers around her memories, and they all came flooding back. Problem was, she only existed as a consciousness drifting aimlessly in the Darkforce Dimension.

But then Dallas started learning more about his powers and growing them during his time at the Academy. And his powerset also includes the ability to make shadow golems similar to the ice golems his father makes. But he didn't realize this as the first time he made one, with Darkforce energy being the clay his golem was sculpted from...Laynia was able to use that as a doorway into the physical world. She inhabited his shadow golem as her vessel, the way a future Iceman's golem once split off from him and became a separate entity. So Dallas never realized his newfound shadow friend started out as something he made unconsciously...he just knew that it seemed to have its own sentience from the jump, was a friend and protector who'd show up whenever he needed them. That friend and protector just happened to be his biological mother, watching over him the only way she could.

Until M-Day. When Dallas was depowered, Laynia lost her connection to the physical world and was stuck again in the Darkforce Dimension....until her brother Nikolai made a bargain with Immortus that led to her full resurrection. Finally she was back, and she remembered everything. But also knew Bobby remembered none of this. And so for the next couple years she just checked in on Dallas periodically but kept her distance, because she not only remembered her son...she also remembered why they were so desperate to hide his connection to them that they covered up their own memories of him ever existing.

At the end of the issue, they arrive at the hideout of the Russian mutant underground, a community of mutants who mistrust Krakoa and its leaders, but aren't on board with Mikhail Rasputin and his faction either. Laynia brought Bobby to the person who originally hid their memories and locked them away - at their own request....Bobby's idea, in fact - Alexi Garnoff aka Blind Faith, a telepath Bobby first met in his X-Factor days. But who was so quick to trust Bobby, because turns out that wasn't actually the first time Alexi remembered meeting him.

As Bobby reels from the reveal that this particular manipulation of his mind had been something he himself asked for, Alexi says he can erase all his work and return his own memories of all this, and Laynia warns him that remembering it all will hurt. Because they have a son, yes, Dallas Gibson aka Dallas Drake aka Specter. But twins run in her family.

And for a brief - too brief - window of time, they had not one son, but two.

ISSUE THREE

This issue returns to Bobby's POV and internal monologue, and takes place almost entirely in the past, or in Bobby's mindscape. He tells Alexi to do his thing, he wants to know, NEEDS to know everything. The walls come down and in his mind, Bobby finds himself standing at the start of a giant labyrinth made of ice. He sees a little boy running through it and gives chase, needing to catch up to him, desperate even as he's aware he's running on autopilot, more instinct than knowledge. He's never seen this boy before - he's not even a real memory himself. But he knows what an older Dallas looks like, at least. And he's sure this is what his mind imagines a Dmitri older than what he actually remembers might look like, and he desperately wants a closer look. But this Dima stays forever just out of range because his mind doesn't actually have a clear image of an older Dmitri to conjure, and up close, the illusion would be too obvious, and the loss all the more real for that.

Following the boy through the labyrinth, he sees memories unveil themselves on the ice walls around them. He remembers Laynia telling him she was pregnant, their agitated debates over the months that followed as they agonized over what to do, how to keep the baby safe - babies, once they found out it was twins. He sees the day the twins were born, relives them deciding to name the elder twin Dallas, after the city where they first met, before Laynia even joined the Champions, and the younger they named Dmitri, or Dima for short....after the only teacher Laynia ever felt actually valued her for herself instead of seeing her as a weapon being honed.

He remembers them leaving the hospital and hiding for a few weeks at a secluded cabin their old teammate the Black Widow found for them....she was the only one they told, figuring nobody could keep a secret better than her, and how they wavered and grew closer to caving and letting their closest friends and teammates help them figure out how to keep the twins safe. Sees flashbacks of him playing with the boys while Laynia watches fondly, and vice versa. Relives as he - still little older than a child himself - puts them in their crib and tells them not to be scared, talks about how his grandfather used to have a saying: "all Drakes are dragons," and making a dragon sculpture that catches the light to act as their nightlight.

And then he relives the day they woke up to find the crib empty and the twins missing. The first time they met Doubting Thomas, who left them an easy trail to follow because he wanted them to find him, wanted a confrontation. Bobby and Laynia had descended on the facility they tracked him to with the full fury of midnight and winter at their most destructive, and once inside they separated as they found the twins had been split up and taken in different directions. Laynia went after Dallas, who she could feel faintly, an early sign of his link to the Darkforce Dimension that she shares - second generation mutants always tend to manifest early - and Bobby went after Dmitri.

Doubting Thomas was waiting though, and the villain backstory reveal unfolded. The Professor, the Hellfire Club, etc....they weren't the only people who went around looking for young mutants to mold, seeing their potential. He grew up under the thumb of a woman even he only knows as Mother Nurture, a sadist with unguessable motivations even to her lackeys that she raised from childhood....to be their worst selves. Apparently she claims to be a precog, who knew what mutant children would grow up to be great heroes or positive influences on the world....which appears to be contrary to her agenda, whatever that is....as she targets kids who COULD grow up to be great forces for change, change for the better, and picks the ones with the brightest potential to stamp out and corrupt, turn to darkness. Her obsession with proving that there are no real heroes, that anyone can be twisted into the villain was apparently a recurring theme of Doubting Thomas' childhood, so when she assigned him the task of abducting the Drake twins when they were still months away from even being born, Thomas fixated on Bobby and Laynia during his surveillance of them, and developed an obsession of his own.

It was the first time he'd ever targeted superhero parents, let alone ones close enough in age to him that he could project onto them, see them as an inverted reflection of his own life. And even as he prepared to take the Drake twins at the earliest opportunity, that was just his assignment. His obsession with Bobby and Laynia was wholly personal, as he clearly became consumed with a need to prove to himself that they weren't better than him, that he could have BEEN them in another life, with better influences....that they would have been no different than he if they'd been in his shoes.

In fact, he was convinced there was such a slim margin of difference between them that he could topple Iceman from his heroic perch with just the slightest push. Bobby refutes this, saying he's nothing like him, but that's when Thomas says he lied. Mother Nurture actually only sent him after one Drake boy. She wasn't expecting two. Apparently, one of them was never destined to live all that long to begin with.

The issue never actually shows Dmitri, just Bobby breaking down, cradling the swaddled figure to his chest. He's dead-eyed when he looks up, frozen tear tracks on his cheeks as one icy drop falls to the ground and shatters.

Bobby: Guess you were right about me. Congrats. You win.

And then over the next two panels, Thomas flash-freezes before he can react, his entire body frozen on a cellular level...and then he shatters.

We only see glimpses of Laynia's horrified reaction when she arrives with Dallas in her arms, as Bobby hurries past those memories, he has them back but he doesn't want to relive those moments at all...and there are more snapshots of barely glimpsed memories of Bobby and Laynia reducing the entire facility to nothing but an empty crater. Bobby arrives at the memory of Laynia and Bobby, fueled by trauma and desperation, panicking about this Mother Nurture sending someone else after Dallas, their original fears reignite, the list of people who might want a baby like Dallas for their own agendas seems endless....culminating in them giving Dallas to Black Widow to place with a family she trusts to raise him safely. But Bobby notes despondently that even with all that, it'd take someone like Xavier or with similar resources all of five minutes to find a powerful mutant that young, if they ever got so much as a hint about him from Bobby or Laynia's minds.

Which is when Bobby decides: "In a world of telepaths, Cerebros and Wolverines, the only foolproof way to keep a secret...is to not even know it yourself.

They both agree, and seek out a telepath unaffiliated with any team or organization: Alexi Garnoff. Which brings us back to the present.

April 27th. The anniversary of the day one son died, and they made the decision to give up the other for his own safety.

ISSUE FOUR

With both of their memories fully restored, they're on the same page about what happens now: They have to find a way to keep the resurrected Doubting Thomas from figuring out who and where Dallas is. If he truly wants revenge, or if he still just feels compelled to fulfill his original assignment, Dallas is his real target. But they're fairly certain the extreme lengths they went to all those years ago at least did their job. Even with Bobby unaware of Thomas' existence, let alone vendetta against him, the latter was able to stalk him ever since his resurrection without finding even a hint of Dallas' location or identity...he would have had better luck stalking Laynia probably, but they assumed his fixation on Bobby for killing him, along with Laynia steering clear of Krakoa (ironically because she was worried about the many telepaths there picking up on her secret), Thomas concentrated his efforts on following Bobby and might not have even realized that unlike him, Laynia DID already know who and where Dallas was.

Thomas must have come out into the open in the way he did specifically to push Bobby to regain his memories, figuring then it would only be a matter of time before Bobby slipped up enough for Thomas to zero in on his target....so now they had to figure out how to keep that from happening, while now having a whole new host of reasons not to want to advertise they had a son. The last thing they want is to keep him out of Thomas' clutches just to put him on Sinister's radar, especially now that they know Bobby's an omega and how 'highly prized' they are as resources....which would no doubt make his offspring of interest to various villains.

Not to mention, Laynia's got her own misgivings about Krakoa. She's FURIOUS about the Crucible - Dallas was among the earliest to sign up and go through it, desperate to get his powers back and return to his place among his former classmates. Not only does she consider it needless trauma of the very sort they sacrificed so much to protect their son from, Laynia is territorial. Dallas' name and powers were pretty much the only thing he got from his biological parents, that they were able to give him as his birthright, the upside to all the downs that came with being their kid, and Laynia's pissed as hell that Bobby's new government had the gall to demand their son EARN BACK what was always his and that losing had ALREADY been a trauma all its own.

This in turn sows the seeds for Bobby's development into a more proactive role in mutant society, as well as future conflict with a lot of the personalities that put the Crucible in place initially, as he's forced to confront why he didn't have more problems with it in the first place, or at least not enough that he wasn't able to justify its existence. Has he gotten so used to assuming others know better than him, that he no longer bothers trying to weigh the morality of things himself? Is he comfortable with what it says about him that it took having a personal stake - his son having gone through it - to make him sit up and think hey, that was fucked up?

Meanwhile, Thomas has not been idle, and is using reports of Bobby seemingly attacking innocent protesters the other day to stir up doubts in him among any influential mutants or X-Men he can whisper suspicions to, without them being aware of his presence/influence. Bobby is 'strongly encouraged' by Xavier to return to Krakoa to clear up the confusion, and when he refuses, that just adds more fuel for Thomas to work with. Plus he uses all the paranoia Beast has drummed up over the past couple years to cast suspicion on Bobby suddenly being inseparable from Laynia, a known Russian operative who has no allegiances to Krakoa, while also stirring mutants in Mikhail's camp to view Laynia's choice of companions as suspicious, which threatens her work with the Russian mutant underground and her efforts to keep them safe and hidden as well.

Finally they decide the best way to deal with Thomas is to lure him in and get Alexi to do to him what he did to Bobby and Laynia years ago. Hide away all Thomas' memories of things related to them and give him a tailored memory of how he died and why.

ISSUE FIVE

Most of this issue is just Thomas, Laynia and Bobby all playing cat and mouse with each other...Thomas having his own schemes even as the other two try to implement theirs, until its hard to tell who is the hunter and who is the hunted. Bobby and Laynia are still teleporting as often as they can, both to keep him from sneaking up on them and poisoning their thoughts or manipulating their plans, as well as to evade various friends and teammates who are now seeking them out, concerned by their behavior and increasingly susceptible to distrusting them as they refuse to give any hints as to what the hell they're doing.

It should be very clear that Bobby and Laynia are NOT acting wholly rationally here, and they're both aware of it. Doubting Thomas is GOOD at what he does, and he's familiar enough with them and their sore spots, from intel he gained long ago still being relevant here and now, particularly with how recently their memories were refocused on those days....that they're sure even the tiniest or briefest amounts of access to them is enough for him to skew their own paranoia in extreme ways. Not to mention.....they're much older now than they were when they made the choice to hide Dallas in the way they did, and they made that decision at the absolute height of their grief, fear and anxiety. They're second-guessing every choice they made back then, as well as the ones they're making now, and they're NOT sure that staying away, doing this on their own, not confiding in anyone or pulling them in....they're not doing all that because they're convinced its the right move.

They're staying the course because they don't have any idea what the right move is, and until they do, doubling down on their previous choices is because there's no take-backs, no undoing things once the secret is out. They can't afford to decide that was the wrong move after they've done it, when that will do them no good.

So they stick to their plan and try to get Thomas in Alexi's range, but with his guard down enough for the other telepath to act. The POV shifts back and forth between Bobby and Laynia's, with a lot of their internal doubts about everything they've done, the thoughts Thomas raised in Bobby back in Issue #1, the ideological battle Thomas imagines exists between him and the heroes he resents so much - this back-and-forth spans most of the issue and keeps these themes front and center, until ultimately Bobby and Thomas face off again.

Bobby surprises Thomas by using his powers in an unexpected way....he makes dozens of golems spread out all over the place and then shuffles his actual consciousness through them one at a time, 'possessing' one golem as his vessel, his ice form before leaping into another one. Thomas can't get a bead on him, keeps chasing his own tail trying to keep up with Bobby's constant shell game in an attempt to find the 'real one,' where Bobby's actually vulnerable.

Finally, Bobby makes it clear he's not going to be playing this game with Thomas anymore, because thing is, the point Thomas is so obsessed with proving, wanting Bobby to know he's no better than him, is capable of terrible things....Bobby flat out just doesn't care.

Bobby: I remember everything now, Thomas. That's what you wanted, right? For me to relive all that, make sure I can't hide from it? That I have to feel every bit of pain I shut away back then because I couldn't deal? Because the truth is, as much as that was to protect my son it was also to protect me from everything I WANTED to forget? I remember. I remember my kids, losing them....I remember killing you. But I also remembered something else, that you probably didn't factor in.

Thomas: And what's that?

Bobby: I remembered that I'm not sorry.

He goes on the attack, just destruction every which way you look so that Thomas is forced to stay on the defensive, keeping himself immaterial and jaunting around because there's no safe space for him to land, so to speak.

Bobby: The Five can bring you back a thousand times and I'll kill you a thousand and one, if that's what it takes to keep my son safe from you. Here's what you never got. The whole hero vs villain, right or wrong, good or evil thing you're so obsessed with? I just don't care, man. That's never been why I do any of this. I know I'm flawed, too flawed to ever be 'truly good' but by the same token, I know there's enough good in me I'm not truly bad either. I've done terrible things before and I'll do them again, because at the end of the day, I'm not trying to be a hero. I'm just trying to save people where I can.

Bobby: Its about priorities, see. Its people that matter to me, if I'm helping or hurting. And I'll hurt someone to help someone I think deserves it more and maybe that's wrong but thing is I'm not making that choice based on if its right or wrong. I'm making it based on who I think needs help and what do I have to do to help them. Let someone else figure out the scorecard, I'm just trying to make sure the person I'm protecting makes it home safe.

Bobby: And you? You don't matter. My son matters to me. That's all that matters here. I choose him, no matter what, every time, and whatever that means, whatever I have to do to choose him, or because I choose him? I'll deal with it. If I make the wrong choices, if they backfire and get him hurt or they're not what he would want - that's the stuff that can keep me up at night. But if choosing him means killing an asshole like you to keep him safe?

Bobby: Don't worry about my virtue. I'll cope.

With that, Thomas makes his retreat, tail between his legs. They weren't able to implement their plan to have Alexi erase his memories, but they don't consider this to be over. He'll be back, they'll have more opportunities to make that happen. At least this time he was the one doing the running.

But as the finale of the issue, Thomas adapts and changes the game. He waits until Bobby's back on Krakoa, meeting with Xavier and other X-Men about recent events and trying to say as little as possible...and then Thomas picks that place and time to make his first public appearance on Krakoa since he was resurrected as just another name on the resurrection queue. Nobody knew who he was then or cared that he didn't seem interested in staying on the island, claiming amnesty and official Krakoan citizenship....but he does that now in the most dramatic way possible....as he turns to Bobby and blatantly advertises they have history.

Thomas: And in the spirit of new beginnings, I just want to say I forgive you for killing me eighteen years ago. Fresh starts for everyone, right?

And with that bombshell - and the fact that one look at Bobby tells everyone present that he's not denying it - he saunters off, leaving Bobby with more questions to answer but no closer to being able to fully disclose what he's keeping hidden....which Thomas can still reveal to anyone at any time. What he did reveal was enough to ensure there was no chance now of changing his memories of their shared past....not after he dragged them both into the spotlight and made sure they were linked so if anything did happen to Thomas or seem awry with him....there'd be no doubt who was Suspect Number One. And that was always going to come with the question of why.

The mini ends with a final page where Bobby's finally done talking w/the QC for now, and he's just standing on the beach far enough away from where a bunch of the Academy X kids are having a bonfire - with Dallas right in the thick of them - that it wouldn't be obvious that his sole reason for being out there was to catch a glimpse of him, even if only from a distance. Elsewhere, Laynia is browsing through a shop and notices a stuffed dragon similar to one flashbacks showed Dmitri cuddling with as a baby. She picks it up, hesitating as if debating whether to purchase it, with the final panel being of her back as she walks out of the shop, the stuffed animal still sitting where she'd found it.

ICEMAN: A HOUSE OF DRAGONS

The second mini of three, this one introduces Dallas as a POV character, still oblivious of everything readers learned in the first mini. It explores his feelings about being depowered on M-Day and his survivor's guilt from having left the Institute and been relatively safe compared to those who stayed, when other depowered mutants like David still stayed and fought for mutants. His best friends, Julian and Brian Cruz, insist that nobody thinks less of him for it and he was a minor, it wasn't like anybody was really consulting him on whether he wanted to stay or go at the time, but he can't shake the feeling he should have done more. Its what drove him to go through the Crucible so early on, and its what drives his determination to make it onto the X-Men team.

Seeds are also planted for later, via some brief scenes that reveal that while depowered and living away from the Institute, Dallas started exploring magic as an alternative to his powers, since there are various arts that access the same Darkforce Dimension his powers connected him to. He's no longer pursuing it as feverishly as he did while depowered, but it remains an interest as he's determined to never be powerless again, whether he has his mutant abilities or not.

He also has several chance encounters with Iceman, who he really only knows as his old math teacher, and no idea they're not so chance encounters at all.

Meanwhile, Bobby and Laynia are meeting more regularly off the island as they argue about whether or not they should tell Dallas the truth - he has a right to know and he's old enough to make his own choices about what he wants or doesn't want done in the name of keeping him safe. Their various rationales are undercut by the underlying awareness that both of them are afraid of his reaction and worried he won't understand why they did it and might even hate them for the choices they made.

At the same time, they're trying to figure out how to even go about resurrecting Dmitri. They know from Joanna Beaubier-Jinadu's example that despite his young age, Dima could still theoretically be resurrected....they just have no idea how to ask the Five or X-Factor to look for him in the Waiting Room without disclosing everything about Dallas at the same time...which brings them back to how do we tell Dallas.

Ultimately, they wait too long and Thomas takes the choice out of their hands. While Dallas is in the Mojoverse along with various other Academy X kids who have been regular presences there while taking advantage of the treaty between Krakoa and Mojo to try and get some Krakoan media entertainment off the ground,

It turns out that while Bobby was worried about Doubting Thomas approaching Sinister, Shaw or one of the other notorious mutants on Krakoa as part of his schemes, he went a different direction entirely. He approached Mojo with his proposal for a must-see show that would have all of Krakoa glued to the nearest TV screen.

And so what was supposed to be just a random trip to the Mojoverse leads to Dallas being trapped as the very confused and unwilling star of what Mojo describes as the ultimate reality show: DALLAS GIBSON, THIS IS YOUR LIFE.

The show proceeds to take viewers - and Dallas - through a recreation of his entire life, including all the parts he didn’t know about. Starting before his birth even, with Krakoans flocking to their TVs just as Thomas promised, as soon the bombshell claim of who his biological parents are drops and word spreads throughout the island. Even X-Men close to Bobby have no idea what to make of this at first and they start trying to figure out how to shut it down and figure things out from there, but it’s a futile effort, honestly.

Even if they could get Mojo to shut it down right away, the damage was already done - and its clear that nobody is more interested in seeing what comes next than Dallas himself. Seemingly having forgotten that everyone is watching this, he’s half in denial, half captivated by what he’s watching. It seems impossible but that doesn’t stop him from having a lot of confused and conflicting feelings as he watches literal surveillance footage Thomas had installed to spy on the much younger Bobby and Laynia as they interacted with their newborn sons.

Much of this is used to flesh out flashback scenes from the first mini, where Bobby and Laynia’s POVs of these early days were shown, stringing together a timeline without reproducing the same scenes exactly. In contrast, some of these scenes do directly recreate scenes seen previously in Bobby and Laynia’s memories….but now reproduced for Dallas’ viewing by objective technology devoid of the emotions layered around his parents’ actual memories of that time.

The video retelling includes footage from security cameras at the facility Thomas had retreated to for their final fateful confrontation years ago, similarly providing a stark and explicit view of Bobby and Laynia’s rampage through the facility and Bobby’s unapologetic killing of Thomas. It’s a side of Bobby few had ever seen before and raises more than a few eyebrows while answering the questions many of them had had ever since Thomas made his dramatic entrance to Krakoan society at the end of the first mini.

Bobby meanwhile started racing for Mojoworld the second Rogue called him and told him to get there fast and laid out what was going on. But it still took long enough for him to navigate Mojoworld’s confusing layout that he only smashed his way onto the ‘set’ Dallas was trapped on in time to see his eighteen year old self hand an infant Dallas over to the Black Widow onscreen.

One look at Bobby, not hiding behind his ice form and with pain and remorse writ large all over his face, told Dallas (and everyone else) everything they needed to know about how true or not all this was.

But before Bobby can even attempt to figure out what to say, Mojo calls everyone’s attention back to the screens, as he announces there’s a plot twist featuring never-before-seen-footage from that first tragic April 27th.

The screen jumps to more security camera footage from Thomas’ facility….but the time stamp puts this at just before Bobby & Laynia’s arrival. Bobby (and Laynia who has arrived on Krakoa for the first time, as soon as she learned what was happening) watch in shock as Thomas hands Dmitri off to a lackey and instructs him to get offsite before the two arrive. Onscreen, Thomas says if he’s there’s one thing he’s figured out about Bobby & Laynia, its that they’ll never stop searching for one of their babies so long as they’re still alive….so if they’re convinced this one is dead and the other one is taken to Mother Nurture as she instructed him, they’ll focus all their efforts on trying to reclaim that one. Let her deal with that Thomas sniffs derisively. I have different plans for this one.

Of course, those plans never came to fruition, Mojo narrates. He underestimated just how….fatally Bobby would react to the simulacrum he believed to be his now dead son. He was never able to follow up with the lackey who took the real Dmitri, and his hired hand - who had not signed up for any of this and was freaking out once he saw what was left of the facility he’d last seen his boss in - well, he basically said fuck this and anonymously dropped Dmitri off at the nearest hospital.

Given the lengths Bobby & Laynia had gone to make sure their kids’ information WASN’T readily available anywhere when they were born, there was no indication of Dmitri’s real identity or where he came from, so he went into the system where he grew up in a series of homes that left him not especially traumatized, but at least distrustful of authority. Then Thomas revealed that when he’d first been resurrected, he’d tracked down Dmitri by finding his lackey and figuring out where he’d left the baby, retracing Dmitri’s path from there. Unlike Dallas, Thomas had always known exactly where to find Dmitri….but felt that particular reveal really needed the RIGHT moment.

And that moment apparently was now. Taking over narrator duties from Mojo, Thomas now speaks into the cameras, directly addressing Bobby and Laynia as he tells them Dmitri too manifested powers early and has had years to learn to make the most of his powerset. He apparently can access a mirror dimension that lets him teleport via reflective surfaces, use them as scrying portals by which he can see anything within visual range of that surface….and there’s one particularly interesting twist to his power. When Dmitri’s in the mirror dimension and watching events play out in the real world via a mirror or other surface….those events don’t just have to be in the present.

Time is wonky in the mirror dimension, as is often true of extradimensional spaces. Dmitri has limited precognitive abilities as he can use the mirror dimension to peer out of mirrors and watch what’ll happen in view of them at some point in various possible future timelines.

Apparently its tricky and unreliable, but its at least effective enough that Dmitri counts as a precog by anyone’s standard. And in the early days of Krakoa, when deciding whether to go there himself, he apparently glimpsed enough clandestine conversations to know that at that point, at least…..Krakoa was not a safe place to be a precog.

Onscreen, Thomas claps his hands energetically and addresses the entire audience now:

Thomas: So, to recap, somewhere out there is the teleporting precog son of an omega level mutant who’s already proven he’s willing to cross just about any line for this son’s sake. Said son is also primed to be extremely distrustful of Krakoa….and anyone who might be seen as an emissary of it. Like, oh say, X-Men. And to top it all off….he has absolutely no idea where he comes from nor does he have any reason to believe anyone who comes out of nowhere claiming to be his longlost parents or friends of theirs.

Thomas: Now I don’t know about all of you, but I think whomever were to find him first, and gain his trust, well - they could probably figure out any number of ways those combined factors could be useful.  

The screen flashes to a generic street camera view of a Dmitri Drake that looks a lot like his brother, just with brown hair instead of blond. There’s little to distinguish either his surroundings or Dmitri himself, but its clearly being presented as a starting point for potential searchers.

The final pages show an array of panels showing notorious mutant villains all leaning forward and studying the screen with interest. Sinister, Shaw, Selene (if she’s back yet), Abigail Brand, MLF members, Stryfe, Mystique and Destiny, the Fenris twins, etc.

The second mini concludes with Doubting Thomas winking into the camera, essentially staring straight at the reader.

Thomas: May the best influence win!

DARKSTAR: SONS OF SNOW AND SHADOW

Subtitled: “Run, Dima, Run!”

The third and final mini of the triptych is a chaotic free for all as basically everyone is hunting for Dmitri Drake, who has absolutely no idea why people are suddenly coming out of the woodwork looking for him but quickly decides he doesn’t want to be found.

Dallas is aggressively putting off dealing with how he feels about any of this and flat out shuts down any attempts Bobby or Laynia make to approach him. He’s totally fixated on being the one to find basically the only person in the universe who could understand how he’s feeling right now, and they can figure it out together then. He’s blatantly underestimating how much his longlost twin actually might NOT be able to relate to his specific perspective here, and vice versa. Something his friends and Academy X classmates try to caution him about while helping him on his search.

Surge: Oh shut up, dumbass. I don’t have to like you for you to be one of us, and any twin of yours is basically a two-for-one deal, so of course we’re going to do whatever it takes to keep your longlost brother from being exploited and used by adults who suck. I would include your parents in that but I actually think them hiding you from that musty bald bitch Xavier was probably the smartest thing any X-parent has done for their kid so I’m fighting down the impulse to be impressed.

Dallas: …thank you? I think?

Thus the Academy X kids actually take one of the most prominent roles in the mini as Dallas and his classmates’ search is heavily prioritized. There’s a strong focus on various kids who have history being exploited by older mutants and are now projecting heavily. Brian and Julian are of course Dallas’ closest confidantes through this, maybe Brian a little more than Julian as the latter flip-flops back and forth between calling Dallas a legacy and a nepo baby at different intervals. He can’t seem to decide if he thinks it’s something to be envied or not. Anole is unrepentant about ranking Dallas’ dad’s most infamous costumes and how hot or not he looked in each of them. He and Dallas never got along in school. Icarus absently notes that he’s pretty sure his brother and Dallas’ dad had a thing going on at one point.

They’re not quite all as helpful as they could be, is the takeaway. But they do feel the stakes and if any generation of mutants is prone to embracing gallows humor to cope, it’s the Academy X kids.

Elsewhere Bobby is conducting his own search with the help of numerous X-Men and friends, who are all trying to process everything they just learned and saw. Most of them are supportive and understanding, though a few are more abrasive about the sheer amount of stuff they didn’t know about him or even suspect.

Xavier tries to lecture Bobby about how they wouldn’t be in this situation if he had trusted them with this at any point in the past. Bobby shuts that down with gusto, emphasizing that Xavier was one of the people they were most concerned about hiding the twins from - and a good thing too, he points out, given what could have happened to Dallas if Onslaught had known about him when Dallas was still just a kid.

But then he gets downright chilly and makes it clear how and why his dynamic with many of them will be at least somewhat different from this point on…..Xavier especially.

He brings attention back to the not so minor detail of Xavier, Moira and Magneto apparently originally declaring Krakoa to be for all mutants….except for precogs.

Bobby: You keep saying this place is the culmination of everything we’ve fought for from the first day we put on an X-Men uniform, so I just wanna know, Professor. Why the HELL did I spend my whole life fighting for you to create your own personal vision of paradise….which apparently was meant to exclude one of my children, just because of what freaking power he was born with?

Xavier: Compromises had to be made in order to -

Bobby: Y’know, you’ve been using that line since I was fifteen and its tired, X. Every time we asked why you couldn’t just use your powers in ways you insisted would ethically compromise you - except for whenever you decided it was okay because it made things more convenient for you specifically.

Bobby: From day one you’ve kept your secrets from us, for a lot shadier reasons than I’ve ever had for keeping one, so you don’t need to be telling me I’m not entitled to my secrets. You have all these contingencies for if any of us go bad, while telling us nobody’s beyond redemption except for those times you decide Magneto is, or the Shadow King is.

Bobby: You know what the real problem with your dream has always been, Professor? It asks for a leap of faith that you’ve never been prepared to make yourself. You’re always asking us to line up and put it all on the line for the chance at a better world, no matter how realistic it is….but you’ve never actually put down your own cynicism or pragmatism or whatever you want to call it….and just….dreamed. How does that even work, huh?

Bobby: Just….what the hell would you have even done, Professor, if I had raised my kids at the mansion all this time? What spin would you have given me when you finally embarked on this grand Krakoan experiment you’ve been planning for years….and needed to tell me one of my sons wasn’t allowed to come with? That if he died, you had no intention of resurrecting him and his politically inconvenient power?

Xavier: *keeps silent*

Bobby: Yeah, y’know what, on second thought I don’t think I actually want to know the answer to that. Stay away from me and my kids, X. You and I are done.

Finally, last but not least, Laynia will be running her own search for Dima with the help of her brother, the Black Widow, and Warren, who wanted to make sure she knew that he’s her friend too, not just Bobby’s. Despite the lack of detail here, she’d actually have the most prominent role in this mini - being associated publicly with Krakoa is actually an obstacle for Bobby gaining Dmitri’s trust. Laynia’s lack of affiliation with it or Russia’s government or any other organization, is what lets her convince Dmitri to give her a chance and hear her out when she does find him.

(Something she’s ultimately able to do by going to Arakko and asking Storm if she can get her an audience with Lactuca, who should know exactly where to find him. In exchange, Lactuca will ask a favor of Laynia at some point in the future, which plants some seeds to bring Laynia more into X-books without just being an extension of Bobby).

There will be a final reckoning between Laynia and Thomas this time, and the mini will end with things still messy as hell, as the newfound family of four (plus Uncle Nikolai, standing awkwardly off to the side) basically stand there staring at each other and wondering what next. But even with them all as relative strangers now, there’s a wealth of possibilities now that everything’s out in the open.

This mysterious Mother Nurture still lingers offscreen as a potential future threat, especially as they still don’t know what they intended with Dallas - if he was even the twin she was after in the first place. Iceman’s poised to be launched in any number of directions as he’s now essentially reinventing himself while everyone is paying more attention to him than ever before, all while he’s trying to fall back on comfortable, familiar habits of joking and pranks to try and bond with the sons who are grown up and don’t really know what - if any - dynamic they even need or want with him. Laynia’s reluctantly taken Krakoan citizenship to be closer to her sons, but finds she prefers staying on Arakko and grows closer to mutants she meets there, with Dima joining her more often than not, as he’ll never be fully comfortable with Krakoa even if precogs are ‘allowed’ now. Dallas is more determined than ever to be an X-Man but he’s worried that now he’ll never make it on his own merits and it���ll always be more about him being a legacy, a founding X-Man’s kid.

Etc, etc.

[ilikekidsshows]

So apparently people said that Kagami too is a sentimonster and her amok is in her ring and it's not only her but rich people kid are sentimonster some people said and I just can't stress enough about the purpose on making a character a sentimonster, a being that the heroes killed here and there. Of course the theory stan would say that the sentimonster the heroes killed is not humanoid and therefore isn't the same but if Felix could sympathize with any sentimonster regardless the form as shown in strike back where he feel sad over a fallen sentimonster then wouldn't that make the heroes the cruel one for killing the sentimonster and therefore has no sympathy toward them just because they're not humanoid in shape?

If characters who are not themselves Sentimonsters are the ones deciding which Sentimonsters get human rights, even against the opinions of a confirmed human-level Sentimonster, a “Sentiperson” (assuming Félix is one), then we literally have a situation where a specific, small group of non-Sentimonster people is going to prioritize Sentimonsters that look, act and feel human to them, with the rest getting erased and not grieved. They get to decide which ones get to live and which ones can die unmourned, and the only Sentimonsters they’ll allow to live will be the ones they have personal relationships with. Even if said human characters are people who try to be empathetic and kind like Marinette, and the Sentimonsters getting erased aren't ones the audience is attached to, it's still a horrifying concept.

“This Sentimonster causes property damage so we have to get rid of them.”

“I’ve personally seen this Sentimonster act human enough for me so they get to stay.”

The Sentimonsters have their human rights depend on pleasing a person who arbitrarily has control over them. That’s really oppressive, isn’t it? Add to that the fact that Sentimonsters are designed to be slaves, so they’ll always have to be controlled, and it just gets really bad in terms of what this children’s show is saying about its characters. In cases where the knowledge of being a Sentimonster is being kept from said characters, that's saying that they need a "real" human making decisions in their stead over what they should know, in a conservatorship, if you will.

Even if we get lore that establishes that only Sentimonsters that are indistinguishable from humans count as basically humans because they’re fundamentally different from all the rest, it still doesn’t look good with the “all the rich kids are Sentimonsters” concept. And that’s because it frames a group of people with very specific othering traits as inhuman and it makes their continuing treatment in the show as lesser hold some really unsavory implications.

If the Venn diagram of Miraculous characters with family-related trauma and characters called literally "monsters" by the show is a circle, that's a problem, because that is making the Sentimonsters a stand-in for specific types of trauma victims and then proceeding to dehumanize said trauma victims for having “off-putting” ways of dealing with their trauma and abuse.

[battlestar-royco]

In response to you last answer:

I can agree that Gale may not have been romantically compatible with Katniss. Reason why, though, disagree. If anything Peeta showed signs of possessiveness from the start, i.e. becoming jealous when Katniss revealed that her and Gale were, in fact, not related. (This was when they had only known each other for maybe a few days, max). Not to mention that he completely ignored her for several months after Katniss told him that she did not actually return his romantic feelings after the first games. Gale, on the other hand, actually have her much needed space after she returned and did not press her in that way.

Something else I find interesting is that you bring up Beetee and Johanna as points on a spectrum very much separate and distanced from Gale, when Beetee literally created the idea for the bomb with Gale (readers say that he (and Coun for that matter) even took advantage of a young teen soldier with a desperate need to win the revolution after experience so much injustice). Johanna I find to be even more radical than Gale, having blindly wanting revenge in its purest form (which find to be reasonable as well, personally) whereas Gale fought for justice for his people.

Katniss I really do find to be representative of centrist ideologies found in the USA (which are actually more conservative leaning than the rest of the world.)

But I’d like to know what you make of that.

Re: your first paragraph. I truly have no idea how you arrived to this conclusion and I honestly don't see a point in us discussing it beyond acknowledging that we're completely different readers. My reading of these two characters is the literal exact opposite, and I have a feeling that anything I could say to explain my opinion you've probably heard before and disagree with.

Re: second. Rewatched Mockingjay II since you sent this to refresh my memory on the details. I can see where you're coming from with Beetee. I was more thinking of the fact that he made them wmds for fighting the Capitol. As for Johanna (at least in the movie; haven't read the book in a few years), she encouraged Katniss to kill Snow specifically whereas Gale's tactics canonically targeted first responders etc.

And yes, I can see why Gale fans see this as vilifying violent resistance. Collins didn't have to add this, or she could have written something less extreme than Gale being okay with killing random kids to win. But (and as mentioned earlier, we're not going to agree on this based on your read of him) I still find it in keeping with his short-term oriented and self-centered characterization previously established in THG/CF. And I do consider trying to be a generally good person part of a leftist praxis. So for me it becomes more of a "Gale was a bad character because of how he functions as Peeta's foil from start to finish" than a "It was wrong of Collins/OOC for Gale's tactics to specifically blow up the children at the end" issue. The latter is what I see people argue most often, and the former doesn't cancel out the total merit of Peeta as a character for me personally.

And in all honestly I've always found the treatment of Coin to be way more bothersome than what happened to Gale. The false equivalency of District 13 to Snow's regime has never worked for me, and her suggestion of the Capitol Hunger Games always seems to come out of nowhere no matter how many times I return to the books/movies.

[thepermanentrainpress]

THE PERMANENT RAIN PRESS INTERVIEW WITH JASON KARMAN OF GOLDEN DELICIOUS

An Asian-Canadian coming-of-age film about family expectations, sexual identity and peer pressure, Golden Delicious is all that and more. It is charming and sentimental, with family at its core. Jake Wong’s (Cardi Wong) story as he navigates his final year of high school is all too familiar in one aspect or another, and a look inwards into how we define and perceive stability and happiness is much needed. 

I watched Golden Delicious when it first premiered at the Vancouver International Film Festival in October, and it was a special night. Since then, the film has screened at many festivals (including Seattle Queer Film Festival, Reelword Film Festival, Vancouver Asian Film Festival, Rainbow Visions Film Festival and Mardi Gras Film Festival).

Does each new festival bring about a new excitement for you & your team?

Watching this film with diverse audiences is exciting and invaluable because one can see which moments transcend different groups and resonate strongly with specific identities. When making a film, one is often in a silo, making creative choices that feel true within the world of that story. I want viewers to empathize with my characters, so it is enriching when strangers come to me and say they are moved by the film.

How has the reception been? Have you been able to connect with many of the viewers as well as other filmmakers?

Many viewers, especially in the LGBTQIA+ community, appreciate the uplifting tone of the film. Many come away feeling empowered. Golden Delicious is a coming-of-age story, but it's also a family drama. In fact, I frequently hear how surprised viewers are that they are rooting for the sister or how much they can relate to what the parents are going through. Other viewers who are filmmakers, they are often interested in how I made the leap from shorts to features and what the most significant differences are. Managing your subplots and not cutting corners in post-production are some of the most critical differences between shooting a feature versus a short film.

Tell me about collaborating with the film’s writer Gorrman Lee and producer Kristyn Stilling. Were you always on the same page in terms of bringing Gorrman’s script to screen? How did you work through any creative differences?

Each of us had areas we were responsible for, and I understood these areas because I have also been a writer and producer. These roles take work. When collaborating, it is about understanding intent, so if Gorrman or Kristyn had a note, it is about understanding what their intentions are and respecting that, but also really know your interpretation of the themes well so you can defend it. Both Gorrman and Kristyn were great at articulating their notes. On the rare occasion, a creative difference comes up, we would discuss it privately with the other person and allow them to respond while recognizing timelines. Fortunately, we were on the same page regarding bringing Gorrman's script to the screen.

In your eyes, how did the script appeal to you? What about Jake’s story were you keen on exploring?

I liked how the script explored relationships through comparisons. We compare Jake’s relationship with his girlfriend with that of his parents. We see how his parents' treatment of his sister differs from their treatment of him. Even Alek's relationship with himself compared to how Jake sees himself is a commentary on how happy you can be if you don't regularly suppress an aspect of yourself. Through contrast, we reveal a hidden truth that must be addressed to move forward. This is what appeals to me about the script.

Regarding Jake's story, I was keen on exploring how Jake could be different from his Dad. I analyzed identity and whether it can be chosen and earned.

I thought the film was both charming and bittersweet, and with the strong family aspect, can appeal to multiple generations. On the coming-of-age spectrum, it drew similarities to a film I enjoy, Alex Strangelove. What films or projects inspired you when making Golden Delicious?

Thank you so much; I know Alex Strangelove. I was inspired by Beautiful Thing, Spa Night, Front Cover and Love Simon when making Golden Delicious.

I found myself drawn towards Jake’s family - mother Andrea, father George and sister Janet - and their own narratives with expectations, happiness, and identity. How did you hope to define family, and what did you seek to question about an Asian immigrant family in this film?

Saving Face is a core value in many Asian immigrant families: it is a strategy to avoid embarrassment to survive. The Wong Family use this and keeps activities that they find fulfilling separate and hidden, except for Janet. This is one of the reasons why many people love Jake's sister, Janet because she is not ashamed. I was looking at the notion of shame in this Asian immigrant family and what happens when you suppress an aspect of yourself. Can you reach your maximum potential? How does that affect others in your circle?

I want to define family by the different people we relate with, not just biological ones.

While Jake is the central character, Janet has her own dreams of entering the restaurant industry while being dissuaded by her parents. How does her story, voice and personality differ from her brother’s?

Janet's story differs from her brother's because she knows what she wants and likes. Janet embodies the theme of the film. Her parents constantly dissuading her while supporting her younger brother creates questions about Asian parents preferring sons over daughters.

Cardi Wong (Jake) and Chris Carson (Aleks) had been friends for years prior to being cast. Did you notice a natural chemistry between the pair and in how they interacted with each other?

I noticed a natural chemistry between the pair when I did a chemistry test on Zoom during auditions. They were very comfortable and open with each other in their communication. Both were charismatic on screen, and it is essential to have this balance.

What can you say about Cardi and Chris’ performances as their characters, and how they contrasted each other?

Cardi and Chris's performances as their characters were authentic. Both have good instincts. As actors, they were brilliant to work with; they were curious and open while also protective over their characters’ needs and wants.

In terms of how their performances contrasted, Chris’ character is proud of who he is, but he could be more empathetic. In contrast, Cardi's character has incredible empathy for others but feels ashamed because of his secret. You put these two characters together, and they naturally want to complement one another.

Did you have a lot of one-on-one discussions with your cast members to shape and define their characters?

Gorrman wrote a great script, and the characters felt clear. I didn’t have a lot of one-on-one discussions. The cast members were all professionals, so they did their homework.

You worked with intimacy coordinators Karyn Mott and Megan Gilron. Had you worked with intimacy professionals prior?

Megan Gilron, Phay Moores, and Karyn Mott were fantastic to work with. They made the process very easy and made me aware of some steps I had taken for granted. It was my first time working with intimacy professionals prior.

What guidance and support did they provide on-set and for the actors? How important were they for the production?

They could articulate an intimate moment through choreography, deconstructing the actions regarding escalation and consent. They also created a safe space to talk about intimacy and mental health. They helped set a precedent for safety, which was very important since we were shooting at the height of the COVID-19 Pandemic.

The pitfalls and fascination with social media were used throughout the film. Did you have discussions on how you wanted it used as a mechanism? Were any teenagers consulted on how social media is used, as it is constantly evolving?

In the past, I have made short films experimenting with frames and containers and knew how much I could push it without not confusing the audience. I regularly discussed with my cinematographer Alfonso Chin, art director Stafford Matthews and Production Designer Jordan Bent how I wanted to portray social media in the film. Yes, teenagers were consulted, and yes, it is constantly evolving.

The movie was based in East Vancouver (we can’t not recognize the exterior of local Chinese staple, Pink Pearl!), and you also shot in New Westminster and Burnaby. What can you share about the locations you used and any challenges you faced? Was it important to embrace the city and not glamourize it?

Yes, it’s the Pink Pearl! We shot in March 2021 before anyone got vaccinated, so locations had to be big enough to accommodate social distancing, amongst other things. We wanted to shoot at a smaller Chinese restaurant but could not. Location scouting relied on connections and what was available online. The Pandemic made the process very uncertain, and rehearsal space took a lot of work to come by. Fortunately, I had a great location manager who loved the script and worked tirelessly to lock down locations.

Queer stories and ones that focus on male fragility are important, but not a constant in mainstream cinema. How has the film/TV landscape changed in this respect since you’ve been a filmmaker, and what progress still has to be made?

I see more male fragility in mainstream cinema with projects like The Whale, Banshees of Inisherin, and White Lotus Season 2. The characters are more diverse, which is excellent, but there is still this association with queerness if one is fragile. You can be straight and cry, and it doesn't mean you are queer. Men should be able to express themselves however they want, independent of their sexual orientation.

What do you hope viewers take away from Golden Delicious?

I hope viewers, especially from underrepresented communities, use this film to discuss more complicated things holding them back.

I also hope viewers, especially older ones, can empathize with the younger generation and what they are going through with social media being so prevalent in their lives. Being inundated with imagery on who to be, how to be and when to do things can be anxiety-inducing, especially during one's formative years. It is vital to not instantly judge someone until we understand the context of what we are looking at.

You’re currently working on a second feature film. What are you excited about, and is there anything you can share?

I am working on a couple projects that will grow into my second feature. I am excited to explore legacy and sacrifice in my new works while still working with the idea of diminished role models.

-

Thank you to Jason for answering our questions, and Touchwood PR for coordinating this interview.

For more information on Golden Delicious, visit their official website and Instagram. Purchase your tickets for their Canadian Film Fest screening at Scotiabank Theatre Toronto on March 30.  

Photo credit to: Syd Wong (film stills)

[talenlee]

UnFair Dealing in Cobrin'Seil — II

With the first article I established the importance of ensuring that, whatever fey are assumed to be by the world they live in and relate to, there have to be rules about what is truly not going to be true.

This is because I feel in worldbuilding there’s an important consideration for the idea of deliberately defined areas of uncertainty. It’s one thing to have a world where you know what’s true, but the world is more interesting if people have a range of competing beliefs and opinions about what may or may not be true especially when those ideas just inform their opinions about how they relate to the world.

And on the note of those ideas…

Fey Theories

These are just some theories, with particularly useful handles, that are used in reference for ways to treat the fey of the world. Note that these are the terms that academics would use to refer to them but it’s entirely possible a local community might have their own twist or specific alternative view of it. Especially in communities where those theories are being used to justify treatment of fey.

Mother Green Theory

The Mother Green theory is the idea that the fey realms, and everything out of it, are disconnected and distributed pieces of some fundamentally benign, universe-scale individual entity whose scope and conception is so vast and impossible that it is wisest to leave her uncontacted. This character, known as Mother Green, does not have an origin as we understand it, and that’s where the theory gets a little weird. Mother Green does however have opinions and wants and ideas, and aims that she wants to see made come true, which is why fey can do things in ways that seem sometimes confusing, ‘in aid of the story,’ as if they are also somehow an omnipotent third party acting on information they don’t actually have.

Part of the foundation for this myth is Orcish stories about creations of the world, and Eladrin narratives about the First Elves creating their own history into the world. It also is according with how Eladrin track their own history and based on some poetic language that exists in Elf and Drow language. Of course, Elf and Drow are not true fey and more and that may be a poetic image that came into the common language after that point.

One of the weaker elements of this theory is that what it presents, when really interrogated, is the idea that all fey individuals are somehow part of a larger, greater whole that may or may not be in control or influencing their abilities. This is a theory that some anti-fey people think is reasonable and why not to trust them.

The Great Deep Theory

Another idea is that the fey realm exists outside of reality, and it is itself the reality that existed before reality; that is, that the area known as the Prime and its entire cosmological linked spaces, is the void in which the realities we live in was formed. That is to say, before there was the Prime, there was the Great Deep, and the fey realms are just a boundary space between Prime reality and the Great Deep.

One of the things this is founded on is that everything that exists in reality seems to have parallels in the fey realms, and fey places seem to so easily make sense only to things from the Prime, but within those spaces there are notorious warnings about straying ‘too far’ – the idea that there is a outside or boundary or horror that cannot be safely navigated by anything from the Prime. Another element that plays into here is the idea of Far Realms, which most people see as not related to the fey realms because of how they seem to be inimical to life and the living, while the fey are kind of more often linked to the living realms.

One of the weaker elements of this theory is typically ‘well, then what?’ It implies that all of reality in the Prime plane is a sort of aberration from the natural fey default, and that that can create a feeling that the fey is ‘more important,’ or ‘more real’ than the Prime.

The Wyld Formation

There’s a term some fey use, which is ‘Wyld’ which means so many things as to be confusing in its execution. For this theory’s case, Wyld refers to the idea of a term used to describe some kind of energy that sapient creatures create and express that fey want to enjoy or experience. Wyld theory is the idea that the fey are a byproduct of something people generate, and that as they gathered and grew, the fey became more and more important and elaborate as a direct result. Basically, the fey are a byproduct of large, sapient communities.

Part of what informs this theory is the way that fey folk are highly localised. In a different community, the fey are different, and reflect values for that community. The fey that populate Abilen stories don’t look like humans and the Orcs are more likely to consider talking spiders and stones than they are actual humanoids. The people of Amenti have faeries who weave gold out of the walls of caves, and the people just one nation over in Visente are shadowy figures that live in alleyways and make deals for cursed trade goods. That the people of a place shape the fey of that place seems pretty reasonable when you start looking at them across those contexts.

It also relates to how gods seem to work, creating a suggestion that whatever gods are, it is also somehow related to this Wyld, but this unifying theory is less well supported.

One of the weaker elements of this theory is that fey are shaped so directly seems something people could weaponise. In a culture of social control, hypothetically, the fey would reflect that and the Drow represent the most protracted attempt to do exactly that, with their single central city and hierarchical breeding lineages. Despite this, they haven’t been able to will themselves into becoming fey, and the fey of the Underdark they crafted seem to be kinda more michievous and resentful of the Drow themselves rather than in alignment with their ideas.

It also tends to have problems where any individual fey person can go ‘yeah but that doesn’t work that way’ and the theory fails to explain why they can’t be changed by their society somehow willing them into having bat ears or something.

The Discovered Us

This theory is that the fey realms represent a sort of neutral operation that the world creates by dint of having life in it. It treats the feywild and shadowfell as equal and alternative responses to the existing Prime Material plane and therefore all structures and constructions that flow out of that being unrelated to any kind of individual entities in it. This means that anything about these worlds that seems to explicitly have an ideology is a byproduct of what people bring to bear on them.

This theory is best supported by the way there are conflicting theories about the nature of the feywild, expressed by the people who live there. After all, if there are ten conflicting theories about how the world works, it doesn’t necessarily follow that one is right, and the odds are that if nine are wrong, so might be the tenth.

The weakest element of this theory is that it seems a bit like a ‘so what?’ kind of theory. There’s nothing that really flows from this consideration and it doesn’t present much explanatory power for what the fey realms are like or what it means for fey people.

Time Parasites (the TErzocco Theory)

This theory is more niche because of one of the greater examples of fey magic in the world of Cobrin’Seil. At some point a boundary between the Szudetken Peninsula and the rest of the world was formed. That boundary presents a sort of net, where good stories about either side of the story are more challenging to remember or transmit. This boundary discouraged travel into the Szudetken and out of it, as both sides saw the other as awful.

(There are other things going on weird with the Szudetken that appear linked to fey magic, such as the way the maps in the country are just ruinously broken, but that’s for another, earlier time.)

In the Szudetken though there are the Terzocco Kingdoms and the Seibelmarsh university, which has its own theory – kept well hiddden and politically quiet – about what fey are. Based almost entirely on observing the nobility of Terzocco as being fey or fey adjacent, the theory runs that the entire fey realm is a parasite dimension, latched onto the Prime plane, and the fey are a form of life that wants to consume Prime resources to grow themselves. The resource, though, given that the Terzocco have seemingly infinite supplies of everything material people could want, and the way that fey magic often involves mysterious time warping, is time.

How do sapient people track time? Well, aside from some monks, they do it by telling stories, and in so telling, they turn time into something they can share and steal. And who loves stories to the point of it being threatening to others? Why, the fey!

Obviously, one of the weakest parts of this theory is that it paints all fey individuals as like, morally corrosive to reality, even if the idea at the heart of it is hypothetically interesting. Dio Baragh would probably find it pretty reasonable to treat the fey royalty like they’re all parasites, but that’s not the same thing.

Though it is pretty reasonable to treat the Terzocco as fundamentally untrustworthy scum. You should ask Rose about it sometime.

None of these theories are certainties! There may be things that any individual culture with its connection to the feywild may have to consider directly.

No, that’s next time.

Check it out on PRESS.exe to see it with images and links!

[writingwithcolor]

Black characters with white hair: the “Special Snowflake” Compilation

Is it problematic to give my Black MC white hair?

@roseoholic asked:

Is it problematic to give my black mc white hair? In my story, if someone dies and comes back to life, their hair turns white. Her origin is that she's a reincarnation of an escaped soul, and took the place of the stillborn fetus in her "mothers" womb. I am pretty flexible in her design still, so I am willing to change if it's a bad idea. Thank you if you answer! :)

I think we’re all aware that Black people can have white hair naturally, whether it’s due to

Aging

Hair that turns gray/white early in life

Albinism

Genetics - Black person (mixed race or no) who have very light or white hair.

Obviously, Black people can dye their hair white as well.

Photo above: Black models Diandra forrest and Nyakim Gatwech posing. They both have pale blondish-white hair. Source: Essence.

The question being asked is if it’s okay for Black characters to have white hair by conscious choice of the author.

Answer: 

On its face, it’s okay to have Black characters with white hair. This is especially true if how the white hair comes about is a natural occurrence in your story that likely affects other races too. Motive is an important factor.

What is the reason for their hair being white? 

That reason could and should be everything but to make them seem special or more likeable. This isn’t aimed at you specifically, OP, but there are creators who feel compelled to give Black characters uncommon, rare or unusual features due to an aversion to feature Black people with more common features (dark and brown hair, skin, eyes etc). 

When aversion to Blackness is the motive, it shows. 

It’s in the way the narrative exalts this character over other Black people in the narrative, treating them more favorably and giving them more of an arc over other Black characters. This is sometimes known as making them a “Special snowflake” which isn’t a term I particularly love, as it’s sometimes used to devalue real struggles people face. However, It does serve to categorize the trope. (See: TVTropes Special Snowflake)

Signs you’re treating your white-haired Black character better over other Black characters, aka the “Special Snowflake”

Stronger characterization and arc, more importance and “Screen time” than other Black characters (even when they’re not the main character)

Unique features are overemphasized and described at every chance (fetishized)

Better treatment in the story compared to other Black characters. They’re also less likely to face suffering and abusive narratives. Good things happen to them more than other Black people.

Shown to be more deserving of love, affection and romance over other Black characters; may have a love interest while others don’t.

Takeaway:

You can have Black characters with white hair. However, do not use light or unique features to exalt or set your character apart from your Black characters as “better.”

That is, not without an explicit social commentary, since yes these folks tend to be treated better by society and media in real life. 

It also helps to have other Black characters with more common features who are treated well and have a fully developed character arc. These other Black people’s lives also should not revolve around just supporting white or the white-haired character, either.

Black Girl, Snow White Retellings

@morganadelacour​ asked:

Hi there,

I (a white woman) would like to write a re-telling of Snow White and make her a Black girl with white hair. Snow White would be under the impression, that her stepmother (a white woman) is evil, when in fact, she only tried to protect herself and Snow White from Snow White’s father (a white man). The story would be told from both perspectives, probably first from Snow White’s perspective, then from the queen’s. In the end, both women make peace, Snow White understands the queen’s actions and the queen apologizes and tries to make up for her actions that hurt Snow White. Do you see a problem with any aspect of this outline and/or are there certain things I have to keep in mind?

Thank you so much for all the work you do with this blog and for your efforts to educate.

@corbeaudelys​ asked:

I'm writing a science fiction variant of Snow White with a protagonist that has dark skin with white, 3C hair and brown eyes. I read a post that said magic white hair, dark skin, and European features was a bad trope; would it still be bad even if I made it clear that she has no European features and her hair's not magical?

See “Is it problematic to give my Black MC white hair?” which answers the core of this question. Motive truly is the main factor in if it’s okay or not, and the resulting treatment of that character and other Black characters that may exist in the story. I have a Black Snow White in one of my retellings, too! 

The motive is clear here: you’re retelling Snow White with a Black girl and want to keep it relevant by assigning the white feature to hair instead of skin. It’s also a story where Snow White is intentionally meant to stand out as the “fairest of them all” so the exalting does have plot relevance. 

As noted before, I would caution against making her beautiful to mean that other Black women are not beautiful or are unworthy. 

I would like to make special mention that you can also do retellings where Snow White goes the other direction, and her compelling dark features make her the “fairest of them all”

Black woman dyes hair white, problematic symbolism?

@tlking-heads-moved said:

hi! i have a story with two black women protagonists: 

1.) leader, strong and loyal, with very curly dark hair (usually pulled back) 

2.) part of the group, elegant and refined, with light pink braids (or other protective styles).

Towards the end of the story, both of their hair changes styles, the second character dyes her hair white.

I am afraid that the character with the styled, pink/white hair will come off as “purer” or “better” than the character with the natural, dark hair, because of their personality + appearance differences. should I change either of their usual hair styles or their personalities?

These seem like stylistic choices. As the girl already had a pink braided style, hair color changes seems like something she likes to do and does not have to be symbolic of anything. Your use of color throughout the story could help avoid implications of white as more pure, if this is something you’d like to avoid:

See more about Color symbolism in our Color Symbolism Guide

Also, going from pink to white, which both have connotations of femininity and softness (according to a Western Lens) doesn’t come across as a stark difference. Without knowing the full details of these personality changes the girls undergo, I’m personally not getting that impression. Again, the full narrative will inform this and you may want to pay mind to your use of color throughout.

Now, do avoid making the dark-haired one a Strong Black Women character. You specifically called her strong, which doesn’t necessarily mean she’s a SBW, but please see our several related posts to ensure she is not one.

I hope this helps!

~Mod Colette

[tobi-smp]

Regarding your tags on the post about the misuse of trauma-dumping--I don't disagree with you, but what are your thoughts about the accusation of abuse apologism--or worse, threats of abuse itself--sent to people who do like Dream, including other abuse survivors? Isn't that also silencing, just in the other direction? It just seems like a messy situation overall, with shit behavior on all sides.

context: [Link]

I'm gonna be real with you anon, these two things are not comparable for very important reasons.

the situation with dream and tommy is what it is because they presented an abusive relationship with enough authenticity and nuance that people who've experienced these things in real life have been able to see their experiences reflected back and represented in a way that they haven't seen before in popular media. I've seen my c-ptsd in tommy in ways that I just Haven't seen in movies or tv.

[Links that go into more detail: Link 1, Link 2, Link 3, Link 4 and summaries of dream's treatment and affect on tommy in all of the exile streams under "A Comprehensive Analysis of the Exile arc": Link]

"trauma dumping" as a term isn't exactly rigidly defined, but it's essentially the practice of suddenly oversharing about trauma at random in a way that can be toxic to the people around you. this means going into detail about something horrific that you've experienced without giving someone time or space to consent to seeing that information, which can be triggering or draining. it seems more appropriate (to me) to define it as a pattern of behavior, rather than a one-off, but it can be useful in talking about isolated interactions anyhow.

what people are accusing of being "trauma dumping" is what I've already done in this post, mentioning the fact that you have trauma at all and how it affects your relationship with this piece of media. this is blatantly misusing the term specifically to shame people out of speaking up about why it can be harmful to other fans who are survivors to make light of the canonical abuse (or worse, which I won't get into).

it's a silencing tactic because it's essentially weaponizing someone's trauma against them through what's more or less a lie so that the accuser doesn't Have to acknowledge what's already in the text of the story they're consuming and talking about.

the problem with abuse apologia in the fandom can't be summed up with "people have started blatantly misusing a term seemingly at random to try to get what they want."

this is going to sound harsh but anyone can spread abuse apologia whether they mean to or not, whether they themselves are a trauma survivor or not. in the same way that being lgbt+ doesn't stop people from being able to spread queerphobia or ideas that contribute or stem from queerphobia.

the problem is not in that people Like dream, it's that there are people who actively excuse his actions or actively try to blame those actions on tommy. people who say and Believe that tommy "got what he deserved," people who try to argue that tommy Provoked dream, who say that dream was only doing what he had to because tommy was Clearly the cause of everyone's problems on the server (which is, of course, the logic that dream used to justify his own abuse and attempted murder), etc.

these are all real things that I see Frequently and Have Seen for months. not just in fringe sections of the fandom but front and center on twitter, youtube, reddit, and of course floating around here on tumblr. and I've personally seen much worse, but I won't be getting into that right now.

of course people should make the distinction between apologia spread for a fictional character and apologia spread about real people (or people you personally know) because it Is absolutely different. but it's important to point out regardless of whether it's fictional or not because it's being posted publicly where people who Do see themselves and their trauma in tommy can see it and be hurt by it.

tommy provoked dream by being annoying and argumentative in the prison? and what if someone has a loud personality and has been punished for it by their abuser? how do you think They'd feel if someone looks at behavior that reflects them and say that the person who got hurt deserved to be because of that?

it's not the same because it's true. a Lot of the things said about tommy and his experiences are extremely uncomfortable and hurtful to read from the perspective of someone who can relate to his situation. which is problematic when his "situation" is canonical trauma and abuse. and its important to point out that the things being said mirror real life abuse apologia because the things being said are reaching and hurting real life abuse survivors.

pointing out that your words can have an impact on traumatized people because the subject matter you're talking about already deals with themes of trauma and abuse is not a silencing tactic Because It Is The Truth. if someone pointing out the reality of a situation makes your argument fall apart (to the point that you have to try to deflect through lying) then maybe there's something wrong with your argument.

there's nothing wrong with Liking dream, I like dream's character, the problem is when you try to paint him as justified or in the right when it comes to tommy (or tubbo, or ranboo, or wilbur, or-). I don't think people are right when they try to call people outright abusers over blockman discourse, but I can also say that that's just something that I haven't seen. I absolutely believe that it happens (discourse just is that way) but I mean that I don't think that it's common in the same way that the abuse apologia is, or even the misuse of the term "trauma dumping."

so comparing the two situations and calling them The Same just feels, Gross.

[matchstickdolly]

Lucifer 5B: Cutting off Touch to Spite Your Fans

Spoiler warning: This post assumes you've watched all of Lucifer, season 5, part B.

CW: There's plenty I like about season 5, but this is a negative post. I know not everyone is up for negativity about the things they love. I also generally avoid it and (try to) keep my mouth shut about things I don’t like in most spaces. It’s good etiquette. But this is my space, and I have thoughts specifically about purity culture and the treatment of sexuality and trauma in fiction. You’ve been warned!

---

I'm a professional writer (not in TV). I've worked with enough bad clients, editors, and other writers to recognize some hallmark behaviors in how both Fox and Netflix gave Lucifer's writers incredibly difficult, unfair, and frankly weird situations to create through.

Fox did them dirty, interfering and ordering too many eps in S3. Netflix did them dirty, ordering 10 eps for S4 when it clearly needed ~13. Then Netflix ordered 10 "final" eps for S5—then, just kidding(!), 6 more after they'd done their writing for the 10. (What the fuck?) And then Netflix ordered 10 more for a "final-final" S6 after the writers had done their best to tell their whole story in S5. (MORE what the fuck.)

Talk about whiplash for creators, and half of those who consume content don't even care to understand such creative pain.

So, there are problems on multiple fronts. There's much I'll forgive writers, accordingly. I go into most shows expecting plotting/pacing issues. I look, instead, for characters and relationships that will triumph over those issues.

Heart is what the show Lucifer has always had in spades, both in its characters and in the immensely committed, wonderful ways the actors have tried to realize the characters' humor, love, trauma, and—most importantly—struggle to find healing. Yet, when given the opportunity to show health alongside another in a relationship, the writers/directors of 5B chose to remove most sexual humor and physical intimacy from their female lead and bi/pan characters to, I feel, sanitize them and troll fans. What happened?

Well, for one, say hi to showrunner Joe Henderson bragging about how the writers decided to be colossal dicks to the fans who helped secure their jobs:

From CBR's 'Lucifer Showrunner Joe Henderson Dissects Season 5B's Chaos'

Have we not suffered sidelined/repressed female characters, "bury your gays," and, oh, Chloe fucking a serial killer enough? Must we also say hello to neutered relationships once characters find stable love (whether same or opposite sex)? The result of withdrawing more sexual humor and physical intimacy from paired characters is an uncomfortable suggestion that they're reformed by "pure" love—more chaste and aloof, more acceptable in polite society. This is only done to end-game committed relationships.*

The writers seem to think they're edging the viewers, but the reality is they're taking traumatized minority characters who rejoiced in sexual freedom, but lacked and craved an emotional connection, and showing they can't have both, or, if they find both, it will never last. They've taken hypersexual characters and said, here, even they can have the love and commitment they desire, but some physical intimacy, especially sexual intimacy, is what they must trade for it.

There's always one more case, phone call, or coincidence interrupting intimacy. Traumas or deaths deserving emotional and physical comfort go on to receive none or only one aspect. Done sometimes, it's fine. Done always, it's sick. Dan dies, and there's no hugging? Really?†

Don't craft characters who crave a full range of emotional and physical intimacy, only to rob them of related scenes every chance you get. That's not complexity. That's bad writing. To even achieve this in 5B, they must squash banter and sideline their female lead yet again.

What a gift to purity culture, which tells us to be more palatable by bottling and buttoning up. That sex should be taboo, but violence glorified. That there is no heated desire among "Good Women," that sexual minorities of all genders shouldn't experience it much at all.

5A is so good. At the very least, it's on the right path (clearly, since the plot payoff from 5x01 to 5x16 is great). It shows a couple working through difficulties and trauma, toward each other emotionally and physically. It even pokes fun at people who think an established relationship means the death of romantic and sexual appeal (a tired and hugely sexist trope). And then... And then 5B reverses that, pretending established relationships are barely physical during emotional struggle and that the honeymoon phase doesn't exist. It robs characters of joy and comfort through physical intimacy when they need it to move through or push beyond trauma.

It's telling that so many fan wishes for Deckerstar are about healing touch and existing in each other's spaces: amending Chloe's spicy PDA history with Cain, Chloe caring for Lucifer's wings, soft family scenes a la Monopoly night and shared meals, morning-afters, etc. Reasonable fans aren't asking for porn; they're asking for connection and humanity. They're asking for writers not to forget characters (and, yes, including hypersexual characters) on their way from Point A to Point B.

That 5B lacks these things isn't a "tee-hee frustrating" slow burn or a cockblock. It is, in so many scenes, excising from characters a core part of what nearly every human and fictional monster craves. And it's a slap in the face to the "found family" trope. When you remove or tamp down a casual physical intimacy that was previously there, characters and their relationships fall flat, even if only partially. They become blunt weapons creators wield against watchers or readers begging for scraps of warmth.

Minorities shouldn't be killed off with ease, and they shouldn't be stifled with ease, either.‡ And maybe there shouldn't be deep trauma driving a wedge in a romantic relationship if you're not going to explore it through that relationship, too—physical intimacy included.

I'm still reserving some judgment. I loved the family drama and the end. (Although, again, where was the physical intimacy? No intimacy when Chloe or Lucifer return from the dead? Really?) I see where they could do awesome things, and could have done more if not for network BS.

But I no longer trust Lucifer's writers and directors. They thought S5 was the end. And what they gave us of Deckerstar, of the relationship that symbolizes health and healing in their fictional world, is this: cold distance. And they got a kick out of doing it, apparently.

If this is a "love letter" to me as a fan, I'm burning it. I can only hope S6 course corrects. If not, the writers who made these choices shouldn't write sexual minority and/or traumatized characters again. If you don't understand most of us, you should stop fucking using us.

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* If you don't believe me about the differences between casual/short-term relationships and end-game relationships in Lucifer, go back and look at how Lucifer and Maze are with strangers in all the other seasons. Look at Chloe's sex dream, her propositioning of Lucifer in a library, her sex with Pierce in the evidence closet. Look at how much physical intimacy there is between Lucifer and Eve, and then between Eve and Maze (if only as a ploy). Across seasons, there are sex/kink jokes and scenes galore.

Compare this to how these same characters are portrayed when with their end-game loves. Notice the gentle pecks on the lips and the huge general drop in sexual humor between 5A and 5B. How boring. Where's the spice these characters had? Also, give me a damn break. Buttoning up in a relationship is contrary to four and a half seasons of emotional character work that's been communicating security in our relationships is personally freeing.

† I'm not just talking about sexual intimacy in this post, though that is a big part of it because of the characters. 5B lacked crucial found family scenes, too.

Chloe should have been at God's family dinner, but being so would have prevented more ham-fisted angst. Chloe never even has a one-on-one with God, probably because that would demand a straight answer about her miracle status, which I would guess will be used to drive yet another wedge between her and Lucifer next season, but we'll see.

In multiple before- and after-work scenes, there was no reason for Lucifer and Chloe to be apart more, even, than they were in S1 and S2. Monopoly night was in S3, for crying out loud. Most horrifying of all? No one touches Chloe after Dan's death, but Trixie. Meanwhile, Linda, Amenadiel, Ella, Maze, and Lucifer all receive physical comfort. No wonder Chloe's tired of being strong.

‡ If you don't think it's offensive that they stuffed all their wlw content for two hypersexual characters into a few clunky, irrational, and chaste scenes that rushed I love yous, a marriage-like proposal, and the mention of soulmates, I don't know what to tell you other than get off my lawn.

[scientific-tricorder]

A while back, this post happened and I mentioned an excessively detailed response, and here it is, presenting a (more or less) physiologically reasonable process for the entire function and breakdown of Garak's implant in “The Wire”. This breaks down into three main parts: how the implant is supposed to function, what went wrong, and how it's fixed. I'll add a TLDR as well. There's a lot of assumptions made (namely that Cardassian physiology is more or less functioning like Earth mammalian physiology), determinations that characters don't necessarily know exactly what they're talking about, simplification of exceedingly complicated things, and terminology.

Before we get into headcanoning and speculating, let's cover what we know of the implant from the episode. The implant is situated in the “postcentral gyrus and has filaments that connect it to [the] entire central nervous system” and “was designed to stimulate the pleasure centres of [the] brain to trigger the production of vast amounts of natural endorphins” in case of torture. The first symptoms include clammy skin*, dyspnea (difficulty breathing), miosis (contracted pupils), high level of pain (specifically a headache, although potentially in other areas as well), and “some type of seizure”. Later on, there is mention of deterioration of the “cranial nerve cluster”, bradycardia (a slow heart rate, likely since treatment was a stimulant and cardiostimulator), and toxins accumulating in lymphatic tissues caused by an altered leukocyte molecular structure. After turning off the implant, synthetic leukocytes are required to cure lingering effects (the aforementioned toxins and altered leukocytes). (*Clammy skin refers to cool, pale, and sweaty skin, so if one is looking at a purely canon view, this does mean that Cardassians sweat. However, the idea of ectothermic Cardassians that thus don't sweat is pretty common, so it's possible that one could interpret this as thus referring solely to cool and pale skin, or, since Bashir is basing his assessment on solely visual examination, just paleness, likely in the mucous membranes of the conjunctiva and gum tissue)

Let's break this down a little, starting by getting some of the nonsense out of the way. Endorphins (which are by definition natural) aren't produced by any 'pleasure centers' of the brain, they come from the pituitary gland; 'cranial nerve cluster' is essentially meaningless (although I suppose that the brain could be considered a nerve cluster); and, unlike the episode suggests, leukocytes aren't molecules – they're cells and thus made out of countless molecules. Moving onto breaking down terminology that has actual meaning, the postcentral gyrus is a part of the brain (roughly the middle top) that contains the primary somatosensory cortex, which helps the brain know where sensory signals are coming from, including pain. So, good job writers, you did mention a brain region associated with pain sensing! The central nervous system (CNS) is the brain and spinal cord. Endorphins are a type of what are called endogenous opioids, opioids produced by the body itself. They have more or less the same effects as other opioids like morphine, so that's probably the best starting point for research on side-effects and withdrawal symptoms for anyone who wants to look into that. Most relevant is that they're an analgesic (pain killer) and increase the production and release of dopamine, the “happy chemical”. Lymphatic tissues are just the tissues of the lymphatic system, which is kind of like an extra liquid collection system and aids in immune responses by producing, processing, and storing immune cells (and fat transport, but that's extraneous here). Leukocyte is a generic umbrella term equivalent to 'white blood cell' and thus contains a lot of different types of cells doing different things. Dr. Bashir really should have been more specific there.

That's what we get from canon, so from here on out it's pure headcanoning based on science. Let's tackle the first part: how does the implant work in the first place?

If the implant's purpose is to make one immune to pain, it needs to accomplish two main things: first, detect when pain is happening, and second, do something to stop that pain from being sensed. We're going to need to cover some basic nociception (pain sensing) here. The first step in pain detection is that a neuron called a nociceptor detects something pain causing, namely temperature (fun fact: spicy foods feel hot because some chemicals in them activate heat pain nociceptors in the mouth), chemicals (particularly chemicals released by damaged cells), and getting damaged itself. The nociceptor then releases a neurotransmitter (chemical that neurons use to communicate with each other) called Substance P. Substance P is then picked up by a secondary neuron in the spinal cord that sends the message of pain up to various parts of the brain that spread the message around and eventually cause effects, include the actual sensing of the pain, telling the brain where the pain is (that's where the primary somatosensory cortex and postcentral gyrus come in), and inducing the fight-or-flight response. One part of the brain that gets the 'we're hurting!' signal and sends a message that eventually results in the release of endogenous opioids like endorphins, which in turn prevent Substance P from being released, thus cutting off the pain signal, as well as do the other opioid things.

To accomplish the first task of detecting pain, the implant most probably has sensors for Substance P. These would probably be those filaments connecting to the entire CNS – since the Substance P is released in the spinal cord, these sensing filaments kind of need to be covering it all to detect any incoming Substance P. The second task of cutting off that pain signal then functions simply by flooding the body with endorphins (and probably other endogenous opioids). These endorphins could be sourced in three ways: via some sort of storage within the implant, via the implant causing the body to produce more, or via the implant itself producing and releasing more. Having enough stored for constant release for multiple years seems unlikely, so we'll scratch off that possibility. Garak's dialogue does suggest that the implant causes the body itself to produce more endorphins, but I'm going to go with the third option because we're going to need truly excessive amounts of endorphins to fully kill off pain signals (and it'd likely be hard to get the body to produce that much) and because it makes it easier to explain what might go wrong.

And speaking of what might go wrong, let's now look at that. The first noticeable symptoms are pale/clammy skin, dyspnea, extreme pain, and miosis. Miosis is caused by opioids, and would thus be induced by the implant and extreme pain. The pale skin and dyspnea are consistent with the heart not pumping enough blood to all the tissues. Other related symptoms include fatigue and anxiety, which are consistent with Garak's behavior. This is also consistent with the later bradycardia. This sort of heart issue is generally associated with heart attacks and other failures of the heart muscles itself, but could be caused by anything interfering with the heart's function. Since heart rate is largely controlled by the CNS, disruptions to it (such as by, say, a malfunctioning cranial implant), could induce these symptoms. We later learn that there is also deterioration of neural tissue (or at least that's how I'm interpreting Garak's 'cranial nerve cluster' comment) and damage to the lymphatic system due to toxins caused by altered leukocytes. It seems logical that these toxins are also responsible for the neural tissue deterioration and the CNS effects on the heart.

The next obvious question then is what are these toxins? Here comes the most speculative bit: the toxins are an autoimmune response caused by the implant producing malformed endorphins that bind to and affect the receptors of mature cytotoxic T-cells and cause them to bind to Class I MHC molecules in the absence of foreign antigens and result in the destruction of healthy cells. That's a lot of terminology and concepts that I just threw out, so let's break all that down. Malformed endorphins would be just what they say on the tin – after working for so long, the implant starts making making mistakes when producing and releasing the endorphins. Cytotoxic T-cells are a subtype of a subtype of leukocytes that work by destroying any cells presenting the 'red flag' that they've been invaded: a bit of something foreign to the body held out by what are called Class I MHCs, which are found on all cells. They sometimes accidentally respond and bind to plain Class I MHCs, thus resulting in an autoimmune reaction wherein the immune system attacks the body it's supposed to be protecting. Normally, these malfunctioning cytotoxic T-cells are taken care of before they mature and actually go to work, but if mature T-cells are being modified (there's your 'altered molecular structure of leukocytes'), the main bulwark against this type of autoimmune attack is side-stepped. And thus we have a malfunctioning implant killing Garak, and being able to continue to do so even when deactivated – the modified cytotoxic T-cells are still there, doing damage, even if no more new ones are being created.

This brings us to the third and final part: aside form turning off the implant, how are all its ill effects stopped? The big issue here would be the modified cytotoxic T-cells still running around, killing cells. There is one other mechanism for stopping self-attacking T-cells: regulatory T-cells. In the proposed situation, the body just doesn't have enough circulating regulatory T-cells to take care of the modified cytotoxic T-cells. Thus, the synthesized Cardassian leukocytes are specifically Cardassian regulatory T-cells that then help get rid of all the dangerous cytotoxic T-cells, thus stopping the toxins they produce from continuing to damage and kill tissues and effectively curing Garak.

So that's a lot, covering the very complicated and not entirely understood areas of neurology and immunology, so there's an amount of oversimplification, and I wouldn't be surprised if I mixed up or missed something that completely topples this entire thing.

But the TLDR is: Garak's implant makes opioids, but then it malfunctions and starts to instead make toxins that cause Garak's body to attack itself. Turning off the implant stops the production of the toxins, but Garak's body is still attacking itself until the synthesized Cardassian leukocytes are administered and fix things.

[yozzers]

vexos hcs and random notes

ill update as i go, because yes i do update my masterlists every once in awhile, i should probably add them to my pinned... 

General

I sincerely hope they have a small living arrangement so I can inflict them with the pain of having to share almost everything with each other

I just want Shadow and Lync to share a bunk

Like to think that alongside Volt, Mylene and Lync were also recruited by Hydron

None of them officially joined until they were a bit older but probably trained to eventually join the Vexos; in the mean time they probably worked for Hydron or something like that

Volt recruited at 11; Lync a year later and Mylene following not long after (respectively 13, 8, 12 when they’re all gathered)

My reasoning to why Volt is patient with Lync’s antics and Mylene less so but doesn’t lash out as badly as you think she would around annoying little kids; grew up tgt moment

Spectra probably forced his way into the Vexos like “hiiii i see you dont have any Vexos members <3″ bcs obv he wasn’t using royal scientist dad privelages (i think, bcs Clay seems horrified abt Spectra being a Vexos and well, being Spectra) 

Shadow had an advantage of being a nobleman (in terms of him being accepted into the Vexos’ ranks)

the Vexos and their set of rules magent-ed on the fridge door or something and every time they go over a page they have to staple/tape a new page on

Joined in this order, Volt, Spectra, Shadow, Mylene, Lync, Gus 

Vexos being a “chance of death low but the chance is still there” type of job... they feel like idols girl help they are bakugan idol group who work for the government 

sorry the way the vestal kids talk about them... going to treat the Vexos like a kpop group now

Spectra Phantom / Keith Fermin 

[canon] son of a (royal?) scientist. definitely had it good and comfy

think it’d be REALLY funny if he already knew Shadow before he became Spectra, Shadow just doesn’t recognize him bcs of his stupid get up

throws childhood friends Shadow Spectra at you, just two weirdos 

Keith specifically keeps Shadow from ever meeting his sister which is why neither of them really recognize each other

Pre-Spectra; probably would’ve been really into bakugan biology and what not. Feels like the kind of person to talk w/ his dad about “do you think we could change their appearance if we messed w/ their mechanical ball form or would it not carry over to their released forms”

this mf looks like a biology major i feel it in my guts 

mom isn’t dead she just divorced Clay bcs he didn’t know how to balance family and work, good for her

probably lives in another city now, and it’s a bit more of a hassle to meet with her kids so they don’t see her as much but she is present in their lives (keep in contact in other ways) 

probably went a bit silent when Keith went missing

didn’t bleach his eyebrows bcs he didn’t want to harm the skin around there and he never thought he’d take the mask off around others, or about how stupid he’d look without the mask

please please please please draw him with his pink hair roots in his MS fit he should've grown out some of his bleached hair by then

daddy issues is truly the root of evil

Gus Grav

Just Some Gut background; middle class just living life

[canon?] was going on a route to being an “idol brawler”, because that’s kind of what their brawls felt like, since it was all purely for show with some competition. it felt less like a sport and more spectacle.

Gus wanting to be an idol brawler is actually such a funny string of words put together I’m making that a thing, if he didn’t join the Vexos he would’ve been an idol brawler

I like the Gus needs glasses hc (shoutout to @marmeladebois ‘s post on that) 

The hc of him being half human and Runo’s half brother is so good 

Cooks well but refuses to help cook fr the Vexos (unless Spectra specifically asks) --> that job is usually left to Volt

not related but reminds me heavily of yugioh vrain’s Spectre (or other way around... Gus was the blueprint) 

Shadow Prove

[handbook canon] a vestal nobleman 

has an older brother (oc; Lux- casual Haos brawler)

inferiority complex or whatever, the only thing he bested his brother in was Bakugan

the Prove family being typical prim proper noble family and forcing Shadow to be repressed is something, but the Proves having the same kind of wavelength as Shadow but in different variations is funnier. They’re just Like That.

Probably not a military family, does work closely with the government still; um im thinking somewhere under the Fermins but not by much

Considered running away from home several times 

Unwillingly has knowledge on Vestal classic literature/ music

hard clutching a wall whenever he wants to join in on discussions about it bcs he knows this stuff but no way is he going to make himself look like a nerd + hes not actually that interested

*debates you for fun and bcs i hate u <3* 

You know how he doesn’t take his job as a Vexos member super seriously, I wonder:

did his parents force him to be a Vexos since he wasn’t interested in the political side of his family and probably against taking up anything related to it, so they had him do something that’d still be beneficial to the family?  

joined to pursue a freedom he didn’t have as a nobleman and is now just taking it really easy?

has clowns > jesters debate with volt; obv he’s team clown, volt is team jester

incredibly irrelevant but if he was a human he’d be chinese, i’ve claimed him, prodigal son older brother and fail son dynamic is there 

Mylene Ferrow

While I like the idea of her being from a military family, I want to make her like Ling Wen (TGCF) in the sense she started from the bottom and climbed to the top... it fits her ambitious nature of grasping for more, she hasn’t reached what she considers the top just yet...��

[very Ling Wen specific but Mylene being put in jail fr crimes unknown to me and being recruited  by Hydron bcs she kicked serious ass is an entertaining thought] 

I like to think she’s closest to Shadow due to the fact he kind of forces his presence onto her so... not her choice in that matter. “annoying” to “endearingly annoying, you still aren’t getting special treatment though”

Ofc Volt and Lync are on the same level, but I think they all know when to give each other space so they’re more of a “we hold each other at a distance, but we’re aware of out closeness which is enough for us”

Then its Spectra and then Gus in the “closest to Mylene” scale; she just straight up hates Gus and it’s mutual

whoever made the “Mylene and Spectra were exes” hc I think it’s really funny so I’m adding it here 

terrible fashion, she’s the one who chose the outfits when she and Shadow went to earth; her fashionable armor look she usually has was designed with Volt’s help, she just voiced what she generally wanted 

Her red lipstick look was bcs she thought it’d make her look more serious/ intimidating (Volt and Lync approved, it rlly does work on her)

Shadow matches w/ her (via his red nails) after they get teamed up tgt several times bcs he thinks they’re basically the go-to duo matchup whenever they’re assigned work n it’d be cool

Very forthcoming about the fact she used to be considered a criminal and was from same rundown area Volt and Lync come from

She’s grateful she got out of jail but she still has no respect for Hydron and despite how much she tries to hide it she does make it pretty clear to him she doesn’t really like him

I wish I had more to say about her... but It’s all relationship esque, i think in general she’s enjoyable and good so what I want more out of her is character dynamics

Lync Volan

[eng dub] he has grandparents; whether they’re still alive or not is...? 

was part of the same area Volt is from

probably aware of each other but didn’t really know each other

you sound like you have mommy issues 

came from the same area as Volt, but lived further out and closer to those areas where there were some bits of nature left 

ill expand on why he got picked up by Hydron another day lazy rn

Volt Luster

[canon] he’s from an area that just straight up looks like yugioh 5ds’ Satellite, and Hydron was the one who pulled him out of there  

He says Hydron pulled him out of there when he was a kid? I’d assume at youngest it’d be like Hydron (8) and Volt (11)

has a neat collection of handmade jester dolls 

lot more artistic than he seems 

Had his guardian bakugan with him the longest; had Brontes even before he met Hydron

Would the others consider him weird fr having a talking Bakugan that acted friendly with him n cracked jokes? 

[tonyglowheart]

Hi, if it's alright with you there's a translation bit I want to ask about. From what I'm seeing on social media and on various translations of MDZS, 氏 always seems to be translated either to "clan" or "sect", and there are the rare instances where two parties get into a disagreement over it. What would you say is the more accurate meaning? And can both clan and sect can be used as translations of "氏" without any conflict of meaning?

Hi! Okay so. Let’s unpack this lmao.

氏 more technically translates to “clan,” “family,” or like as a term used to refer to “kinship” relations. It doesn’t.. really translate to “sect”? if you looked it up in a dictionary that’s not what it would say at all. *however.* It’s also not without precedent for there to be cultivation sects within what I’d say is, like, “wuxia classical canon” in which the sect name IS the [location][family name]氏, like what you see in MDZS. Look at the sects listed until “Demi-Gods and Semi-Devils” in this EN Wikipedia lists page.

But 氏 itself does not mean sect, I wouldn’t say, and the usages I’ve encountered before in, like, harem dramas or such, use the term to indicate family, clan, kinship relationships, etc. In harem dramas for example (I’m specifically referencing harem dramas bc that’s the specific examples I have off the top of my head lol,,), you’ll see female characters referred to by [Family name]氏 if they’re not being referred to by their titles or whatnot, and it means something like... clanswoman of [Family name] in this usage. like.. referring to her by her maiden name. (which has its own complicated politics involved and I’m not getting into that here, just as a like... related aside to this example)

I haven’t read much as far as the “classics” of the genre to say what’s typical or not, which also means I don’t know if the cited precedents in earlier wuxia novels treat their 氏 as more of a sect or a clan, or a mix the way mdzs does. But I do think that MDZS, at least, does somewhat conflate clan & sect in how the sects are treated compared to the handful of other danmei cultivation novels I’ve read. MDZS’s “sect” situation is a bit more feudal in the sense of having a founding families who are in charge of certain city-states/regions, and have followers who are part of their city-state and so are members of the “clan” but who aren’t actually a part of the clan in the sense of bloodline or familial kinship goes. Non-blood members of the “clan” are not literally adopted into the family in order to be part of the respective cohort, which is what makes it more like your typical cultivation sect within a wuxia or xianxia setting go. At the same time, you still have your differentiation of the ruling/founding family within the “sect” (which goes by the clan name). If it were just translated as Clan, I can see this becoming more and more confusing for an Anglophone, especially if they don’t have experience with the genre, genre conventions, or cultural conventions. But again I can’t speak for if this is “typical” in the genre or even how the specific texts that might be considered a sort of “wuxia classical canon” treat the 氏 there, and how that’s “typically” been treated in translation (like whether the English translations of these other novels tl as clan or sect, for example). I could look into that more, and like as far as due diligence goes I probably should, but I feel like I can answer your questions without reaaallly delving into all of that at this moment, so I’m gonna  ¯\_(ツ)_/¯ If someone does know better and wants to correct me, please feel free.

Regarding MDZS specifically: I believe the choice to translate 氏 in MDZS as Sect was a specific choice that ExR made (who like. c’mon we all know they did in fact set a lot of translation precedent with their tl). If I remember correctly, I believe that ExR actually translated 氏 to Clan or sth like that at first, but then decided to change it to Sect to go along more with “typical” cultivation novels terms (isn’t there an A/N somewhere to this effect?). I actually don’t have an issue with this translation choice, lmao, I think it helps clarify some of the issues an Anglophone unfamiliar with the genre might have, or like help combat some of the connotations of using “clan” that might confuse an Anglophone. I think in English, “clan” tends to have strong kinship meanings, and like a cursory look at the look-up for clan mentions something about “common ancestor” and how in some societies clans would be exogamous, which means their members cannot marry each other. That is not the case with cultivation sects more generally, and not even the case with MDZS sects even tho it acts as a sort of deconstruction of the genre or as a sort of “proto-xianxia” society evolving out of more feudal structures. Anyway, cultivation sects don’t really follow this kind of organizational idea, and MDZS also does have discussions of the significance of bloodline within each respective Sect, which imo would warrant the distinction in translation choice. It also makes it easier to indicate who you’re talking about when you’re talking about, like.. “inner disciples” or “outer disciples” like Gusu Lan has, slash is extra helpful when the other Sects don’t already have this kind of in-built distinction in terminology.

I also kind of like this particular translation choice ExR made because I think the “Gusu Lan Sect” or “Yunmeng Jiang Sect” format lends it a formality to the naming that something like “Lan Clan/family of Gusu” or “Jiang Family of Yunmeng” kind of lacks.

(Rando note: some more “common” terms that “translate” to sect are 派, and 寨 and you’ll see some others like 帮, 教, or 门 and so forth. Each of these don’t... exactly translate to “sect” on their own but Chinese characters don’t always act as individual “words” with one-for-one translations; they sometimes are morphemes which need to be put together with other characters for form words, but can still lend the meaning of common word-constructions even when used individually, depending on context. If you looked up “sect” in an EN>CN dictionary you’d get results like 教派, 宗派, 门派, and more, which take on the meaning of “sect” depending on context and usage)

tl;dr: no 氏 does not translate to sect, per se; if you just asked me out of the blue I’d say it’s “clan” or “family” and/or referring to other kinship relations, including like a “maiden name” for women, as with the harem drama example above. *however*: there’s precedent for the MDZS-style “sect” naming structure within wuxia classical canon as far as referring to established organizations in a given novel go (caveat of I don’t know that much about those or how it’s treated in the text or in translation), and within MDZS usage I can also see why ExR made the decision to translate it to “Sect” when referring to the overall collectives, bc the members of the “sects” include not just the bloodline family members but also non-bloodline disciples who are followers of the sects, and I actually don’t think it’s a bad translation decision. It helps formalize the English translations of the “sect” names, and makes it clear(er) to an EN audience we’re talking about cultivation sects, and also helps to create a distinction for when we need to discuss the main “clan” (i.e. ppl of the bloodline of the founding families of each respective sect) within each respective “sect,” especially where other sects don’t make the distinction between “inner” disciples and “outer” disciples the way Gusu Lan does (a distinction which imo also is helped by calling the greater organization a “sect” and not a “clan,” bc otherwise we’d. probably get even more wank from anglophones arguing that “oh disciples are literally adopted into the family!!!!!!!!” and honestly there’s only so much bs I can take lmao. we already get enough “wwx is LITERALLY adopted” wank as is).

Kind of a last note and also a more context-dependent on the target-language-side approach to translation: I think the treatment of translating 氏 to “sect” as far as MDZS usage goes is, like, considering more certain “canonized” translations of certain terms & concepts from Chinese to English; with here the idea of using “sect” is because that’s the more “canonized” translation for a collective of ppl following a certain school of learning/thought in a cultivation setting.

[sprout3391]

Swallowtail Butterfly (1996)

              Like the last film we watched, Swallowtail Butterfly explores how those who are different are treated poorly in Japanese society. The people of Yentown are not given the same rights as a Japanese citizen; when Feihong and Glico buy the Yentown Club, it is signed under someone else’s name. The people are also under constant police scrutiny and experience violence when under arrest. The Caucasian band members who were born in Japan, therefore Japanese citizens, also complain about their treatment.

              Though poor, the ragtag team of friends seem to have a good time. They are close-knit and seem to have fun doing whatever to earn money. However once enough money has been accrued, it drives the people apart. Glico, for such a central character, seems to go missing for a large chunk of the film once she becomes a pop star, which emphasizes how far removed she is from Ageha and Feihong now.

              The movie also seems to be shot mostly using handheld, which reminds me a lot of watching a music video or a recording of a live performance. Various colored lights are used to set the mood as well, the most apparent to me is how spotty light can be, like when a scene is shot under a swinging light or near a fan. It’s an interesting way to make the scene more cluttered to stress the messiness of the setting, like in Rashomon with its concept of justice.

              Since there are so many different cultures in Yentown, it makes sense that the characters speak multiple languages. I really like that the film does this, because I feel like it adds another layer to analyze. For example, at the end Ageha speaks Chinese to Ran and also tells him that she runs a shop with Glico. I interpreted this as a sign that Ageha has continued to practice Chinese, probably as a way to connect with Glico and honor Feihong, who initially teaches her the language. I also think that her speaking Chinese in combination with mentioning Glico is a way to hint that Ageha knows of Ran’s relation with Glico but chooses not to reunite them, maybe as a way to protect her since Feihong was killed after getting caught with the fake bill, which was a strategy invented by Ran. Switching between languages midsentence was a nice touch as well, however I wish the subtitles somehow indicated this. Watching this movie with the subtitles felt like I was watching a dubbed anime on Netflix with the subtitles; what the characters say do not always match the subtitles word for word but still meant about the same thing. It was also a little tiring to hear Chinese but read English. Sometimes the subs cut out completely too. While Mao Fu charged to attack right before his whole crew gets wiped out, he lets out a war cry of sorts. He is telling his opponent to basically “come at me bro,” but there were no subtitles in this short segment.

              Additionally, butterflies are often used for symbolism, especially in terms of a free spirit and beauty. This obviously fits with the ideas of Glico and Ageha, but I think it is also significant that the butterfly is specifically the swallowtail. The swallow is an important bird in Chinese culture symbolizing femininity and good fortune, which fits well with Glico especially. Furthermore, the nest of the swallow bird is considered a delicacy as well and is usually served as something sweet, which is in line with Glico’s name. Something that is probably coincidental is that swallowtail butterflies refer to the family Papillonidae, which is the most on the nose name ever, basically meaning family of butterflies, while Ageha’s name is also a rather direct name.

[bestofblackwidow]

The "Let me go - it's okay," she told him the last time we saw the Black Widow, it was - to say the least - emotional. "Let me go - it's okay," she said to Hawkeye, plunging to her death on the arid planet Sleeping in Avengers: Endgame for the ultimate sacrifice to save the world. While the deaths in the Marvel Cinematic Universe go on - sorry, Iron Man - there was probably no more heart-stopping moment, since the former SHIELD spy who became Avenger gave her life to recover the Soul Stone.

Still, it left the MCU in a bind. For years, a Black Widow film had been mooted, right back to 2004 at Lions Gate Entertainment before the rights reverted to Marvel. When Scarlett Johansson first appeared as Natasha Romanoff - the former KGB assassin with a very particular set of skills - in 2010's Iron Man 2, it didn't take long before questions were asked about a solo outing. Marvel Studios conductor Kevin Feige even held discussions with Johansson, who was then only 25. But there was a caveat, he said. "The Avengers comes first."

While others - Thor, Captain America, Black Panther and even Ant-Man - had their moments in the spotlight, the Black Widow was forced to wait. And wait. And wait. Not that Johansson thought that her character demanded the same treatment; if she was going to be in front of a Marvel movie, there had to be a reason. "Is there anything exciting to do creatively, as an actor?" she says. “Will we be able to do something extraordinary and strong? And something that stands on its own? "It's what makes the independent Black Widow an intriguing prospect: an inauguration of Phase 4 of the MCU promises to step back in time before her dramatic death to answer the provocative questions that still hover over her Crucially, the script transports audiences back to the events right after Captain America: Civil War, after that huge internal confrontation of the Avengers.

Without relatives or an organization that employs her, the Black Widow is alone, says Johansson. "It gave us the opportunity to really show her when she's kind of out of her game, you know? Because of that, anything was possible." The actress was there "from the start" at the script meetings, as they began to figure out how to delve into Romanoff's origins. "You are trying to map all of this ... which is extremely stressful," she laughs, "because there are no guidelines."

Fortunately, Johansson was not alone. In another inspired choice for the MCU canon, Feige recruited Australian director Cate Shortland, best known for discreet dramas like Somersault and Lore. While she was surprised, Shortland was encouraged by the creative freedom that Marvel was offering. “They allowed me to be myself and encouraged me to make a movie that I was passionate about,” she says. "We were allowed to have a lot of nuances and make a character-oriented film."

After several Skype sessions with Johansson, who also receives producer credit, Shortland worked with a Russian researcher to embody Romanoff's dark story: "the red in my ledger", as she told Loki in 2012 in Os Avengers. As she sings in the trailer, "We have to go back to where it all started" - the promising teaser clips of Romanoff as a young man (played by Ever Anderson, daughter of Paul WS Anderson and Milla Jovovich) in a childhood that seems far from idyllic. That's what makes Black Widow a family reunion of the kind that only Marvel would have the courage to conjure. Joining Romanoff is Yelena Belova, a sister-sister and fellow murderer who trained alongside her in the so-called Red Room, the punitive Soviet facility that produced 'Black Widow' spies.

"Their stories intersect," promises Shortland. "They clash." Played by Lady Macbeth's British star Florence Pugh, Belova is more than a physical match for Romanoff. Still, emotionally is where it really matters. "What Yelena does is kind of point to Natasha's pain," says Pugh. “She is part of Natasha's story. And I think that's why we have an opportunity to look at Natasha's story, because Yelena has been knocking on the door and says, 'Hey, let's deal with this pain. ”As Johansson comments, Belova is not just a carbon copy of his own character.

"She is completely alone. She is strong and different. She is so different (from) Natasha." Beside them are Melina Vostokoff (Rachel Weisz) and Alexei Shostakov (David Harbor), two father figures whose own stories intertwine with Natasha and Yelena. "This is the coolest thing with this whole group of people. They all had parts of their past that they regretted," says Pugh. “They’re older. They’ve had more life experience. They know more about the system, about this world they’re all living in.” Harbor, the Emmy Stranger Things nominated star, managed to put an indelible mark on the muscular Shostakov, better known as the Red Guardian super soldier, the Russian equivalent of Captain America. "There is a gangster quality to him," the actor smiles. "And he's covered in tattoos. He's got a beard and those gold teeth. He's crazy." But after years of making bad decisions, he's also full of remorse.

"He's in a bad situation," adds Harbor. "And he needs redemption." Weisz's character, Melina, is another who experienced the rigors of the Red Room, a place that put her in contact with Natasha and Yelena. Marking his first dive at the MCU, Weisz acknowledges that the film addresses the idea of ​​discovering his favorite family. "It's definitely about finding out where you belong and where you came from, and what your background story was, and who you really are, and what matters to you - your ideology, I think." Along the way, Feige made reference to The Kids Are All Right - the 2010 Lisa Cholodenko film about a same-sex couple raising two teenagers. "Which is so weird," laughs Johansson. "You would never expect that from a Marvel movie." no it was the only strange nod to the film. Harbor speaks of Shostakov in terms of Philip Seymour Hoffman's drama teacher in the dramatic black comedy The Savages.

Or even expressing "the pathos of a small town, independent, family-run, weird movie... like Little Miss Sunshine". More understandable cinema references include "things like Logan and Aliens and The Fugitive," says Shortland. "We saw movies like that." Certainly, it's easy to see comparisons between Sigourney Weaver's determined Ripley, from James Cameron's masterpiece Aliens, and Johansson's Romanoff, an Avenger who has no superpowers. "We saw it as a force," says Shortland, "because she always has to dig really deep to get out of shit situations." According to the director, everyone in the production invested in deepening Romanoff - even Scottish composer Lorne Balfe (Pennyworth, His Dark Materials), who replaced Alexandre Desplat's original choice. Balfe looked at the character's origins, says Shortland. “He said, 'I want to put it on the ground, because it has been dug up in the movies in the past. I want to give her that flesh and blood. 'And he created this soundtrack that is really Russian."

However, perhaps the real blow here is to recruit Shortland, the first female director to face the Black Widow (and only the second, following Captain Marvel co-director Anna Boden, to enter the MCU). "This film would not be what it is without Cate Shortland," says Pugh. "I think having her eye, and having her mind with this script, has taken her to a whole different realm." Johansson agrees. "" You can feel it was made from a female perspective ... cooked there. "Although Ray Winstone's casting as Supervisor of the Red Room Dreykov (whose daughter contributed to the abundance of red in Romanoff's book, according to Loki) add more to the psychological battleground that the Black Widow will explore, it also deals with victimization, a very pertinent topic in the current climate. The Red Room itself is where trainees are brutally sterilized. "You will see that these women are hard working and strong, and they are murderers - and yet they still need to discuss how they were abused," says Pugh. "It is an incredibly powerful piece."

Judging by the 2020 Oscars, where Pugh and Johansson had their own private relationship session on the red carpet, the two actors got along very well. "She has a really beautiful career ahead of her ... she's a very special person," says Johansson, excited when Pugh's name is mentioned. More specifically, Pugh may well have more Marvel to chew on, if it is rumored that her character will take on the 'Black Widow' mantle for new adventures. By learning Parkour, kickboxing and knife fighting for role, Pugh can safely cut things physically, though she's reluctant to claim that the Black Widow is just a setup for future outings. "Even though it is obviously where everyone wants to go and want to think - think about what comes next - this film never really seemed to be what he was trying to underline." According to Johansson, however, test the audience who saw the film thinks otherwise. "Her character and her performance are so dear." Now, after more than a year of pandemic-related delays to July 2021), it will not be just a few lucky spectators who will be able to see. Black Widow will even be the first Marvel movie to debut simultaneously on the Disney+ streaming site (with a 'main hit' fee), an understandable move considering the uncertainty that still exists around the world. And in fact, after the success of the Marvel TV shows WandaVision and The Falcon And The Winter Soldier, it doesn't seem like such a strange home. Johansson believes that fans will respond to Black Widow, with this flashback of an earlier part of her life, bringing more poignancy to the Endgame's outcome. "Our goal was for them to be satisfied with this story; that maybe they could have some solution, I think, with the death of this character, in a way. It seemed like people wanted this." Shortland agrees. "We felt that we should honor his death," she says. And the Black Widow will surely honor him.

[im-just-a-random-fandom-girl]

trying to articulate my frustrations with Marvel’s treatment of female characters and characters of color

Hi, hello, hola, bonjour. I've been having a lot of thoughts about Marvel’s lack of diversity and of how they treat minority characters, so I'm taking a page out of Luisa’s (@its-tortle) book and just making a long, rambley post to get it all out.

Please bear with me while I try to encapsulate all of my frustration within the limitations of English language.

(ALSO, I'm white. I’m Spanish-American, but I do not have the ability to speak for fans of color and the other grievances they have. This post is just a combination of my own thoughts and what I've heard other people say on Tumblr, in YouTube videos, in articles etc.)

Now that we've had over week to collect ourselves after the WandaVision finale, because it was such a tearjerker and the end of a true masterpiece of a show, we really need to talk about how Marvel treats their their characters of color and female characters. I'll specifically be looking at Sam Wilson, Natasha Romanoff, and Monica Rambeau.

Let's start with Sam.

Until Monica Rambeau became Photon just a few weeks ago in WandaVision, Sam was THE ONLY Black superhero in the MCU.

He first appeared in Captain America: The Winter Soldier 7 years ago in 2014, and he's been in 4 movies since then (not counting the post-credits of Ant-Man).

Let's see what we know about Sam in the MCU:

He was a pararescue airman in the U.S. Airforce

His wing-man, Riley, died in combat, prompting him to leave active duty

He works at the VA to help other veterans adjust to civilian life

That's it. This is all we know about his backstory, separate from Captain America. However, the MCU decided to include these parts of his backstory, (and exclude others) because they make him a better supporting character to Steve.

Sam's a vet - so is Steve. They have the same, early-morning run routine that alludes to strict military training. Steve is still new to the future and hardly knows or approaches anyone, but Sam is wearing his VA sweatshirt, so there's some sense of connection, one that is furthered when they talk about their beds being too soft. Sam is someone who can understand him, aside from being a super soldier.

Riley, Sam's wingman, died in combat - Hmm, haven't heard that one befo - oh, wait. *Bucky waves from the abyss of the Alps*. Yeah.

I'm not saying that these connections are bad, in fact, I think the opposite. In terms of storyline, these connections are incredibly important for their friendship. Steve is lost and alone in the future. No one he knows cares about him for any reason other than the fact that he's a super soldier, nor can he relate to any of those people on any level. Sam just fits. He's funny and kind and although they are 60 years apart in age, he can, to some extent, understand what Steve is going through in a way they no one else can.

But for the last 7 years in the MCU, all he's been is Steve's supportive friend.

Almost immediately after meeting Steve, Sam is dragged into an end-of-the-world battle. He readily agrees to put his life on the line to fight by Captain America's side. After SHIELD falls, Sam gives up his life for 2 years to help Steve find Bucky. When they find him, Sam, without a second thought, becomes an international fugitive to protect Bucky and Steve.

I mean, he practically says that he lives in Steve's shadow himself: 

"Don't look at me. I do what he does, just slower."

Who does all this? Seriously? Sam is also a recovering vet. He, in theory, has a life, a family, a job, his own mental well-being to consider, but he immediately gives it all up to help Captain America, to follow in his shadow, to be his back-up and support in every battle. Marvel wrote him as a 2D character that lacks his own identity and agency.

Sam deserves his own storyline; he deserves to exist outside the orbit of Steve Rogers.

What Mackie has been able to do with the character is astounding. He took Sam off the page and truly brought him to life, turning him into a beloved character. I'm ecstatic that both Mackie and Sam finally (hopefully) get their time to shine in TFATWS, but it should have happened WAY sooner. Marvel has continuously overlooked Mackie, despite how much he brings to the movies and despite the significance of Sam as the only Black superhero. It's just so clear that they do not care about representation.

(And let's not start with the whole "Bucky should be Captain America" thing, thanks)

Next, let's talk about Natasha.

Nat has been in the MCU for 11 years, starting with Iron Man 2 in 2010. She was heavily featured in an additional 6 MCU movies (not including small cameos/post-credit sequences). She's one of the few female superheroes in the MCU, and the only one that's been there since the beginning. Nat was the only female superhero for 4 years until Gamora appeared in Guardians of the Galaxy.

Let's see what we know about Natasha's history:

She's a former KGB operative and assassin, trained in the Red Room project

When she was a part of the Red Room, she was sterilized

Clint Barton got her out of the Red Room and converted her to a SHIELD agent

THAT'S IT. The second point is actually nauseating because this is what she says to Banner when we learn about her infertility in Age of Ultron:

"They sterilize you. It’s efficient. One less thing to worry about, the one thing that might matter more than a mission. It makes everything easier — even killing. You still think you’re the only monster on the team?"

Like, actually, what the fuck? I remember watching this scene and having to rewind because I thought I mis-heard what she said. In truth, Natasha is probably referring to the terrible things she was forced to do as a KGB operative are what make her a "monster," but why in the world would they include this anecdote here?? It's just so distasteful and disgusting! It makes it seem like her infertility is what makes her a monster, perpetuating the misogynistic belief that the center of a woman's identity and purpose is to have children.

As Vox says in this article, the subject of Nat's infertility 

"rears its head sub-textually when Black Widow sacrifices herself for the Soul Stone. [...] It’s reasonable for Natasha to make the calculation that Clint’s kids deserve to have a dad when they come back to life after the Avengers complete their “time heist.” But because of that Ultron plot, there’s also an insidious implication that Natasha’s infertility renders Black Widow just a little bit more disposable than the rest of her teammates."

Furthermore, Nat's death in Endgame serves for nothing more than motivation for the other characters working in the time heist, WHICH ARE ALL MALE. Even then, the other characters talk about her death briefly (in a mostly unaffected manner), and by the end of the movie, she's been pretty much forgotten about,  completely overshadowed by Tony Stark.

I don't want to say that Nat shouldn't have died in Endgame. It caused me so much heartache and emotional pain, but I truly believe it was a great way to end her arc. CinemaWins on YouTube put it best:

"She needed to save her family, Clint included, finally wiping the red from her ledger. So much of her jouney in the MCU was trying to find her purpose, figure out which side she was on, and she finally feels like she's found it, just in time to die for it. 

"It's not wrong to feel cheated by her death, [but I think] she deserved this moment because of it's importance."

She says it in the movie: 

"I used to have nothing, and then I got this. This family. And I was better because of it."

Nat shouldn't have to die, but it's on her terms, and she is absolutely ready for it. Saving her chosen family... that is her purpose.

But altogether, over the course of the MCU, Natasha was cheated out of getting the storyline she deserved. Like Sam, she was relegated to the position of the supportive friend of Steve, but also of Bruce and Clint. For the audience, her identity is tied to this role that she plays. The identity and motivations she has independent from these other characters, her history, is skimmed over, and treated with immense disrespect.

It took 11 years, but it is thrilling that Scarlett Johansson finally gets to be the start of her own Marvel movie. There is no way that Black Widow will be able to completely make up for her and Natasha's mistreatment by the MCU, but I hope it will at least bring us some closure and allow us to have a better understanding of Nat's history and who she is away from the other Avengers.

Last, but certainly not least (despite what WandaVision may have you believe) is Monica Rambeau.

I spoke about this last week after posting about this review of the show, but it bears repeating.

Monica is a new character. You'd hope that, after 11 years of extremely limited diversity in the MCU, much to the dismay of fans worldwide, and after recognizing this and creating a movie with a cast like The Eternals, Marvel would try to get their shit together across the board.

Nope!

Monica was seriously the token diversity character of the show. It seemed like they would give her more depth after the episode during which they flashed back to the her during and after the snap, losing her mother, and seeing a little bit of what she's done as an adult since Captain Marvel, but that ended up being the most we got.

But why? Monica literally became a SUPERHERO. She became Photon! She deserved a much greater role in the show, especially in the finale, where she instead had maybe 5 lines and just stopped some bullets for about 30 seconds.

As the review I linked says, 

“There are so many black writers, fans, and critics noting how Monica got relegated to a complete lack relegated to meaningless best friend protector lacking in their own self agency and story except for making a shoehorned comparison of grief.”

Marvel made the same, bull-headed mistake that they made with Sam with Monica!

Let's do this again. Monica was snapped away for 5 years, and when she was snapped back, she learned that her mother had died. Losing someone you love and having the whole process of mourning and pain be complicated by the snap? What an interesti- oh wait. *Vision phases his head through the wall with a smile*

The only reason we got this backstory was because it made her a more sympathetic character towards Wanda. Her understanding of what Wanda is going through allows her to be the catalyst in the creation of the ideological fork in the road between herself, Darcy and Woo, who see Wanda as a victim of grief and loss, and Hayward and the rest of SHIELD, who see her as a dangerous threat.

How do you make the same, major mistake that you've been making for the past 7 years again? Guess what? You don't! Maybe it's not intentional, but Marvel, again, clearly doesn’t care enough about their characters of color to consider the roles they relegate them to in the MCU, realize what they've been doing is harmful, and then change it.

Hopefully, they will not continue to treat Monica this way and will remedy this in the next Captain Marvel.

In conclusion: MARVEL GAVE A FUCKING ROBOT AN ACTUAL ORIGIN STORY, A RELATIONSHIP AND MORE INDEPENDENCE THAN ALL OF THESE CHARACTERS.

But in all seriousness, Marvel needs to be help accountable for how they treat women and their characters of color in the MCU. I just looked at 3, but you could also make a similar argument about Rhodey, Hope van Dyne and Valkyrie, as well as Jane Foster, MJ, and Ned, although they are supporting characters and not superheroes. And I'm sure there are many others. Marvel (and Disney!!) has had an awful track-record, and change is long overdue.