#i might even do some more from it because its a really great panel interview to be fair

[sophsun1]

Another thing that made me laugh in that qaf atx panel is Peter making a joke about how when they were waiting around in between scenes the cast would discuss what plans they had for the weekend, what fundraiser they were going to etc and then he just drops in they would be like why was Michael such a dick! He makes sure to specifiy Michael not Hal fyi. But the fact that even they knew that Michael was coming off as being a jealous dick in the show was hilarious 😂

[amltdaily]

Before last weekend, I had no idea that Gary Mendez’s death and my mom’s had anything to do with each other.

(This is a TV story, I promise. Just stick with me.)

Last week, I had the honor of moderating some panels at ATX TV Festival in Austin, Texas. I love moderating, funneling a ton of preparation and research into what — if I do my job right — becomes a fun and illuminating conversation. One of my panels was titled “TV Screens for Cancer,” and it was sponsored by Hollywood, Health & Society. Despite what might at first glance seem like very grim subject matter, I was really looking forward to the opportunity to ask a bunch of TV writers about the cancer storylines they’d crafted over the years.  

I had a personal reason for wanting in on the discussion, too. My mother, Susan Roots, died in May 2021 from Stage IV breast cancer.

The fact of that sentence, by the way, is still as surreal to me as it was the week she passed. I don’t have much memory of when, in a fog of grief and distracted by funeral arrangements, I contacted ABC publicity to let them know I couldn’t make a prearranged phone interview with A Million Little Things creator/showrunner DJ Nash. I’d covered the show since its start; I vaguely recall being grateful, given the tight timelines related to broadcast finales, that our Season 3 finale call was moved to a time more convenient for me.

The conversation I eventually had with Nash, though, stands out in clear detail in my brain. I sat at my parents’ white kitchen table, wearing a shirt of my mother’s because I hadn’t brought enough clothes with me when I rushed home. I was about to launch into my questions when he gently interrupted.

“Tell me a story about your mom,” he said.

If you’ve had the experience of witnessing a loved one in the terminal phase of an illness, you know how tough it can be to think of any time when your shared lives didn’t revolve around the soul-grinding details, and how hard it is to think about anything else once the person has passed. When to administer morphine. Which hospice nurse is coming today. Which setting on the hospital bed brings the least discomfort. Nash’s kind, simple request delivered me from that for a moment.

I told him about a car ride I’d had as a kid with my mom, her mom and her aunt. The horn malfunctioned while we were on the highway, honking randomly, loudly and with abandon at the unsuspecting drivers all around us. My mom, grandmother and great aunt couldn’t stop laughing. My mom gasped for breath, wiping at her streaming eyes as she tried to hold it together so we didn’t run off the road. I cackled too, partly because the horn really was ridiculous, partly out of the novelty of seeing these three women lose themselves in such unhinged fashion.

Nash listened. He chuckled. When I was done, we went on with the interview as planned. I’ve been lucky to have a lot of great conversations with people who make TV over the years, but that one stands out — even more so now, for reasons I’ll get to in a minute.

For those unfamiliar with A Million Little Things, it was an hour-long drama that ran on ABC for five seasons. It followed a group of friends in Boston. At the end of the series, one of the friends — Gary Mendez (played by James Roday Rodriguez), whose experience as a breast cancer survivor was an integral part of the show — died of lung cancer.

As A Million Little Things’ boss and the arbiter of Gary’s fate, Nash was a great fit for the ATX panel last weekend. He was joined by fellow TV writers Erica Green Swafford (New Amsterdam), Adam Weissman (The Good Doctor) and Stephen Hootstein (Chicago Med), all of whom generously engaged with my questions about how to balance realistic portrayals of cancer and making good TV.

Remember how I said I like to be super-prepared for panels? Nash knocked all of that askew when, in front of the audience, he revealed something he hadn’t shared before.

“There’s a moment in the finale that was put in for you,” he said, referring to our conversation years before. “When Walter says to Rome, ‘Tell me a story about Gary.’”

ATX (which is owned by TVLine’s parent company, PMC) filmed the event, so you can see my surprise in the video at the top of this post. I was touched. I was flummoxed. I turned an even deeper shade of red than I normally do while public speaking. Reporters are taught to cover news, not make themselves the center of it. So while I was (and am!) flattered by Nash’s gesture, it was a little unsettling suddenly to find myself on the other side of things.

Most of all, though, I felt a deep gratitude that my mom’s existence was, in an indirect yet careful way, immortalized in a medium she adored.

When the panel was over, after making Nash swear to me yet again that he was telling the truth about the origin of Walter’s line, I confessed that I’d since stolen his story thing and used it when I didn’t know what to say to someone who was grieving. I recommend it.

So there you go: A brief moment of human connection in an industry that traffics in transactional conversations left us both with something meaningful. And somewhere, my primetime-drama-loving mom is absolutely overjoyed that she’s now a part — however far removed — of TV lore.

[makeste]

BnHA Chapter 287: Family Reunion

Previously on BnHA: The Tomura For One VS Deku And Pals clusterfuck reached new levels of clustfuckery as AFO possessed Tomura’s body and stabbed Kacchan and Endeavor. Shouto was all “good thing I leveled up offscreen so as to be able to fly around whilst carrying 400lbs worth of people”, and did just that and it was like, damn, son. Meanwhile Deku’s rage went Mach 100, and he kicked Tomura’s ass for almost two whole seconds, but in the process he apparently forgot that IF TOMURA TOUCHES HIM THAT IS VERY BAD, and so he stupidly let Tomura touch him and Tomura was all “GAME, SET.” Fortunately for Deku, his quirk plays by its own rules, and so the chapter ended with us cutting to the METAPHYSICAL OFA/AFO PARANORMAL DREAMSCAPE OF MYSTICAL BULLSHIT, where AFO!Vestige was all “lol Tomura y u mad”, and Nana!Vestige was all “SUP DEKU, YOU’RE JUST IN TIME, LOOKS LIKE IT’S ASSKICKING O’CLOCK.” I’m paraphrasing a bit, but that’s more or less the gist of it.

Today on BnHA: AFO is all “well if it isn’t Tomura’s grandmother who I murdered that one time”, and Deku is all “?”, and AFO is all “fucking vestiges, man, wild”, and Deku is all “??”, and AFO is all “ANYWAYS GETTIM TOMURA”, and OFA is all “NOT SO FAST”, and Deku is all “???”, and really, same. AFO then goes off on some wild tangent about how Deku is unworthy because he couldn’t protect everyone and needed help from OFA and got mad about his friends being stabbed, which is such a cold take it gave me hypothermia, but it ends up not mattering since Deku and Tomura both wake up seconds later with OFA still in the possession of its rightful owner, HOW ABOUT THAT. The chapter ends with the LoV approaching on Gigantomachia’s back with Dabi practically salivating at the mouth, and Toga trying to reignite an old fandom blood feud. Toga why would you do this to me. Toga.

YESSSSSSSSSSSSS

[CROWD LOSING THEIR MINDS] FINALLY THE NANA HAS COME BACK TO BNHA!! IF YA SMELLLLL WHAT THE NANA IS COOKIN!!!!! [RINGSIDE BELL CHIMING WILDLY] [LOUD AIRHORN NOISES]

“chapter 287: mistake” omg. yeah I’ll say you made a mistake, AFO. I HOPE YOU ENJOY THESE FLEETING LAST MOMENTS OF YOUR SHITTY EVIL LIFE

(ETA: so in all seriousness this must be referring to AFO’s belief that All Might/OFA made a mistake in choosing Deku, right? “I can’t believe you went and chose this shounen manga protagonist as your champion, what were you thinking.” I’ll just put this out there: however many comic books AFO read as a child, it clearly was not enough.)

wow Deku how slow are you

yes you’re inside OFA you dimbulb, did you think your clothes suddenly vanished out of the blue and the ghost of Nana just randomly appeared in the real world by some freak coincidence?? can you believe this kid. breaks his arms a measly 10-15 times in a row and all of a sudden he can’t think straight, get it together Deku

but also brb having a moment at the fact that his thoughts immediately run back to Kacchan, even with all of this nonsense going on and Nana about to lay the beatdown on AFO’s potato-lookin’ ass. forget that noise, all he wants to know is whether or not Kacchan is all right. fuckin’ geez. AM I OVERREACTING HERE A BIT. probably

(ETA: ALSO!! the way he just trails off!! “Kacchan is...” and then he can’t bring himself to complete the thought. oh my god my heart.)

HOLY SHIT

okay,

damn but this man sure knows how to ruffle my feathers. as eminently detestable as ever!!

could it be any clearer here that AFO is not on Tomura’s side?? for a moment I thought he had actually grabbed him by the back of the head in order to get him to look. but nope, he’s just resting his pointing hand on top of his head instead while he’s all “HEY TOMURA LOL IT’S THE GHOST OF YOUR DEAD PATHETIC GRANDMA”

for those keeping track at home, this would be the first time that Deku has heard this information -- that Tomura is Nana’s grandson -- and possibly the first time Vestige!Nana has heard it as well. Nana died when Kotarou was still a child, so for all we know the Vestige!Nana didn’t even know she had a grandson, lol. TODAY ON “MAKESTE RANTS AT LENGTH ABOUT THINGS THAT WILL PROBABLY BE ADDRESSED WITHIN THE NEXT THREE PANELS”, anyway moving on

lmao for the record I fucking LOLed at this giant question mark immediately bubbling up over Deku’s head

no idea what AFO is about to ramble on about now, haven’t read that far yet. but let the record show that Deku’s immediate reaction to hearing “BTW NANA IS YOUR ARCHNEMESIS’S GRANDMA LULZ” is everything I could have hoped for

(ETA: fandom nailed the shit out of this one with the confused Mr. Krabs meme lmao.)

okay so now AFO is monologuing at length about how he would sometimes have “riveting dreams” about the previous owners of all the quirks he stole. but once he gave the quirks away they stopped bothering him?? holy moly let me just take all the notes

okay so he’s saying that Vestiges are created whenever someone has their quirk stolen by AFO. but if they then disappear when he gives the quirks away, does that also mean that whoever receives the quirks also gets the original owner’s Vestige bundled in every time?? that would be wild okay hold up let me read the rest of this

so he’s saying that the Vestiges are actually the “consciousnesses” of the original quirk owners, which have become embedded in their dna or something. SOUNDS INCREDIBLY DUBIOUS TO ME LOL but on the other hand this is a world where children can be born with airplane heads, so my disbelief can hardly afford to pick and choose what it’s gonna be suspended at! anyways though, how does he know he’s the only one who was able to converse with them? did you conduct detailed six-month follow-up interviews with everyone you gave quirks to or what

and if it really is the case that this ability was formerly exclusive to him, isn’t that more evidence than ever that OFA and AFO are actually THE EXACT SAME QUIRK oh whoops am I getting ahead of myself again, sorry

MEANWHILE TOMURA IS ALL, “GRANDMA?”

“WHY AM I HERE, WELL LET ME TELL YOU A STORY, GRANDSON. YOU SEE THAT MAN GROWING OUT OF YOUR RIBCAGE THERE? WELL IT’S JUST THE FUNNIEST THING, ACTUALLY”

WAIT SO IS HE SAYING THEY’RE SOULS OR NOT??

this makes it sound like they won’t ever get to rest, which sure sounds like a soul thing to me. well whatever, soul, consciousness, I guess it’s just semantics at the end of the day

anyways though, so this asshole is finally done talking (I’m sure that won’t last), so now we can finally have the heartwarming reunion we’ve all been waiting for

sigh

-- actually, no, not “sigh”!! you know what!! because Tomura says “whatever the reason”, but that’s only because he doesn’t actually have a fucking clue about the reason. like, I don’t know if the knowledge that AFO killed Nana would be enough to give him pause, but if he knew the whole story and knew that AFO was behind not only Nana’s death, but the rest of his family’s deaths as well... now that would be a whole different thing

anyway. but at least it’s becoming clearer now why AFO spent all that time raising Tomura up as his heir and brainwashing him even though he seems to have been planning this body takeover the whole time. it’s all because he loves making people miserable! yaaaaay

btw HAS NANA HAD THE EXACT SAME MOLE ON HER CHIN AS TOMURA THIS ENTIRE TIME WTF. am I just the least observant person who ever lived lmao

lol wtf

ground: [randomly starts exploding]

Deku: “ONE FOR ALL IS BEING ERODED!!!” LOL IS THAT WHAT’S HAPPENING HERE, OKAY THEN. I’ll take your word for it

y’all I cannot fucking get over this “AFO growing out of Tomura’s hip socket like a fucked-up ventriloquist dummy” shit though

you do realize that absolutely no one can take you seriously right now, right?? it’s important to me that you know this

WHAT’S THIS NOW

seems like SOMEONE has had it up to here with a certain SOMEONE ELSE’S bullshit lmaooo bye Felicia

I SAID GOOD DAY!!

you guys why is he not dying!!

-- OH DAMN

love how Deku is just lying there like “YOU KNOW THOSE DAYS WHERE YOU’RE LIKE, THIS MIGHT AS WELL HAPPEN.” poor Deku

(ETA: where in god’s name is OFA Prime standing. why are my thoughts fully consumed by this lmao.)

are Nana and OFA Prime even doing anything?? why are they sticking their arms out like that. wait hold up is this all a big metaphor for the back-and-forth going on between Tomura trying to steal OFA and OFA being all “actually no you can’t, please enter your password and click on all the boxes with bicycles in them to prove you’re a human first”?

OH SNAP OFA PRIME SAID NO THANKS

“SORRY BRO WE’VE ALREADY MADE OURSELVES AT HOME HERE”

I have only just noticed that metaphysical!Deku has the same scars as actual!Deku. and yet his arms are not currently broken! that doesn’t really seem consistent to me but whatever!! maybe he saved right before the boss battle, that would be smart of him

anyway, that’s great and all that OFA Prime is here helping out, but I really wanted to see Nana fight AFO in a one on one though so I’m a bit disappointed. also why is it only the two of them?? where are Banjou and the others. of all the times to be sleeping on the job

FOR FUCK’S SAKE, THIS MAN

WOULD YOU STOP. WOULD YOU JUST QUIT IT ALREADY

oh shit hold up

doesn’t this confirm that the reason he wanted to transfer his power to Tomura is because he believed it would make him strong enough to finally take OFA because of Quirk Singularity? jesus christ. and here he was so sure of himself. but it turns out he doesn’t actually know shit! you can’t just fucking take OFA like that ya dingdong that’s not how it works

(ETA: SO, A THOUGHT -- is there any sort of subtle hinting here in the way that he words this? “if your strength is combined with mine”, as opposed to “if my strength is combined with yours”? no idea if the admittedly-so-small-as-to-be-almost-inconsequential distinction between those two sentences exists in the original Japanese or not, but I find it very interesting that the English wording implies that he’s the one adding Tomura’s strength to his own, rather than vice versa.)

now he’s insulting Deku!!

excuse me sir WHO ASKED YOU anyway. and never mind that being consumed by an, AND I QUOTE, “unquenchable” rage is your protege’s whole THING, and that he also needed your help to avoid being burned to a crisp a short while ago. where do you get off I swear

(ETA: also just want to point out that in the panel before this one he says that he’s been “watching through Tomura”, which pretty much confirms that his consciousness or whatever is alive inside of him all the time. Tomura is definitely not getting rid of this guy any time soon.)

WOW

first he calls Kacchan useless, then he calls Deku a simpleton, and don’t even get me started with Nana. just, you guys. this man is just... a very, very rude man

NOW OFA IS ALL “THAT’S EXACTLY WHAT MAKES HIM SUCH A GOOD PROTAGNIST YOU BUTTMUNCH” AND OMG PREACH

“DESPITE HIS COMMON SENSE” sdfkllk my man he already has one brother roasting him, take it easy guy

AHH WHAT

IS THIS BACK IN THE REAL WORLD

YEP

hahaha nice try Tomura

so Deku’s all “I didn’t lose my power! BUT” and I assume the “but” is the part where his arms are still broken and shit, and meanwhile Tomura’s body is almost healed up now finally

they’re both wiped out and now AFO is again petitioning Tomura to let him take over goddammit

“you won’t lose your mind” yep, he sure won’t! scout’s honor!! pinky swear!!

meanwhile Deku is getting fucking desperate flkjl;k my baby. and Machia is going to show up any second now too, probably. what else can fucking go wrong at this point

oh shit I shouldn’t have asked

get ready to rrrrrrrrrrrrrrrrruuuumble, probably

OH MY GOD

WELL AT LEAST SOMEONE HERE IS HAVING A GOOD TIME. jesus

so as soon as he heard Endeavor was there he got all, “TIME FOR THE BIG REVEAL”, is that right? WELL JOKE’S ON YOU TOUYA, YOUR DAD DOESN’T SEEM ALL THAT CONSCIOUS AT THE MOMENT, SO THAT’S GOING TO DRAIN A LOT OF THE TENSION FROM THE SCENE WHEN YOU GO ALL REVERSE DARTH VADER ON HIM AND HE’S ALL “ZZZZZZZZ”

meanwhile Toga is having unsettlingly quiet angst

jesus christ Toga this is all we need right now

“WAS JIN-KUN NOT A PERSON” sdkfjlk Horikoshi I swear. please have mercy on this fandom. this is the debate that refuses to die!!

but seriously ffs, the issue isn’t that Jin deserved to die, it’s that the countless people whom Jin would have either directly or indirectly killed didn’t deserve to die either. people don’t only become people when you attach names and faces to them! we all loved Jin because we’d gotten to know him, but that doesn’t mean his life was inherently worth more than the lives of all the people he would have killed. sometimes there’s just no good answer

like, it’s just crazy to me that because the heroes are all “we want to protect everyone!” but then aren’t always able to do so because that’s literally impossible, whereas the villains are all “we don’t care about anyone other than the select few people that we actually like!”, the villains somehow wind up getting the better PR. it just so happens that it’s infinitely easier to be loyal to the interests of a few people as opposed to ALL THE PEOPLE. like, no shit, it’s easier to stick to your moral code when you barely have a moral code. and so the villains can kill thousands and no one bats an eye, but if a hero fails to save even one person they’re hypocritical moral failures. like what the hell

BUT ANYWAY, sorry to go off on a tangent there lol, it’s not really a big deal. I’m just preemptively trying to stave off more discourse about it lol but who am I even kidding

anyways lol, but of course they won’t kill you unless they have no choice, Toga. but when it comes to catch-22 situations, it’s a bit much to infer that the heroes don’t consider the villains people just because they opt for the choice that spares more innocent lives. I sure as hell don’t want my babies out here killing people, but to say that they can’t no matter what or else they’re no different from the villains is just...

anyway so the chapter has now just ENDED, just like that!! on a shot of Ochako’s face!

I SENSE ANOTHER THROWDOWN COMING. and it had better not be a total letdown like the last one! NANA BARELY DID ANYTHING HORIKOSHI, WHAT THE FUCK. I started out with such high hopes lol

but I will settle for Toga VS Ochako, and Deku VS Tomura: The Sequel: Shouto’s Revenge! SPEAKING OF HEROES WHO HAVE NO QUALMS ABOUT MURDERING PEOPLE lmao

[darkficsyouneveraskedfor]

She [1]

Warnings: non-consent sex (series)

This is dark! Steve and explicit. 18+ only.

Series Synopsis: Steve Rogers’ life is turned upside down by a reporter.

Chapter Summary: You meet Steve Rogers for an interview but he’s not what you expected.

Note: I’ve been trying to chill the last five days but I obviously got some writing in. It has resulted in this impromptu series and I hope you all like it. It’s looking like it will be about 10 chapters when all is said is done but that being said, I am still working on it.

Thanks to everyone for their patience and feedback. :)

I really hope you enjoy. 💋

<3 Let me know what you think with a like or reblog or reply or an ask! Love ya!

Reader

Your left ankle bent as you leaned heavily on your heel. You stood before the thick walnut door, a round frosted window on its face. The townhouse stuck out on the old Brooklyn row and all knew its resident. It surprised many that he remained in the borough and he was cherished all the more for it. He was the golden boy of New York.

Well, that’s what people like to believe. You weren’t there to paint another flowery picture of the saviour. You were there to speak with the real man behind the plan. There was a story behind Steve Rogers that had yet to be told and when you were selected to tell it, you knew you had to do it right. The task was both daunting and humbling. It could be your big break.

You knocked and adjusted the bag that hung from your shoulder. You didn’t miss the group of kids at the end of the block gathered around for a glimpse of their hero. The door opened and you were greeted by the man himself. He smiled at you as his hand rested on the curled door handle.

“Hi,” He greeted you. “Thanks for coming. It saves me a lot of trouble.”

“Not at all,” You shook his hand. 

You’d spoken to him briefly over the phone and negotiated the time and place for your interview. You agreed that him coming to the office would cause too much of a flurry. You were sure he was over that.

“Come in,” He stepped back and waved you through.

He closed the door as you looked around the entryway. A thick banister with the same dark wood as the walls led up to the second level and a finely carved archway peeked through to the next room. It was cozy and a lot quainter than you expected. The exposed brick above the panelling lent it a warmth.

“Shoes?” You stopped by the mat.

“Your call,” He said. “Can I offer you something to drink?”

“Thank you, Mr. Rogers, but I’m fine,” You assured him as you stepped out of your heels. You’d hate to scuff the hardwood. “I’m sure you're just as impatient as me to begin.”

“Steve. And yeah, I suppose. I don’t really do much more than pressers and usually, I don’t do much talking.” He confessed. “Just through here,” He pointed to the front room. 

You nodded and stepped through. He directed you to the pair of armchairs before the artificial fireplace and you set your bag down as you sat. He lowered himself across from you as you reached into your bag and pulled out your phone and notebook. You swiped up and flicked your finger across the screen.

“Do you mind if I record you? It helps with editing and of course, accuracy,” You said.

He scratched his jaw and shrugged. “I don’t mind.”

“Great,” You hit the red dot and set the phone down on the small table with the mic facing him. 

🖋️

You were a bit surprised by how it had all unfolded, but, you supposed, you were right when you said no one was ever exactly what they seemed. Steve was nice enough as he showed you the door but you could see the agitated impatience behind his eyes. You should’ve eased him into it more. Timing was everything.

Even so, you had promised your editor a story and if you didn’t deliver after being chosen for such a coveted one, well, you would never see its likes again.

So you sat at your desk in your small but comfortable city apartment. It was nothing compared to the star-spangled hero’s walk-up but it was home. If you could work the interview the right way, it might mean an upgrade, or at least a television that didn’t flicker.

You hit play on your phone for the third time that night. Steve Rogers’ voice was etched into your brain. And that tension in his forehead, the tic in his jaw. A thinly veiled wrath unexpected of the valiant soldier-turned-saviour. You shivered and paused the recording. It was almost startling how quickly he’d turned on you, but you weren’t entirely innocent.

You stretched your fingers over the keyboard and sighed as you stared at your blinking cursor. You couldn’t just sit on this forever. You had a deadline and an extension was an impossibility, if not a death warrant for your career.

So you hit play and began to type, pausing to play back snippets as you went.

🖋️

‘It’s early afternoon in the heart of Brooklyn. Amidst the old brick buildings that line the cracked sidewalks is a townhouse unlike any other. The home of a man born there over a century ago. A living ghost that haunts the block. Most would say he is a friendly spirit.

Steve Rogers answers the door as a boy lets his baseball roll under a car and his friends lower their mitts to watch. A teen on a bike, a ring in his nose, even slows to admire the hometown hero as he smiles; a beacon of the borough. A glimmer of hope for all to think that the block is not the whole world.

He greets me like an old friend. “Hi.” The same smile seen in newsprint. He thanks me for coming and ushers me inside. This is the first time I’ve met him in person. I can’t lie; I’m intimidated. I’m just another person in debt to this great veteran.

His house isn’t what you would expect from a man as prestigious as him. No medals hanging on the wall, no vainglorious cut-outs of his image, or pictures of him shaking hands with men in suits. Only framed baseball cards along freshly laid wood-panels. It’s like any other house in Brooklyn, just newer. An ancient skeleton revived.

We sit in the front room, he offers me a drink. I’m not very thirsty. I’m more anxious to start talking. I can see he is too though his facade is hard to crack. He tells me to call him Steve as my recitations of ‘Mr. Rogers’ become almost pathetic. We begin.

Interviewer: “Great.” I hit ‘record’. “I’ll start by saying you have a nice place.”

Steve: “Thanks.” He seems to relax as he leans back in the chair which is nearly too narrow for his broad shoulders. “It took a while but I think it’s coming together.”

Interviewer: “Can’t take the boy out of Brooklyn, I guess.”

Steve: “Wouldn’t leave it for the world.” He smiles again, though he never truly looks less than amiable.

I: “Only to save it,”

S: “I do what I can.

I: “More than most; New York, Sekovia, the world. You’ve done it all. Do you ever just take a break?”

S: “I try. And sometimes I get a chance to just… be here.”

He looks around, proud of himself, of his home.

I: “Any hobbies?”

S: “You know, I used to love to draw. Nothing special, you know. But I found it calming. I actually bought a bunch of pencils and a pad but I never touched them. I’m sure they're just sitting up in my closet, neglected.” 

I listen intently, imagining this man bent over a notebook. It’s an absurd picture as my mind returns to the man in his cowl with shield in hand. The red, white, and blue bullseye is more suiting in my head than a pen.

I: “Anything else? Anything you actually do?”

S: “I like to run. Helps me get to know my neighbours, reconnect with my roots. I read… a little. I’m still not really into the whole internet thing but I try. I still get the newspaper just to read the strips and fill in the weekly crosswords.”

He confirms my suspicion. A man lost in time, but it seems he has found his place.

I: “A man for all times. And you work? I’m sure you get tired of talking about it but well, there’s been a lot of speculation about a possible retirement.”

He ‘s silent as he looks away and fidgets in his chair. He becomes the rehearsed hero at his podium. 

S: “I’d hate to fan that fire but I think it’s only natural to consider it.” 

I: “Thinking of settling down?”

S: “It’s always a thought but I’m not stupid. It’s not that simple. I’m not the type of man that gets to settle down.”

This remark might break the heart of every woman in Brooklyn and beyond but it seems to hurt him more. A grim truth for a man who many would say has the world in his hands.

I: “And if you did hang up the shield, is there anything you want to do? Anywhere you want to go?” 

S: “I’d like to try fishing. I’ve heard it’s relaxing. I love the city but it’s nice to get away now and then.”

I: “Is there anything keeping you from retiring? Besides the obvious; we all know you’re a good man and a great hero. You’ve shown commitment to the city, the world, humanity.” 

He looks to the artificial fireplace and shrugs. He’s thinking; perhaps censoring his response.

I: “Co-workers? The world is well aware of what you did for your old friend. And it has proven to be a point of contention, even after the pardon.”

He clears his throat and he’s no longer smiling.

S: “Bucky is an old friend and a commendable soldier. He does his job well. I wouldn’t take anything back. He has more than earned his place.”

I: “So, if you retired, you believe that he would retain his place among the team?”

He’s frowning now. He adjusts his posture so that he seems even bigger than before. A formidable opponent, if not an overwhelming one. 

S: “He is not there because of me. He’s there because of himself. Because he is an asset to the world.”

His blue eyes are darker now. No longer the crystalline waves shining in the sun but those foreboding tides which crash together beneath the moonless sky. My ship has gone awry, carried by an errant wind.

I: “Well, I can’t help but point out that many wouldn’t agree. You put yourself and several of your associates on the line to save him. To bring him into your fold. To place a man who was once a national enemy beside you. I hate to say it but, frankly, even if he were pardoned on his own merit, I fail to imagine him being allowed the same access to confidential intelligence and tasked with the protection of civilian life.”

His hands are fists. I could put up a front and say I’m not nervous, but I am. I have done what I once thought impossible. I have angered Steve Rogers.

S: “He wasn’r Bucky, but he is now and he has been cleared. I’m sorry, but I thought you were here to talk about me.”

I: “Yes, I am, but the world is well aware of your friendship with Mr. Barnes and all its implications. It is hard to separate him from your life.”

S: “I agreed to talk about me.”

His tone is set in stone. I attempt to stay calm myself.

I: “We are talking about you, but we can move on. Now, even with its dissolution, there are still questions being asked about the Sokovia Accords and your opposition to it. While many can acknowledge the need for your team and their work, they can’t help but wonder at the lack of restraints placed upon it. There are regulations even for the FBI and CIA and other protective services. So why should you be exempt?”

He sniffs and stands up slowly. He retreats behind his chair and nears a table along the wall. He distracts himself with a signed baseball. I don’t have a chance to ask who scribbled along the stitches as he tosses it and finds his voice.

S: “I never disagreed with the sentiment of the Accords. As heroes, of course, we should have obligations. Our first and foremost being the protection of innocent lives. The hardest to uphold but we do it.”

He is ever the statesman but he isn’t finished and his voice gets low. Dangerous, even.

S: “At the same time, we put our own lives on the line and you come here and nag me about formalities? What is it you want? Paperwork? Reports on how I threw my shield to stop a bullet from striking an innocent bystander? How a piece of shrapnel nearly severed my tendon as I threw myself in front of a speeding vehicle?”

I: “With all due respect, I am only asking about transparency. People deserve to know more. They deserve the truth.”

S: “Is that what you’re looking for? The truth? You want to know what we don’t tell you and your readers?” 

He puts the baseball down and his hand is on his hip, disapproving. I suspect his lecture will continue. He nears the chair and grips the back of it as he narrows his eyes at me. I fear he might throw it in my direction though for now, I hope it should act as my own shield against him.

S: “About how I have to lie about how many men I lose to keep this world safe. Because I can’t scare the people. Because I have to keep on this mask of the brave hero.”

His eyes go to the ceiling. He takes a breath to calm himself. I can tell he wants to continue. That he is holding back something which has brewed within him for a very long time. It is a moment before he speaks again.

S: “We’re done here. That’s it. Turn your phone off and go.”

The interview is over. What happens next will remain off the record. I leave with a mouth full of bile. My childlike wonder has been extinguished. I came to seek out the man behind the shield and I have done just that, but he is not who I expected. 

I was ready for a humble man, a man like any of us; the same wants and desires. Still human despite his enhancements; despite his superhuman status. What I discovered was a man who’s exceptionality has nurtured a sense of entitlement. 

And we do owe him our lives, our gratitude, we owe him the world. Yet I cannot dismiss the sense that he might regret his good deeds. That to him, it has become a thankless chore. That we are the needy children and he has been burdened with our cries for help.

So we should not be surprised or upset upon his retirement, not if, but when it comes. And we cannot fault him for his departure. It has been a long-time coming.’

🖋️

You took a breath and sat back in your chair. You rubbed your cheeks as the recording began to repeat itself. You stopped it and checked the time. You’d spend your morning editing and hope you would be ready for submission by the evening.

As you hit save, you felt an odd tremor deep inside. This could be it. Your big story. Or you could be tired and entirely up your own ass. You only hoped it was the former.

🖋️

You sat across from Poppy as she read your article through the glasses which sat low on her long nose. She was just past forty and wouldn’t look it if she didn’t wear the ridiculous half-circle spectacles. She wore a shade of red which paid homage to her name and her lipstick was just as bold. Her long lashes flicked up as she lowered the pages and her blonde hair fell behind her shoulder.

“Well…” She said carefully. “It is…interesting.”

You swallowed nervously as you teetered on the edge of the acrylic seat. Her long manicured nails played with the corner of the article.

“I had initially planned to have this in the back pages. No one really cares about the Avengers anymore.” She said. “But this is… I will discuss it with our marketing team but I know a feature when I see it.”

“A feature?” Your lips parted and you sat back as you gripped the thin arms of the chair.

“Oh, yes,” She said. “Another celebrity break-up is not exactly scandalous and to be frank, I do tire of that ridiculous narrative. But this… you will be hearing from me soon.”

“Uh,” You stood awkwardly at what you were sure was a dismissal. “Thank you.”

“For what? Doing my job? Should I thank you for doing yours?” She countered.

“N-no,” You stuttered.

“Go on then. I’m certain you have other work to do.” She tapped her long nails. “You certainly will once this is ready to print.”

You nodded and left her. She was already on her phone before the door closer behind you and you looked around the blindly bright office. It would be your first feature and it was the first article which had earned you more than a passive grumble from the woman. Perhaps you hadn’t been so foolish to think you had actually done something well.

[bokunoheroanalysisforthefuture]

One Thought, Only Video Game. (That still hasn’t announced its early release date plox I just wanna play please :cry:)

I guess while I’m sulking I can continue the reread or something. 

[No. 15 - Vs.]

So we’re back at the yacht with the crew, the boat still being surrounded by villains who have yet to approach. Mineta is freaking out about Izuku’s plan from last chapter to fight the villains in the water, saying that Izuku’s contradicting himself after implying that the villains are strong enough to kill All Might. He then suggests their only hope is to hide until heroes show up to rescue them.

Honestly, I’ve seen a lot of Mineta hate in the fandom, and did participate in it more earlier on. But the more time I actually take a look at his character, the more I realize that he’s actually got some great potential as the straight man / reality ensues to the rest of the cast who play to their shounen setting more faithfully. If you just cut out most of the perversion and worked in more scenes of him commenting on the shounen setting in a semi-meta function (like not outright referencing comics or anything, just the ‘this is crazy!’ from a IRL view on shounen shenanigans), he could have been a lot of fun, maybe even played off of Aoyama or sommat. 

Alas, that is not what we got. But maybe, in the course of this reread, I can pick apart the stuff about Mineta that could make the base for a good character, and maybe I can eventually use those pieces to make a new Mineta, a likeable Mineta. That’d be a crowning point in my career to be sure.

But yeah, like, Mineta kind of has a point here from a non-shounen POV - 'If these guys are strong enough to fight the top hero and possibly kill them, then maybe we shouldn't try fighting them ourselves when we're newbies and just try and keep away until actual trained heroes show up.' Like, their specific situation makes it impossible even without envoking shounen stuff, but, strictly speaking, he’s not wrong here. 

Anyways, Izuku sort of completely glosses over Mineta’s panic, instead turning his attention to the villains and remarking that all of said villains are suited to aquatic combat. Mineta complains about Izuku ignoring him, but Tsuyu catches on to Izuku’s point - the ringleaders must have recruited their team knowing about the USJ’s different environments. Izuku determines that their intel had told them that much, but with how careful all their planning had been, one odd point sticks out - they warped Tsuyu into the flood zone.

There’s a moment of silence between the three before Tsuyu tells Izuku to take his time, and Mineta just demands Izuku’s point. Izuku exhales and apologizes, then clarifies his point - the villains must not know about the class’ quirks! Tsuyu has a moment of surprise as the manga briefly flashes back to Tsuyu’s comment in the classroom about being at home in a flood. Tsuyu concedes his point - if they’d known about her frog powers, they’d have dumped her into the fire zone.

Izuku determines that because the villains didn’t know about their quirks, the strategy to handling them became ‘scatter and overwhelm them with numbers.’ Mineta’s shown sweating in fear as Izuku continues - the villains have the three beat in numbers and experience, so there’s only one way to win - exploit the lack of knowledge about their quirks. He then points out how the villains not trying to get on board supports his theory, while then thinking to himself how that also means that the villains aren’t underestimating them.

Now we get some fun quirk talk! And Mineta being Mineta. Sigh.

Tsuyu’s quirk is pretty versatile! She can jump high, stick to walls, stretch her tongue up to twenty meters (and wield it like a prehensile limb, as we’ve seen already). She can also ‘spit up her stomach to clean it’, which was something debated in the NWA server for a bit before we determined that it meant that she can just throw up on command, not that she actually expels her stomach like a starfish or sommat. Finally, she can secrete a poisonous fluid, though ‘poison’ is a stretch when it really just stings a little.

Mineta gets hung up on the ‘secrete’ part (why), while Tsuyu notes the last two aren’t that useful, so just forget about them. Izuku notes that she’s strong and that he underestimated her. Izuku then explains a bit about his own quirk - mostly just ‘super strength but after I use it it messes me up, basically a double edged sword.’ Which, simple, but to the point.

Mineta silently pulls off one of his hair orb thingies and sticks it to the wall of the yacht, then explains that the balls are really sticky, and that if he’s feeling good, it’ll last all day. New ones grow in where the old ones were on his head, but if he pulls too many, he starts bleeding. They bounce off of his own body without sticking to him.

(I will give him credit here, the wording for his explanation for his quirk is not skeevy as it’s made out to be in the dub. For all we know from this, it could just mean ‘in good health’ or ‘in a generally positive headspace / mood,’ not… other stuff.)

Anyways, after four panels of silence, Mineta freaks out and repeats his statement that they have to wait to be rescued, and that his quirk is terrible for fighting multiple opponents. Izuku tries to calm him down, saying that it’s a great quirk, they just have to think of how to make use of it. 

The yacht gets attacked by one of the villains, water slamming up the middle and basically ripping a massive hole through the middle. The villain states he’s getting bored and ‘let’s finish this thing’, his arms reforming / part of the water. Tsuyu notes the villain is strong, and managed to split the boat in two, all while the three of them try to hold on to each other and keep from sliding down the now angled deck they’re on.

Mineta, in tears, does a but of a battle cry and starts tossing his quirk balls into the water below, all three students and all the villains watching on silently as said balls sploosh in. Mineta freaks out some more as he turns to Izuku and points out how nothing seemed to be accomplished, while Izuku is stressed that Mineta’s panic gave away his quirk to the enemy. Izuku then realizes that no, the villains are on guard now, trying to splash the balls away without touching them. A plan sparks in Izuku’s mind. Down below, that shark villain notes that the kids only have a minute before the boat sinks and they’re all chum.

Again, Mineta proving to be a surprisingly apt straight man to the other two. Why aren’t those two scared? They were just middle school kids not all that long ago, why are they in a life or death situation so soon? (And then he ruins it with being a pervert. Sigh.)

At the same time, Tsuyu kind of has a point as well. They all came to UA to be heroes, and the fact that they signed up for it and got in by fighting robots kind of weights those who get in more towards the side of people who are likely to see trouble and jump in rather than those who run away. So Mineta being entirely cowardly and wanting to run and hide sort of… belies his purpose being in the hero course at all.

And then of course the second half of this page, just as good as the first:

Another moment of Pro Hero Deku, Symbol of Hope shining through early Izuku’s nerves and doubts. You can see the moment Mineta realizes Izuku is just as scared as he is, but is acting in spite of it. Which will in short order inspire Mineta for his part of the plan to make their escape.

Another small thing that I really find interesting from this is the choice of quote Izuku pulls from All Might’s documentary - ‘The moment when the enemy thinks they’ve won represents your best chance.’ This is something that actually comes up several times going forward in the manga - most notably, All Might’s fight with AFO at Kamino, wherein he fakes having nothing left in order to make AFO’s guard drop, then uses all his strength to take AFO out in one shot.

I think, though, that this interview came before All Might’s first fight with AFO, since I doubt he had much time or interest in them after his injury. And in turn, I think this might be a small hint to All Might’s first fight with AFO, even if not intentional - I wouldn’t be surprised if AFO thought All Might was defeated after that blow to his stomach, but All Might managed to surprise him and take him out while he was overconfident in his victory.

Am I reading too much into random little things again? Probably! But it’s fun.

We get a little bit of a view from the villain’s side of things, with one villain commenting on the ‘little one’ whining and how the kids ar a bunch of babies. The villain who took out the boat, who seems to be the leader of their group, I guess? Says Shigaraki said not to get careless - it’s not their age that matters, but their quirks… and clearly the villain’s quirks have the advantage in the water.

And then we get Izuku enacting the plan. What’s the plan, you ask?

Do what Kacchan would do, of course.

One of the villains scoffs and determines Izuku’s just a dumb kid, and that as soon as he lands, they’ll gut him. Izuku, meanwhile, is thinking about how no matter how big a smash he pulls, the villains have them surrounded, so he can’t hit them all. He also determines that even if they make it out of the flood zone, there’s more villains to worry about, so he can’t afford to sacrifice a whole arm. As he starts falling towards the water, he has his fingers prepped with power and ready to flick, frantically muttering to himself to keep the egg from exploding. 

Back on the deck of the ship, Tsuyu is poised to leap, Mineta tucked under her arm. Mineta is internally stressed over how he saw Izuku shaking, he knows Izuku’s as scared as he is, so how??? Meanwhile, Izuku calls out his attack - a Delaware Smash - and, well.

RIP to that glove. And the Flood Zone. And his finger. 

The villains are all blasted away with the water, while Izuku swears over his busted finger before calling out to Tsuyu and Mineta. Tsuyu leaps from the deck, grabbing Izuku around the waist with her tongue as she soars past. We get a rather graphic up close shot of Izuku’s finger, bloodied and bent backwards from where it should be. Very graphic, what the fuck.

Mineta’s reaction to the sight is shock, followed by him shouting again and throwing a ton of his quirk balls into the water, all while thinking about how Izuku is always doing the coolest things. Mineta just keeps tossing them in among the villains as he notes that that’s all he can do in comparison. 

The water starts to get sucked back into the middle by gravity and the vacuum from the blast, dragging the villains and the quirk balls, with the latter sticking to the former, and in turn sticking the villains to each other. The villains freak out that the balls are sticking to them and can’t be removed, and then in being stuck together in one massive blob. 

As the villains are all sucked into the middle, Izuku explains that by delivering a strong shock to the water’s surface, it spread,s and once it rushes back into the center…

Tsuyu’s one-liner count: like ten at this point, IDK I haven’t been counting. She’s just taking every chance she gets and running with it.

And I love Tsuyu’s little ‘good job’ to the other two for their parts in the plan. What a great little moment to end the chapter on. See y’all next time on ‘Shigaraki continues to traumatize school kids.’

[breanne-says-boo]

October 2020 NYCC - What We Do in The Shadows panel

We did learn a little bit more about the upcoming Season 3 in this panel! Things bolded are relevant to S3 (**potential spoilers ahead under the cut!**)

Video can be found here [ X ]

Kathryn VanArendonk (a critic for Vulture) was the moderator for the panel and was joined by Mark (Colin Robinson), Kayvan (Nandor), Harvey (Guillermo), Matt (Laszlo), Natasia (Nadja), as well as showwriter Stefani Robinson and producer/writer Paul Simms. Kathryn wrote this article about the show if you would like to read it.

Details below under the cut --->

Kathryn asked what each of their character would be doing in quarantine and how they would be handling COVID-19:

Kayvan: He immediately says there would be a strain between Nandor and Guillermo, especially with there being a lack of victims for him to eat. Nandor would make Guillermo order LOTS of delivery and eat the delivery workers.

Harvey: it would be very awkward in the house for Guillermo particularly after the events of the season 2 finale.

Paul: Guillermo would be the only one in the house to wear a mask because he’s really the only one who cares/pays attention. The vampires would be confused/irritated by it and ask him to take off his “stupid costume”

Natasia: The vamps would probably be like the people who wear the masks under their noses if they wear them at all. They might be sort of unsympathetic and say “Oh, here we go again” having lived through many pandemics. The vamps might take advantage of everyone being at home but Guillermo might be stressed having to worry which of their victims have COVID and touching the bodies to throw them out. Harvey adds on and imagines that maybe it’s revealed that one of the vampires in the house is responsible for a different pandemic like the Spanish Flu or something to that effect.

Mark: Colin is a no-masker (for the purpose of irritating others) and getting into arguments about his constitutional rights inside stores. He’d probably be pretty hungry since he mostly feeds at the office and his coworkers would have to work at home.

Matt: They’d probably have no idea because they don’t watch the news or pay attention to current events at all

Kathryn immediately then asks about the Nandermo relationship- she asks Harvey and Kayvan if their characters love each other and how that relationship is developing.

Harvey: he started playing Guillermo with this infatuation with Nandor and that there were “blurred lines” in how he sees Nandor. He then explains that it seems kind of curious to the audience why Guillermo would continue to serve Nandor and help the vamps they continue to treat him so badly, and in Harvey’s mind, Guillermo is just driven by love and driven by emotion. He’s just very human and wants to do the right thing. (Harvey then “steals” Kayvan’s question about if Nandor is in love with Guillermo and Kayvan goes into Nandor-mode and begins to chastise Guillermo for being rude. Nandor: “Do you see what I have to put up with?”)

Kayvan: Nandor needs Guillermo and is “wrestling with his feelings” towards Guillermo. It is “heading towards a dangerous” territory for him because he “can’t be falling again after all [his] marriages”...he’s excited to see what happens next, but things are pretty “rocky” for them as of where we left them off.

My thoughts: seems like this is indicating a role-reversal of sorts in season 3, with Guillermo falling out of his infatuation with Nandor and Nandor falling in love with Guillermo? 

Kathryn asks Matt about what it’s like doing the “musical” epsiode for Laszlo since he has legitimate music experience (Matt sort of laughs about her use of “legit” in regards to his music).

Matt says its essentially demo song work. It’s good fun doing short ideas for pitching these 30 second songs in the space with ‘Tasia (Natasia)

Natasia: says it was a dream to do the songs with Matt and “plant seeds” in the work space because of Matt’s musical background. She mentions that Mark had an improv moment where Colin goes on stage to join Nadja and Laszlo and begin singing/rapping. Mark says that Colin begins jokingly doing it but then we see him get more into the song and enjoying it.

Paul says that if we like the prospective idea of Colin singing, we should be excited because Colin gets a singing/song moment in season 3. Paul then says something along the lines of that he’s happy they get to do these sort of bits and that all the casts members go along with it because “We are all dedicated to being silly...and stupid in a clever way.”

Kathryn then asks the whole group what kind of scenes do they look forward to doing for their characters and which scenes they like to watch their co-stars taken on

Harvey: likes doing action stuff and getting the change to play almost like these two different personalities in Guillermo- his quieter side and his badass side! He has a fun time with all his cast mates doing scenes and watching them. He has a hard time doing some scenes with Kayvan because he makes Harvey laugh and takes him out of character.

Kayvan: he likes doing scenes with Karvey because of the “tenderness.” He also like the house meeting scenes because they spin out into something outrageous or hilarious that happens after the fact.

Natasia: she likes doing Talking Heads scenes (when the scene is just of their characters speaking to the audience and to each other like in an interview) with Matt. She also likes doing the Fancy Room scenes, scenes with other women, and scenes with Shaun/Sean the neighbor. She likes scenes where Nandor is “saying thick stuff” because of the contrast of Nandor being this fearless warrior but also really stupid. She likes scenes where Matt has to do stuff really fast or has to run because it makes her laugh.

Matt: likes doing “loose” scenes where they can do anything that they want to do with a scene. He also likes doing the Talking Heads scenes with Natasia and watching the stuntmen do stuff he’s supposed to be doing. Apparently Kayvan let out somehow that Matt is afraid of heights. Kayvan: “Did I?...you’re getting better though...”

Mark: likes opportunities to play off of what the others say. He likes watching scenes where “Matt deal with Kayvan” because Laszlo can’t stand fools even though [Nandor] is one of the biggest fools (he says Laszlo but I think he meant Nandor with the mention of Kayvan). Scenes where they belittle Guillermo and scenes with Natasia are also fun.

Then Paul said he had a special guest who could also answer this question and in popped Nadja doll into the chat in her own separate video box. They were teasing her for being “on mute” and had her answer yes/no questions by nodding her head.

Kathryn asks Stefani about debates in the writer’s room regarding vampire biology and life. She asks Stefani about what’s fun about bringing in new creatures to the show and developing the lore about the vampires.

Stefani: it’s fun but it’s also hard in the writer’s room making decisions about these sort of things. The ability to pick and choose parts of the lore, but there can be contradictions they have to deal with. She wants the lore and the aspects of their nature to come together and be grounded so that it’s fun but isn’t too ridiculous. She considers how these elements/creatures can be “show-pieces” for the characters to interact with and how they contribute to the story and how they are funny.

Stefani then notes that Jermaine was very anti-leprechaun but Paul said he tried to reason with him. They try to decide among themselves what “fits” within their world and what doesn’t but there really isn’t a specific reason for what they go with.

Paul says there will be 3-4 new kinds of creatures in season 3. But no aliens, he notes. 

Natasia asks if somehow Sesame Street/Muppets would exist within their world and could make a cameo (I’m guessing because of the Count connection?) Paul jokes and says “Stefani, I don’t know what you’re doing tomorrow...but if we can schedule another meeting we could spend 6 hours making this happen.” Natasia then says she would love to see Miss Piggy and Nadja have some great chats. Same with Kermit and Nandor. Matt says he thinks Guillermo should find R2D2 buried in the garden but none of their characters recognize it.

All of season 3 is currently written. Kathryn asks about anything else they can tease for us:

Paul says there is in fact a bit of dialogue (3/4 of a page) about Kermit the frog that Natasia “accidentally came upon” (I don’t know how serious he is about this).

The vampires will go on a roadtrip! They will be traveling someplace they don’t normally go to, and the issue of having to bring soil from their homeland will be brought up

There is a birthday! It’s a big important birthday...for Colin! (maybe Colin’s song moment is him singing Happy Birthday?)

Nandor is looking for love and decides that it is time for him to find a partner

Some characters will be coming back, including Shaun/Sean the neighbor who will appear in two episodes

[shuahoonie]

you. [tom holland] - six.

PAIRING: tom holland x female!celebrity!reader

SUMMARY: ah, to be young and in love. it sounds great if only you and tom were actually dating out of pure love and not for the sheer reputation of your careers. it also should be great if you two actually got along, but life isn’t that easy.

WARNINGS: mostly swearing! mentions of alcohol! a bit of fluff, a bit of angst. it’s haters to lovers / fake dating au so take that information as you wish! 

WORD COUNT: 2735

SONG INSPO: can’t take my eyes off you - emilie mover 

A/N: hiya babes, again, sorry if this chapter is posted very late. i have absolutely no excuses this time, it’s just me really. times are tough and if i’m being honest, i’ve had a rough couple of weeks. my academics really hit me in the worst possible way and i’m really am sorry if i wasn’t able to uphold my promises to post over the break. 🥺 also, beware of my plot timeline! i had a rough plan that i wanted this to take place during pre-ffh days! anyway, enjoy chapter six and happy reading! x 

UPDATES EVERY SATURDAY 11 PM CST WHENEVER I CAN  [I’M TRYING TO POST EVERY SATURDAY, I REALLY AM]

gif credits: @parkerpunology

vanessa’s masterlist | preview | one | two | three | four | five | seven | eight | eight.5 [interview excerpt] 

Two months. You and Tom were already dating for two months. The last two months were a whirlwind for both of you, more so for you. Once the news broke out that you and Tom were dating, it was expected that people would lose their minds over it. 

However, like how news typically withholds its relevance these days, it died down a week after. You both actually didn’t mind it since it put you two at ease. You and Tom see each other for thrice a week, dropping a few nuggets that you two are together. 

Some days, Tom would drop by at your filming location. 

“Y/N,” Steven, a stunt coordinator, sang your name with a teasing look painted on his face. “Guess who’s here.” He was helping you with your scene, making sure that you were safe as you did your stunts.

“Please tell me it’s Charlotte with my phone,” You moaned as you fixed your shirt as Steven began unbuckling your harness. You were standing on top of a high platform and had just finished doing your stunt for the show, the Alchemist. 

“Honey, do you think I’d be this excited if it was your assistant with your phone?” Steven rolled his eyes. “It’s your loverboy,” He teased, pointing to a figure. 

Based on the state of altitude you were in, you could practically see everybody. You can see some of the crew were busy with fixing the set for the following scene. You could see the producer busy speaking to whoever’s on the other side of the phone. You could also see your ‘loverboy’ talking to the director. 

Tom was standing next to Alissa, the director, as they talked animatedly. He was wearing a grey shirt that hugged his body like a second skin and a pair of black joggers. He looked very casual, but as much as you hated to admit it, he still looked good. 

Catching your gaze, Tom gave you a smile and a wave. 

You were still getting used to the idea that you were seeing him, so you turned your head as fast as you could. It’s as if your crush caught you staring at him in middle school. 

Steven let out a small giggle, “You guys are so cute. You two are like grade-schoolers.” 

“Oh, shush.” You said as you felt your face burn, embarrassed that Steven caught what just happened. 

“Shush yourself, hon,” Steven laughed “It seems like Tom found it absolutely adorable.” 

You turned your head back to look at Tom and there with his arms crossed, he was laughing softly. He had his complete attention on you. 

You signalled him to give you a minute as you descend from the platform to greet your ‘boyfriend’. 

Seeing that you both were actors, you had to use your skill sometimes.

“Tommy,” You’ve grown to love that nickname for Tom, knowing that he absolutely despised it. “What are you doing here?” You asked, your tone sickeningly sweet, as you greeted him with a hug. 

For a moment, his eyes flickered upon hearing the nickname you just called him. “Came here to surprise you, princess.” He said with a smirk as he squeezed you in a hug. He knew you hated that nickname too. It was obvious that you two were playing the same game. 

“Oh, but you didn’t have to, Tommy,” You said with a huge smile, the words practically gritting in between your teeth.

“I know,” He replied. What he did next caught you off-guard being that you two never really displayed that amount of PDA out in the open. “However, I do miss my girlfriend and I wanted to surprise her.” He said before he held the side of your face and placed a soft kiss on your cheek. 

Boy, you were surprised alright. 

Some days, you would drop by at Tom’s filming locations. 

Tom had just finished his scene with Jake Gyllenhaal. You decided to visit your ‘boyfriend’ at his set for Far From Home. As soon as the director yelled cut, Tom caught your eye and gave you a wave.

“Are you getting bored, babe?” You turned to the figure who just asked you the question and saw Zendaya wearing her MJ clothes. You’ve grown a huge liking towards Tom’s castmates ever since Tom introduced you to them, especially Zendaya since she’s been nothing but nice to you. 

You gave Zendaya a small smile and shook your head no. You’ve sat and watched them shoot for a little over two hours now, and it was only reasonable that he’d ask how you were doing. 

“You know, you two are absolutely adorable.” She commented as she gave you a playful nudge, sitting next to you. 

“We’re absolutely not,” You chuckled, feeling shy.

“It’s true,” Zendaya laughed “Tom seems like he’s at his happiest whenever he’s with you.” 

As if on cue, Tom started jogging his way towards you and Zendaya with a huge smile on his face. 

“Hi, princess,” Tom engulfed you with a huge hug. “Are you still good? What are you two laughing at?” He asked in the middle of the hug. 

The intimacy you two had to show in public was still something you had to work on-not so much for Tom though. You weren’t used to displaying affection even when you used to date your ex.

“Oh, we’re just laughing at you.” You said nonchalantly, a teasing smile hanging off your lips. 

“Me? Why me?” 

“Because you’ve got it bad for Y/N,” Zendaya answered cheekily, “You’re happier around your girlfriend, Tom.” 

“Yeah, that’s true.” Tom acknowledged making you roll your eyes playfully. “I am at my best whenever I’m around Y/N.” He said as cupped the sides of your face and planted a small kiss on the top of your nose.

You begged to differ. Tom had to act like he’s at his happiest whenever he’s around you. 

“Liv, I look ridiculous. I don’t even have the boobs for this.” You said as you finished putting on the bridesmaid dress and examined your chest, as the dress sported a deep v-neck. You and Veronica were standing in front of a mirror, wearing a floor-length burgundy chiffon dress. 

“Shut up, Y/N,” Veronica said as she fixed the delicately pinned flowers on your hair. “You look great, I think Tom might actually fall in love with you.” Ronnie teased. 

“Fuck off, Ronnie.” You mumbled. “I can’t believe you actually let me invite him, Liv.” You told Olivia, who was busy getting into her wedding dress. 

“Uh, of course. He’s your boyfriend, ‘ya doof.” Olivia, who was putting on her dress behind the dressing panel, said as if it was the most obvious thing in the world. “Also can you two help me with my dress? I need someone to zip me up.” Liv went out wearing a gorgeous wedding dress. It was an off-shoulder sweetheart cut white dress with touches of lace and glimmer. 

“Oh, you look gorgeous, Liv.” Veronica sighed as she stared at Olivia with tears brimming her eyes. “I still can’t believe you’re getting married this soon, girl.” 

“I know,” Olivia agreed, fixing her hair, “but I just love him you know? He makes me a better person. I’ve never felt love like this before.” She said while trying to fight off the tears that were forming on her eyes. 

You and Veronica rushed in to give Olivia a huge hug, tears were close to shedding and all of you didn’t want to sit in the makeup chair again. 

You were so sure that Olivia was rushing to get married, that maybe she wasn’t thinking things through. However, as you saw your best friend be at the happiest she’s ever been, you figured that getting married was probably the most adamant decision Olivia has ever made. 

At 24, Olivia found herself in the arms of the person she’s bound to spend her whole life with. 

“I gotta walk down that aisle before I ruin my makeup completely,” Olivia said half-jokingly, fanning herself. 

And so she did. Olivia managed to walk down the aisle without completely crying her makeup off, Josh, however, lost it. He was fully sobbing as soon as he saw Olivia walk. 

You couldn’t help but smile at the sight of the two of them, you saw two people so full of love that the only way to express it was to cry. 

As the ceremony proceeded on, your thoughts were somewhere else. You’ve always wondered if ever you’ll find someone who’ll make you feel the same way as them, that tears would start falling because you were so in love.

However, that would have to wait as you were currently tied with the person you were sure you weren’t going to be in love with. Your gaze automatically went to Tom, who was coincidentally staring at you. You turned your attention back to the couple who were getting married in front of you, your cheeks burning. 

Your mind was about to come up with different possible reasons as to why Tom was staring at you, but you had to stop yourself. You don’t need that in your life. 

“You okay, Y/N?” Ronnie asked as she took a sip of her champagne. You nodded your head and finished your third glass of champagne. “Are you sure? Because I’ve known you long enough to know that you start to drink heavily when something’s bugging you.” 

The reception was over and the newly-wed couple has had their first dance as husband and wife. People were now just letting themselves loose on the dancefloor. 

“I’m fine, Ronnie,” You assured her as you called the waiter to give you another glass. “Don’t mind me, you know how weddings make me feel.” 

“Yes, which is why I’m terrified.” Veronica murmured. 

“Don’t be silly, Ronnie. I can handle myself really.” You said as you scanned the crowd. You saw Tom talking to a couple of girls, seeming like he was desperate to get out of the conversation as soon as possible. 

Soon enough, he caught you staring and it seemed like he was relieved to see you. Not long after, he was practically running to you. 

“Looks like prince charming is coming to get you,” Veronica chuckled as she grabbed her purse and drink from the table. “I’ll see you later, babe. Text me if you’re leaving.” 

“Where are you going and why are you leaving me?” You practically whined. Veronica wasn’t surprised, you were whiny after three drinks. 

“I have to go and meet Josh’s parents, they wanted to see me after mentioning that I was looking for a place that I could do my internship,” Ronnie explained “Besides, it looks like you’re going to be taken care of. If you aren’t, call me ASAP.” 

You huffed and dismissed your friend. As soon as Veronica left, Tom arrived at your table. 

“Oh, thank god I saw you Y/N. It was brutal out there, some people just can’t get a hint-”

“Why are you here?” You asked as soon as Tom sat down next to you. Tom was caught off-guard by your hostility. 

“I-uh, what?” Tom wasn’t really sure what’s happening, sure enough, what he did wrong to have you act this way. This wouldn’t be much of a surprise if he knew that he pressed your buttons way too many times, however, that wasn’t the case. 

“Aren’t you busy talking to those girls over there?” You asked, now grateful for the newly filled glass of champagne that was just handed to you. The waiter was about to give Tom too but he kindly refused. 

“Actually, I was desperate to leave the conversation. It was getting annoying and they kept insisting that I’m just dating you for clout.” Tom explained as he massaged his temples. 

“They weren’t lying.” You mumbled before taking a sip from your glass. “You looked like you were having fun though-which I didn’t mind, by the way.” 

“Y/N-”

“Tom, you know you can just leave all of this, right? Like no one is forcing you to stay this long because you won’t get the short end of the stick. It’s me who's going to get most of the damage.” 

“That’s not true, Y/N. I’m just as affected as you will be.” Tom stressed. “Where is this all coming from?” He asked, getting frustrated. 

Much like Tom, you were getting frustrated too. Why are you being hostile around him? It’s not like he’s actually dating you, you have no reason to act this way. 

“Alcohol makes me see things more clearly,” You muttered. It was all that you could say. After all, nothing was making sense for you.  

“That’s what got us in trouble in the first place,” He claimed as he grabbed your glass and placed it far away from you. Tom stood up and offered his hand to you. “Come, let’s dance. It’ll clear your head.” 

“I don’t want to,” You moaned as you threw your head back. “I planned on drinking so if you’re not going to join me, then just leave.”

Tom shook his head no. “I got a note from Ronnie that I need to stop you after three drinks and apparently, you’re on your fourth so ‘nough is enough, princess.” 

“Even if I’m not going to drink, I’m still not dancing with you.” You said as you crossed your arms. 

“Wanna bet?” You just sat there and listened. You were interested as there was no way in hell he can make you dance. 

“That wasn’t fair, you practically set me up.” You grumbled as Tom happily led you to the dance floor. The jig was if you stood up, you’re automatically going to dance with Tom. 

Being the ‘sneaky little shit’ (Veronica’s choice of words) that Tom was, he secretly texted Ronnie and asked her if she could potentially lure you into assisting her to the washrooms. 

You were skeptical at first, but you eventually obliged. It was Ronnie’s choice of words that made you do it. “Y/N, I swear to god, I’m about to pee. If you don’t help me unzip my dress, I will physically hurt you.” 

Tom was now short of 50 bucks because of that favour. 

“Oh, c’mon, princess. You know that isn’t true.” Tom tried to keep a straight face but obviously failed as he was now grinning at your annoyed face. 

“This is ridiculous, you know that I’m a horrible dancer right?” You said as Tom put your arms around his neck and he placed his hands on your waist. 

“I think I’ll manage, princess.” He chuckled. 

“No, I’m not kidding. You will leave with a huge bruise on your foot-feet. I might step on both of your feet, there’s a huge possibility.”

Tom stared at you for a moment before saying, “I guess it’s a price I’m willing to pay.”

They were playing a slower version of “Can’t Take My Eyes Off You” and you groaned softly. “What’s wrong, princess?” 

“You’ll never let that pet name go, won’t you?” You asked, rolling your eyes. 

“No, I don’t think I will.” He answered cheekily. 

You two slow danced to the melody of the song and you couldn’t help it but say, “God, I love this song. Why did they have to play it?”

“I guess it was meant to be- Oh god, it’s them again,” Tom said as he saw the girls who were trying to steal his attention all night. 

You took a look at the girls and sure enough, they were watching the two of you and were whispering amongst themselves. You didn’t know who they were so you were assuming they were on Josh’s guests. 

You weren’t one to start fights however, you were extremely petty though. It’s a habit you’re trying to get rid of. “Hey, Tom?” 

He hummed in response. “Do you want to finally get them off your back?” You asked him. He stared at you for a moment before nodding. 

“I’m going to do something but promise me you’ll forget it as soon as it’s done.” You disclosed, not even knowing why you’re actually going to do it. 

“Okay...” You knew he was getting curious. “What-”

You grabbed the side of his face and kissed the corner of his lips. To say that both of you were surprised was an understatement. 

TAGLIST:

@thomasthetankson @autty0314 @marvelous-tswiftfan @averyfosterthoughts @theolwebshooter @jackiehollanderr @sltwins @herondalescecilys @notjustpenandpaper @ihopethatwemeetinanotherlife @gothicwidowsworld @heartofholland @stxfxniexreads​ @peruvian-bae​ @hollands-osterfield​ @thenoddingbunny-blog​ @galacticstxrdust​ @sweartomendes​ @itsjstz​

Can’t tag:

@sectusempried

[davidmann95]

Comics this week (3/10/2021)?

cheerfullynihilistic said: Comics this week (03/10/21)??

adudewholikescomicsandotherstuff said: This week’s comics?

Anonymous said: Comics?

Anonymous said: 3/10 NCBD?

Non-Stop Spider-Man #1: The lead story was fun, the backup was dopey, I’ll give it another issue or two to see where it goes.

The Immortal Hulk #44: While it was too late for this week I’ve taken Hulk off my pull list, so the store won’t order any copies specifically for me and therefore my future purchase of the book won’t support Joe Bennett’s presence, just the store. This issue is typical of some of the books’ weaker installments of the last year or so - feels like well-done regular superhero comics instead of Immortal Hulk - but those last couple pages bring it back around.

Daredevil #28: Holy cow, those King In Black issues actually mattered. God this book is still so fuckin’ good in so many ways, everything every dumbass street-level superhero ‘deconstruction’ wants to be when it grows up.

Children of the Atom #1: Sucks real bad! This weird combo of ‘hip new young Marvel heroes!’ trappings and soulless X-Men lifer comics execution that feels certain to appeal to neither group.

Eternals #3: Of the listed Deviants I imagine I’d relate most to Annoyed Veug.

Commanders in Crisis #6: While I remain without the ability to weigh in on this objectively, this is the issue that to date most feels like it lives up to the promises of the series premiere.

The Wrong Earth: Night & Day #3: Little disappointed personally with the reveal of what the third world is - I assumed it was going to be more of a straight take ‘modern’ version to the other two’s flavors of throwbacks - but this series still rules. And that ending.

Home Sick Pilots #4: Okay, I think I can follow what’s happening at this point, still enjoying it.

Proctor Valley Road #1: I review these books in the order I present them to my dad since he likes DC/Marvel/Other to each be lumped together, but make no mistake: this is the last of the three Morrison books to read this week, because this is what comes next for them. A return to their roots - 70s kids way into music and dealing with the weird, girls adventure stories of the kind they apparently grew up reading - this feels like a refinement of their mid/late-00s Vertigo work in the same way they’ve been iterating on their superhero material for decades. The horror is sold excellently, whether by their own efforts or thanks to cowriter Alex Child this is their most fluid, ‘real’-sounding dialogue perhaps ever, and Franquiz with Bonvillain are instantly among their all-time best collaborators, perfectly capturing the shifting tone and character acting necessary to best put Morrison’s big ideas over in a way a number of their collaborators haven’t lived up to over the years (and speaking of the visuals, Jim Campbell does the lord’s work with that lettering trick near the end). Ritesh Babu and Sean Dillon have a lot more to say about the book and how it already acts as a darker, more honest take on your Stranger Things and the like as a commentary on its times, but I’m already loving to see this particular return down to Earth for Morrison and company and I’m glad to hear this is selling really well compared to their previous indie work.

Dead Dog’s Bite #1: This actually came out last week, but Ritesh recommended it so I figured it might be worth a look. A so far intensely low-key missing persons mystery with a touch of surreality around its edges, this already looks to be the best “look! A nine-panel grid! Fancy!” comic since Mister Miracle, really lived-in and emotional for as little happens in this debut. Very curious where it’s going.

Rorschach #6: I continue to like it.

Batman: Urban Legends #1: Glory be, a good Jason Todd comic - at last, you noble stubborn weirdoes living off of like six nonconsecutive panels all these years, you may lay down your burden. Not all you’d necessarily hope from Zdarsky tackling Gotham after what he’s been doing with Daredevil but rock-solid work regardless; the Harley story is fine, Outsiders is a letdown after Thomas’s shockingly good showing for them in Future State but it’s still fine, and the Grifter stuff is fun.

The Joker #1: I thought the advertised ‘a Joker story from Gordon’s POV’ angle was an interesting one even if I was concerned this book would in practice be pure editorial mandate, but in reality? Tynion has managed to pull the wool over DC’s eyes and do a full-on Jim Gordon book (one predicated with him being off the force to make it reasonably comfortable read in 2021) with Joker as the barest of pretexts to get it out the door and selling for as long as he wants to continue it. He even said in interviews that when the book was first pitched to him that his response was that a Joker solo book was a dumb unworkable idea until he had an idea for a ‘different way to approach it’, he knows exactly what he’s doing and I salute him. And it’s a darn good Gordon book even if the Punchline backup is predictably tepid, I’m in the tank for Gotham’s perpetual whipping boy dealing with weird noir international crime with Joker sort of hanging around in the background menacingly to justify the nominal premise.

Anonymous said: Hey, so I figure one random anon won’t change your mind, but like you I was disappointed by New Frontier’s immortal Wonder Woman, but I still got the new issue of Wonder Woman cause Wonder Woman at Valhalla still sounds great and I actually liked it! I think I’m gonna get at least the next issue, so there’s at least one recommendation for it

Wonder Woman #770: This combined with the store still putting it in my pile prompted me to give it a try after all, and whether because something here clicks better or if they’re simply not trying so hard without the pressure of doing a ‘final’ story for Diana, Cloonan and Conrad do in fact do substantially better on the main book than they did with Immortal Wonder Woman. Some fun, some fights, some mythology and intrigue, gorgeous landscapes and generous servings of beefcake from Travis Moore - this isn’t going to be sweeping the Eisners, but this is as enjoyable as a Wonder Woman comic has been in a good long time. My only concern is that the joyousness on display here might dissipate somewhat once Diana fully returns to herself, but in the meantime this was a very pleasant surprise (especially with the the Young Diana backup by Bellaire, Ganucheau, Goode, and Carey).

Superman #29: PKJ’s Superman thus far has been a story of overcoming initial worries of mine - in this case, my concern that he’d have a bad Scott Snyder-ey case of “if you’ve read the interviews you’ve pretty much already heard the dialogue of the comic verbatim”. In practice here most of what he’s had to say about these issues are distilled down really succinctly and poignantly in the midst of a fun little upper-atmosphere adventure portending something grimmer, and while I know it didn’t click with everyone I thought Phil Hester’s work here was a perfect accompaniment. The Tales of Metropolis backup wasn’t nearly as enjoyable, but hints at some interesting worldbuilding I’m hopeful will pay off in the main run.

The Green Lantern Season Two #12: The final Grant Morrison DC comic. One of two anyway, but if the next story I discuss is their broader final (non-Klaus, hopefully) statement on the superhero subgenre and a bridge to what they’re doing next, this is the one that’s about being The Final Grant Morrison DC Comic. A mélange of pretty much all their other DC finales into a shamelessly self-reflective meditation on the limits of what they can accomplish in shared universe storytelling where Green Lantern saves the universe through collective action and then fucks off to do his own thing elsewhere while the kids take over the ongoings. Weird and kinda perfect, and if nothing else this series took Liam Sharp from “really? This dude is drawing the last ever Morrison DC ongoing?” to “HOLY FUCKING SHIT LIAM SHARP”.

(The panel folks blew up over I think can be read multiple ways, but not in a ‘it’s open to interpretation!’ way so much as the storytelling/framing being unclear. I personally read it as ‘this is what neighbor versus neighbor looks like now’ rather than ‘calling someone a TERF or a Nazi is as bad as anything the other side does’, because oldster and out of touch though they may be I can’t see Morrison seriously saying that, especially after coming out.)

Wonder Woman Earth One Volume 3: At long last, after a hideous misfire kicking the series off and a second installment best described as ‘well, at least it wasn’t the first one’, this while not without elements I want to see femme and nonbinary critics discuss critically lives up to what you want to see out of ‘Grant Morrison’s Wonder Woman’. Big utopian fiction breaking the typical boundaries of superhero stories with aplomb in implicit conversation with a ton of their previous work, a bridge from what they’ve done to what they’re doing next, it’s an imperfect (especially with Paquette’s art, which while gorgeous and majestic in the way this story demands really doesn’t living up to the ‘acting’ necessary here in a way thrown into sharp contrast by Franquiz in PVR) but shockingly passionate statement of intent - if the last two volumes felt like Morrison struggling to have something to say with Wonder Woman in the same way they did with Superman and Batman, this feels at the close like them at last finding in her a way to do everything left with the cape and tights crowd they wanted to but couldn’t manage anywhere else under the Big Two umbrella. Odd and lovely, a fine sendoff.

[arecomicsevengood]

Seeds

Before I read it, I had this idea I could write a review of Ann Nocenti and David Aja’s The Seeds for the Comics Journal, but the book just sucked too much. It had basically nothing going for it, or even decipherable as an advancing plot. One thing wrong with it is there’s this sort of conspiracy element, or this “no one believes the news” anymore element of it, but Nocenti didn’t want it to be about “fake news.” Donald Trump has rewired the narrative, so now entire types of subject matter feed into this propaganda machine simply by being addressed. Nocenti’s best work does not shy from topicality, addressing the currents in the cultural air, but this time the modern world feels too hot to handle.

I ordered the Daredevil: Typhoid’s Kiss trade paperback, reprinting a bunch of Nocenti’s work with the Typhoid Mary character from the nineties. The longest story in there is a miniseries with art by John Van Fleet. It’s partly about post-Tarantino video-store employees turned filmmakers kidnapping Typhoid Mary to use her as the subject of a documentary about serial killers and violent media. It’s also about Typhoid Mary working as a private detective trying to track down a killer of prostitutes, who the police don’t care about, and are maybe the actual killers of themselves. Storywise, it’s a pretty cool attempt to address real-world issues of the day within a pulp context.

Van Fleet’s art is pretty boring and bad in a way that’s distinctly ahead of its time. While the miniseries itself probably wouldn’t exist without the precedent of Elektra: Assassin a decade before, (a spinoff about a female Daredevil villain created by the writer during their run on Daredevil where that character defined their run) all the photoreference that’s probably actually just photo backgrounds run through filters sets a precedent for the Alex Maleev/Matt Hollingsworth Daredevil stuff to come a decade later. And it’s frequently annoying on a page design/panel background level. Like in terms of how the panel borders sort of default to grid shapes so there ends up being things that “read” as panels but that don’t actually do anything for pacing. It’s just fitting the narrative into regimented design choices.

This maybe only happens the once. But the art is also just super-stiff throughout, with a very chunky line that eliminates any real nuance. There’s a bunch of characters, but a lot of them are indistinguishable from one another, and that’s because the linework is about as muddy as the color palette — It kinda seems like he’s working with models and photo reference but also doesn’t have that many models to work with so he’s having them play multiple roles, but also his work basically seems more like photoshop filters than actual drawing? There’s a bunch of stuff that I think sucks, basically. But you can also draw a direct line from what Van Fleet is doing in Typhoid to what Aja does in The Seeds. All these choices that are meant to be classy and dignifed, a move away from the excess of superhero comics. The covers of Typhoid are just portraits of the main character, interchangeable from one issue to the next, which was a move that again, was ahead of its time: This is what so many Marvel covers in the 2000s looked like, the Tim Bradstreet Punisher covers probably being the go-to example. It’s pretty dull but it’s nice they’re not super-sexualized.

While the choices arguably suit the subject matter in Typhoid, which is at least partly about movies, in The Seeds, the story doesn’t really make any sense because the visuals seem so steeped in unreality. The premise is that a tabloid has photographed an alien, proving aliens are real. There is really nothing within the context of the story that explains why the news outlet would have enough gravitas to be convincing and have this be an actual news story. And the book is drawn in Photoshop, which is itself a photo-editing software, so the “reality” of the book is defined by the very medium that people recognize as why images can’t be trusted. This contributes a level of irony that could maybe be worked with if the book itself wasn’t so ugly and dull. The whole thing looks like some Banksy bullshit. Outside of word balloons, text appears in the large all-caps typeface of image macros. I don’t have scans of The Seeds because I gave my copy away on account of there not being any reason to keep it around.

The book is beyond dated at the time of its release. Partly this is due to the speed the cultural conversation has been moving for the past five years.  It’s been a difficult time period to work on a work of fiction about the news, certainly, and not only has the comic been a long time in the making, the writer has also been away from making comics for decades now. If the authors had been able to make this as a serialized monthly comic, it might’ve stumbled into timeliness, or the predictive, but as it is, the reading experience feels like a bunch of different, disparate ideas that do not really cohere into a narrative. Leaving aside how the book seems to emerge from a general cultural gestalt of the the 1990s, when The X-Files and Weekly World News were objects of discussion, every major plot point or news story chosen for thematic resonance is approximately fifteen years old. I believe 2005 was when I started to hear about colony collapse disorder. This bee metaphor has been lapped by a Honey Nut Cheerios campaign at this point. (A few years back, boxes of cereal came with seeds of wildflowers you/children could plant.)

Darin Morgan’s episode of The X-Files revival “The Mengele Effect” ably addresses all the issues with how cynicism and conspiracy theories feel different now, all the issues that Nocenti seems terrified of and hopes the audience doesn’t think of when reading her humorless X-Files throwback comic. That episode’s great.  Much of The Seeds seems like it was better done in the decidedly not-great Transmetropolitian. There’s something so dated and sad about this comic’s idea of a cool journalist protagonist: People barely smoke cigarettes anymore! I know no one wants to draw people vaping, but the imagery this book wishes meant “cool, urban, woman” reads as nostalgic affectation in 2021. That so much of the commercial landscapes of our cities has been replaced by vape shops was one of the biggest clues we were already living in a dystopia three years ago.

Nocenti, when she was working regularly, got to be a pretty effective writer for having a monthly deadline wherein she could speak on the issues of the day as they were happening. In the absence of a regular gig, this rare chance to speak her mind gets hampered by how much there is to talk about, and how complicated it all is. If it’s too complicated to address in an ongoing superhero comic, a one-off graphic novel with vaguely commercial ambitions turns out to be a worse space for it. It’s so much sadder than anything in this dream-of-the-nineties comic that the authors were given the grace to make something only under the conditions that doom it to failure. Real people made this work of fiction, and I don’t know what the fuck they’re even talking about, and that’s a more complicated narrative than the journalists in this comic who… stumble upon a story and then need to take to back because it’s too important or something? I don’t understand what this comic is about. It’s clearly gesturing at being about a bunch of different things, but what they get from being in juxtaposition with one another, I don’t know.

In interviews in advance of the release of The Seeds, Nocenti talked about how this was the first time she got to make a comic that didn’t have to have fight scenes or conflict in it. But reading Typhoid it’s clear how conflict ties the story’s disparate threads together. But also while reading Typhoid I kept on thinking about how visually, the Steve Lightle shit that preceded it is so much cooler! Here he is, bifurcating a page so two narrative threads can be told with different approaches to stoytelling:

People sometimes talk about how crazy it is that Nocenti started her Daredevil run immediately following up the Miller/Mazzucchelli Born Again run with a fill-in drawn by Barry Windsor-Smith. But I don’t think anyone has pointed out that, since these Typhoid Mary team-up comics appeared in Marvel Comics Presents, she’s basically following up Barry Windsor-Smith’s Weapon X, and Steve Lightle is totally capable of doing that! Even if these comics are kinda whatever narratively, Nocenti comes up with dense enough narratives to give him shit to do. She’s a good writer within the context of the harsh strictures of early nineties mainstream comics. Which I know seems like a harsh diss! But being a writer that makes work that consistently gives a comics artist something interesting to do is a difficult job that many people are just not interested in doing for various reasons, so it should be recognized when it’s attempted and accomplished.

It’s also interesting that the whole visual approach where both Steve Lightle and Barry Windsor-Smith shine is dependent on flat color. The changes in storytelling made to accommodate the shifts in visual language in full-color mainstream comics didn’t really benefit anyone, and now needs to be outsmarted. In The Seeds, we’ve got this pretty dull reading experience that superficially in its two-color print job and nine-panel grid, looks like it might be influenced by Mazzucchelli’s work in Rubber Blanket and City Of Glass. And we’ve got a black and white Barry Windsor-Smith comic coming out from Fantagraphics in a few weeks that I really hope blows it out of the water.

[moiraxknight]

@knightsarmor

Moira sat back more comfortably, legs folded in lotus position, a coffee cup resting on her hands as she waited for the recording light to poop on the Zoom call. Her very first podcast interview. It still felt odd to her, Moira had done some interviews for art journals, spoke in art events for universities and illustrator panels on conventions, but this felt weirdly personal. Micah had been the one to convince her to do it, it could help people feel more connected to her work. She saw the pink haired girl on the screen silently count down from three on her fingers and nodded, adjusting her headphones and mic.

“Hello, hello, and welcome to episode fifty seven of So That’s Art.” Bianca greeted loudly and Moira held back a chuckle. “The podcast that exists to prove your parents that it is possible to be an artist and still retire on a beach in Europe”. She continued, bringing a smile to Moira’s face. 

Moira moved the laptop slightly to divert from the reflection of the windows behind her, not wanting to pull the curtains back completely. She was sitting on the kitchen desk now. Oliver was working in their office and she didn’t want to distract him with all the talking. 

“We have a very special guest today, my very favorite Instagram creator, illustrator, Skillshare instructor, artist, painter. The one and only Jewish icon, Moira Lieberman.” Bianca introduced her. 

Moira Lieberman-Knight, she thought, but didn’t correct the girl. “Hi, Bianca, thanks for having me here.” Moira greeted back, nodding her head politely before taking a sip from the coffee. Wolf came waltzing down the stairs and went straight to her lap, curling up in a hairless ball there. 

“Thank you for agreeing to be here, it’s a fucking honor.” The girl insisted, bringing another smile to Moira’s lips. “How are you today?”

“I’m perfectly fine today, thank you for asking! How are you?” Moira asked, cup halfway to her lips again. 

“I’m great, really excited to talk to you today, Life of Liebs is one of my favorite series ever.” She said. “Which I guess takes me right into my first question today, how did that come about for you? No, wait, my first question is: is Liebs actually you, one hundred percent you?” 

Moira was expecting that question because she knew most of the questions here weren’t going to actually be about her art and its details. “Well, she is and she isn’t.” Moira thought of a way to explain. “Life of Liebs came to me when someone in my life suggested that I drew some of the things that happened in my life, you know, growing up Jewish, being an artists and everything. And before it became a series, sometimes I would draw comic version of me and my best friends in college...”

“The Exhausted Four.” Bianca added and Moira nodded.

“Yeah, I’d make those comics to lighten up finals week and stuff, so I already had this hand for turning people into characters. Then I got this push and I started seeing how some situations I went through could be fun and relatable and that’s how Life of Liebs was born.” She grinned. “But all characters in there aren’t the exact people in my life, they are a comic version of them, some sort of alternative universe, Liebs included. When I draw a scene, that drawing was probably twenty percent of what was actually going on in real life.”

“That’s awesome.” Bianca seemed really mesmerized. “All the characters then are actual people? Based on those people, I mean.

“Yeah, I don’t usually create completely fictional characters, I like real stories and that’s one of the most beautiful parts of my job. Getting to recreate an artistic version of people’s lives.” Moira spoke with a proud grin on her lips, catching Oliver at the corner of her eye, coming into the kitchen to grab some coffee.  Staying as far as he could from the camera while wearing only a pair of grey sweats. 

“I think Naenae might be my favorite character.” Bianca added with a laugh.

“She is pretty amazing, yeah.” Moira couldn’t disagree, Naina was a gem.

“You know those comics brought a lot of followers to your friends, right? Why did you stop tagging them?” Bianca asked.

“Well, while my friends agreed to be a part of my work, some people were getting a little out of hand.” Moira said sincerely. “They have families and lives they wish to protect and I respect that so now I only tag people that I work with or clients that allow me to do so.” She added. 

“I get that, yeah.” Bianca nodded. “You still tag Mystery Boots man, though.” The girl added with a devious smile and Moira glanced at a smirking Oliver leaned against the counter, watching her while he drank his coffee.

“I do, yeah.” Moira said simply.

“Where did that come from, by the way? The whole mystery?” 

“I don’t know, I still don’t understand.” Moira admitted with a laugh, trying not to stare at him while she talked. “I posted a drawing of two people’s feet and I tagged him and I guess because his account has no pictures of him, people started freaking out. It was never supposed to be a mystery, just me keeping aspects of my life private. Eventually I just took the opportunity and got in the game so people would stop asking invasive questions.” She shrugged.

“So Knight’s actually a person, then? People think the faceless pictures you’ve posted were all staged to keep the mystery.” Bianca said and Moira laughed wholeheartedly.

“I love that people think I have that time and energy.” She shook her head. “No, he’s a real person, he exists.” Moira glanced at him and lifted her cup, mouthing for him to fill it up. Oliver came without showing up on camera and filled it up to her, taking her smile as a thank you and going back to the counter, sitting on it now. 

“Liebs and Knight are a couple on the comics, right?” The girl pushed and Moira snorted, nodding. She had never hid that, not even the fact that Oliver was real and in her life daily, she simply didn’t show his face or posted comics of them kissing, but she knew where the questions were going. “So what you put there is relatable couple moments? Your moments with him?”

“Twenty percent of the moment, yes.” She nodded. 

“Mystery boots man is based on your real life boyfriend then? For real?” Bianca insisted. 

Moira looked at him and Oliver nodded gently, a small smile hidden behind his cup. People had noticed her engagement ring first and then her wedding ring on the videos she did when she was drawing. But the comics hadn’t followed the perfect timeline of her life with Oliver, not with other series coming in between, other comics uploaded daily. Liebs and Knight were still getting earfuls from her grandma about living together before marriage. Moira and Oliver had come back from their honeymoon a month ago. 

“My husband, yes.” Moira looked back at the camera and laughed when she heard Bianca’s loud gasp.

“Is that him you keep looking at?” The girl asked and Moira just sipped from her coffee. “Okay, okay, you all heard it here first, Liebs and Knight are endgame.” She announced.

Moira laughed, shaking her head, glancing at Oliver as he rolled his eyes, a smile on his lips. 

“Do we get a wedding comic soon?” Bianca inquired.

The Knightman Chronicles did, a beautiful comic that hung on the wall above Oliver’ side of the office, Moira in a beautiful black and silver dress with a long tail, Oliver in the most beautiful medieval wedding attire, fit for a king. No uniform, no bear skin. Only one last medal on her veil and a bear claw on his lapel. But that was just for them, as it had always been. Oliver stared into her eyes from where he was and then smiled, sliding from the counter and leaving his cup in the sink. Come to me when you’re done, he mouthed to her and Moira licked her lips discreetly, nodding. She knew well what that look he gave her meant. 

“Twenty percent of it.” Moira smiled back at the camera, already thinking of how she could end that interview soon to go unveil the mysteries behind that Mysterious boots husband of hers. 

[makeste]

I just took that Bakugou introspection as Horikoshi's way of telling the audience that yes Bakugou can keep up with OP Deku because there has been so much muttering across the fanbase that Bakugou won't be able to. I don't see the melodrama of Bakugou only seeing his strength as a means to keep up with Deku or that his pride is problematic. I think him having an idea for his hero names means he knows what his strength is for. He's always been strong as a person (when Deku was not) (pt1)

Losing his quirk doesn't need to be the gateway to force him to develop the kindness and consideration he's already been showing, nor would it be karmatic balance between him and Deku- especially when any scenario that takes his quirk benches him from the story or cheapens the stakes by him getting it back relatively fast. Deku's 15 years of quirklessness can't be balanced. Additionally, Bakugou only lost in the story when he was too close minded to learn, once open minded he started to (pt2)

grow. It doesn't send out a good message, if after all that growth he still gets punished. His declaration of spirit to not lose, be it to Shigaraki or Deku is not a bad thing, he is the underdog with an indominable will and he is declaring his spirit as the symbol of victory. Bakugou may lose his quirk, I don't know, but your reasons I disagree with because we interpret those panels differently. They give the audience a point of reference to guage Bakugou's ability.

you make some excellent points, anon! and you see, it’s strange, because up until this chapter and his monologue, I was in full agreement with most of what you’re saying -- that he’s already figured out all of that hero biz, that he’s already in the process of sorting his shit out on his own, and that Horikoshi is simply waiting for the right moment to finally show it.

but after reading his internal dialogue in this chapter, I’m just not so sure anymore.

in the past I’ve done a lot of guesswork on Kacchan’s thought processes based on his subtle little actions and microexpressions, and on what we’ve already been told about his character thus far. I call it “guesswork”, though, because it very much is that, because we so rarely get an actual glimpse into his head to see what he is really thinking. so when Horikoshi actually does give us one of those rare glimpses, I’m inclined to pay very close attention, and prepared to make any necessary adjustments to my current understanding of his character if need be. he is very, very complicated, and despite my spending an absurd percentage of my free time analyzing him up and down and front to back, that absolutely doesn’t mean that any of those analyses are actually right, lols. I’m constantly updating my internal databank of Kacchan knowledge both from interactions with the rest of the fandom, and -- when Horikoshi actually deigns to give us some new information -- from the canon itself.

anyway! so when I read this chapter and saw Kacchan yet again comparing his progress to Deku’s in his head, and thinking -- even now, even in the moments right before an intense battle!! -- only about his rivalry and about keeping up, that immediately set me to updating my mental bakuwiki in regards to his current character growth status. so he definitely has his hero name picked out already, we know that much. and so presumably has thus already figured out what kind of hero he wants to be. right? right.

and yet he still apparently has not revealed the new name to anyone. even after three months. like yeah, we get it, you made a promise to tell Jeanist first, etc. fair enough, but still! it’s an interesting bit of hesitation to take note of. and then there’s also the matter of Horikoshi’s interview from back in December (which I’ll link in a comment once this is posted), where he talked a lot about Bakugou and made a point of saying that his character growth wasn’t done yet, and that he still needs to apologize to Deku. which is as good a confirmation as any that such an apology is indeed forthcoming.

so why, then, does it seem like we’re still no closer to that moment, even after Kacchan seemingly had a mysterious epiphany at the end of the internship arc, and even after we subsequently went through a three month time jump? Kacchan isn’t one to be slow about it when he decides to make progress. his growth in all other aspects has come by leaps and bounds. and yet when it comes to his relationship with Deku -- his friendship with Deku, except that he still can’t bring himself to acknowledge that’s what it is, and insists on thinking of it as only a rivalry -- it seems like he reached a certain point, and then just... stalled. like he’s not willing to go any further past this. and there are many reasons for why that may be the case. but at the root of all of them is pride.

and I’m not saying he needs to give up that pride, because that’s a huge and very important part of who he is. you said his declaration of spirit not to lose isn’t a bad thing, and I agree. but that doesn’t always make it a good thing either, and I don’t want to get so swept up in my love of the character that I start refusing to acknowledge the downsides of that trademark pride as well. pride, like anything else, is nuanced. it can be both good and bad. it’s good when it motivates you and pushes you to do your best and to achieve your goals. but it’s bad when it makes you inflexible, and when it prevents you from taking actions which would benefit you and others, just because doing so would mean humbling yourself in a way that is scary and which feels like it runs counter to your ultimate goals. because you want to be someone who always wins. and so any time you do experience a loss, you go through an entire mini-crisis, because it feels like your very purpose in life is being threatened.

I don’t know if “problematic” is the word I would use for this aspect of him. I feel like that word is fairly overused, especially in fandom, and now has certain connotations of “this is objectively bad behavior which should be called out and shunned.” and I don’t think that’s the case at all when it comes to Kacchan’s pride. he’s already learned how to put it aside in order to work with others and save others. and that’s great! he already is a great hero by this point, imo. if Horikoshi decided to just end his character arc here and not take it any further, I would actually be just fine with that.

but I think that there is still the potential for more. I think that we are still not done here yet. because this manga consistently surprises and amazes me with the way it goes the extra mile when it comes to character development. Kacchan and Deku didn’t have to reconcile their differences and learn to respect one another after only 120 chapters (I say “only” in a very sincere and not sarcastic sense here, because that really is an insanely short timeframe compared to most other manga). but they did. Endeavor didn’t have to see the error of his ways and decide that he wanted to become a better person, and he definitely didn’t have to be shown apologizing and admitting his wrongdoings and even going so far as to back out of his family’s lives for their sakes and even build them a house so they could move on apart from him. but he did! and that’s insane, you guys. name me another series that goes that hard in trying to redeem a guy whom virtually every single member of this fandom would have once described as ultimately devoid of any redeeming qualities. I can’t think of any.

but BnHA is just like that. it goes hard. it doesn’t back off. nothing about its character arcs is remotely half-assed. and so if a character is showing signs that they are still angling for more growth? that there are still things they need to learn? then I’m inclined to think we are going to roll up our sleeves and get that growth, one way or another.

this story consistently amazes me because whenever I look at a certain aspect of a character’s development and say to myself, “oh hey, that’s pretty awesome, even if it’s still not ideal,” Horikoshi goes and nudges it down another notch towards being ideal. like, the dude just doesn’t settle. and so that’s one of the reasons why I’m convinced this is a very real and even likely possibility. because this kind of development, to me, would be very, very, very close to my ideal. is it strictly necessary? absolutely not. would it fucking blow my mind as a development, however? I kinda think it would, ngl.

-- that is, with the one addendum that since I do love my son very dearly, I wouldn’t want it to actually be permanent. so in order to be truly ideal, such an arc would also have to include a way for him to climb back up again after experiencing that fall. which some might find contrived or “cheap”, as you put it. but that’s a risk I’m very selfishly and biasedly game for all the same, lol. I am more than willing to occasionally suspend my sense of disbelief in the name of character development, and honestly, I don’t actually think it would cheapen the stakes in any way, because just because Kacchan’s main character status gives him cool perks like a one-time get-out-of-losing-your-quirk-for-free card doesn’t mean the same would apply towards anybody else. and for that matter, it wouldn’t detract from whatever soul searching Kacchan does during that period while he fully believes that he will be quirkless for the rest of his life, either. it doesn’t have to be permanent in order to have a permanent impact.

lastly, in regards to it balancing things out between him and Deku, I don’t mean that Kacchan becoming quirkless would (a) be some sort of necessary and deserved punishment for him, or (b) be even remotely equivalent in any kind of way to what Deku experienced while growing up. that is very obviously not the case, and I can’t stand that kind of thinking, that redemption is only about punishment. maybe “karmic” isn’t the word I should have used then; I meant it as a way of signifying something spiritual in the push-pull balance between the two of them, not in the “what goes around comes around you were a jerk and now you’ll finally understand what it feels like” sense of the word. that’s a big yikes, lol. so yeah, just to clarify that part of it!

what I mean by balance is that it would serve as a catalyst to Kacchan finally being able to understand Deku’s side of it. finally being able to see things from the point of view of his rival-friend who’s had the exact opposite arc as him in terms of what he had to do and go through and learn and unlearn to get this far. it would serve as a means of finally bridging that one last gap of understanding between them. it would bring things back into balance because it would bring them back into balance, by giving them the push to finally mend that one last broken part of their former friendship. the part that’s still untouched by both of them, because they’re both afraid of disrupting the current semi-stable truce that they have now in their relationship. even if it’s not perfect. not, if you’ll pardon my use of the word yet again, ideal.

tl;dr I see Bakugou’s introspection as being a lead-in to something potentially game-changing both because I want it to be, and because, as strange as it may seem, the manga has conditioned me to think this way now. to have expectations. to anticipate more depth, more growth. so it may be the case that in this instance I’ve taken those expectations too far and I need to temper them back down and swing them in a less angsty, more traditionally shounen direction. and like I said, if that does wind up being the case, I won’t be upset.

but maybe, just maybe though, this manga will in fact go there once again. if for no other reason than that it can. “Horikoshi really went and did that” is a sentence I’ve gotten very used to typing since I started reading this manga. and so, well, let’s just wait and see.

[aion-rsa]

Future State is the Next Evolution for DC’s Legion of Super-Heroes

https://ift.tt/eA8V8J

This article contains spoilers for Future State: Legion of Super-Heroes #1

Never let it be said that Brian Michael Bendis doesn’t know how to keep busy. The prolific writer has had his hands full since coming to DC in 2018. Arriving with much fanfare on both Superman and Action Comics, Bendis also relaunched Young Justice, co-created a new DC mainstay in Naomi, wrote the excellent Batman: Universe, shepherded the Event Leviathan mini, and more. All of these books introduced new characters, re-tooled existing ones (such as aging up young Jonathan Kent to his mid-teens), and set various wheels in motion throughout the DC Universe.

And in the midst of that he also rebooted the team with the largest roster in all of comics, the one that brings with it the most complex web of continuity, the one that requires the most amount of worldbuilding by virtue of its 31st century setting. I am, of course, talking about the Legion of Super-Heroes.

It’s been a little over a year since the launch of Bendis and Ryan Sook’s ongoing Legion of Super-Heroes book, which kicked off in the Superman titles, brought the now Legion-aged Jon Kent along (any good Legion needs a Superboy…it’s the law), showcased some truly spectacular new character designs in Sook’s art (new costumes and regular redesigns for Legionnaires may as well be the law, too) and established what the 31st century of the current DC Universe looks like these days. In true Legion fashion…well, it’s a lot.

The book seemed to reach a stopping point with its twelfth issue, taking a brief hiatus. But not too brief, because as part of DC’s Future State initiative, which offers tantalizing glimpses of the DC Universe to come across the entire line, Bendis returns to the 31st century with the two-part Future State: Legion of Super-Heroes, this time aided and abetted by Riley Rossmo on art. And like Sook before him, Rossmo followed one of those unspoken Legion laws and gave a bunch of the Legionnaires new looks. Great new looks.

But…isn’t Legion of Super-Heroes by its very nature ALREADY a Future State book? Not exactly, and fans of the recent series will find plenty of surprises even as it picks up on story threads from the main series. Oh, and if the roster wasn’t big enough already, there are some Legionnaires you haven’t seen yet, and some fan favorites everyone has been waiting for. Bendis told us all about it…

(This interview has been edited for length)

Den of Geek: Future State: Legion of Super-Heroes #1 kicks off with a time jump from where we last saw the team in Legion of Super-Heroes #12. What can you tell us about that time jump?

Brian Michael Bendis: We were going to do a time jump after the first 12 issues, regardless. That was the plan because it’s in the DNA of Legion where you don’t have to, if you don’t want to, there’s no reason to stay [in one time period]. You don’t have to do monthly, to monthly, to monthly, like you would on Superman or Batman because it’s a shared universe and anything that happens in one book affects all the other books.

Whereas Legion, because it’s a thousand years in the future, you can do five years later. You can jump and bounce around and show the story from different perspectives. So the jump was always on the list of things to do with Legion. And then DC called and said, “Hey, Future State!” And I’m like, “Oh, great. Already in my notes.” It was all already planned. It’s the future, of the future. I liked that, so I leaned into it hard.

The issue isn’t clear about how much of a time jump it is, though.

No. The hint I will give is that it’s not as big of a time jump as people might think, considering the dramatic changes that have happened around them.

Is that time jump, and whatever it is that happened, tied to the “Great Darkness” that was being teased in the latter part of the main run? Or is this a separate event?

It is a separate event, but it doesn’t stop the momentum where they’re headed. They’re concerned that this is The Great Darkness. They’re like, “Oh, this is The Great Darkness. We can deal with it.” And then they go, “Oh, shit. This wasn’t The Great Darkness. This was just a mild case of darkness.” As bad as the event was, there’s something else coming. They live in almost…not fear, but in dread of what this Great Darkness is, how it may manifest itself, and whether they’ll be ready for it when it comes.

It’s funny, when I spoke to you before the launch of the book, I had asked you about the potential to touch on existing Legion stories. At the time, you were like, “No, we don’t want to do that,” and you specifically mentioned The Great Darkness Saga as one where “people know what’s going to happen.” And clearly you’ve found a way around that.

I think when we brought back Secret War or other things at Marvel, you want to find something that fits the label, but elevates. You don’t want to just repeat the beats of something people have already seen. I personally like it when, if you don’t know anything about the history of the Legion, it completely works. But if you know everything about Legion, we’ve got something for you. That’s been my goal from the get go.

You had said that the time jump was already probably going to be baked into the book anyway.

It was. It was like my third note when I was making my notes for Legion. It was like, “oh, and we don’t have to follow a linear timeframe.” We can tell stories from anywhere in this period, even going to prequel stories and then stories that go before they were all gathered as well.

How much of the specifics of that were in place before it became Future State? Was Riley Rossmo on art already on the table? Or did that happen later?

No. I’m very happy to report that Riley was the first name requested, and he immediately said yes. I had worked with Riley on a couple of things. There’s something about his work that very deeply speaks to me. I just was like, I would like to see more Legion with him.

I said, “This is a grand opportunity. Just go nuts.” That’s what you want for someone like Riley, to give him an excuse just to use all his tools and all his imagination. He took it from there.

And the script was really like… sometimes you write scripts, and they’re emotional, and sometimes they almost take on a list of drawing prompts. I was just prompting him to go as crazy as he wanted to go, and I would then take the ideas from there.

How did you settle on which Legionnaires would be part of this? Did Riley have input into that as well?

I 100% said to Riley, “Who do you want to draw?” I do this with anybody I can. If there’s any space in which we can meet. I’m like, “What would you like to draw?” I’ve learned through many years and many collaborations that just asking brings a level of craft and quality to the finished product that everyone gets excited about. When an artist points to something and says, “I want to draw that,” they’re telling you, “I’m going to draw the hell out of it and this is going to be amazing.” So I always try to make it work.

He had a list of characters, some of which I already knew he was going to pick from our past work together. I was able to use most of them. Also, I told him what the hook of the story was, so it was easy to cast. There were some character needs we had, like Saturn Girl, but he had already picked them.

One of my favorite things about the Legion in general, and then particularly about this run of it, it’s always about how the characters evolve and how the costumes get redesigned on a regular basis. This was the first opportunity since Ryan Sook did the designs in the main run for that to happen. Did you discuss any of Riley’s designs beforehand?

I told him “Here’s what’s happened to them, here’s who did it, here’s why, and make your choices. Here’s what’s motivating the character.” And then sometimes he came to me with designs where I went, “Oh, I can write a whole of stuff about that.” So, yeah, it was a nice mix.

It’s nice to see the Duo Damsel change happen.

See, I agree with you and I hated it at the same time. One of my favorite storylines of all time is the Duo Damsel thing. But it’s also like the biggest tragedy in comics to me. It’s like a haunting thing. It’s losing a limb but it’s a whole person. So, I was excited to write it and dreading it at the same time. I knew I would feel it and I knew that Riley would bring a lot to it too.

You’re able to encompass that whole thing in just a couple of panels too. It was really powerful.

Well, if I remember correctly, that’s how they did it back in the day too.

Yeah. It was like, she came back and they’re like, “Wait, you’re alive.” It’s like, “well, kind of…”

Yeah, and no one knows what to say. It’s just so unique, the tragedy.

There’s a lot of characters who appear in this issue. Shadow Lass, Ultra Boy, Brainiac 7, Saturn Girl, Colossal Boy, Chameleon Boy, Cosmic Boy, Timber Wolf, Blok, Duo Damsel, Bouncing Boy, and Element Lad. I rattled off the people that I know for sure because they’re throughout most of the book. And then page eight and nine, there’s this spread and there’s a few Legionnaires that I can’t quite identify. Is that Shrinking Violent and Polar Boy? Who are some of these others?

That’s the Substitute Heroes. Time jumping was number three on my list of Legion notes, but I think the Substitutes was number eight. May I say, hilariously at the announcement of this relaunch of a Legion of Super-Heroes, the first comment was, “Substitute Heroes.” I was like, bring them. We don’t want the Legion, we want the Substitutes. I was excited to bring them in here, and it seemed like a good place. And also, Riley was the right person to infuse them with new energy.

Who’s the guy wearing the Superman crest and the hood?

You will find out next issue. A payoff’s coming.

On page 23, you give Bouncing Boy possibly his most badass moment ever. How long have you been planning that Bouncing Boy moment in your head?

Riley made it the most badass moment ever, I will say. If you really do some pseudo-super-Legion science, he really does add up to be the most powerful Legionnaire. I just thought it was a great way to celebrate that character, which I love.

That panel’s great. I almost want to see it in 3D.

Everyone gets their moment and then every once in a while, just something really special happens in the collaboration and you’re like, yeah, good. I absolutely wanted Bouncing Boy to have that kickass of a moment.

I have one more question about one of the mystery Legionnaires. There’s another great shot, another great spread at the end of the book. There’s a guy who is carrying a laser sword of some kind. I don’t recognize this character.

That’s Ferro Lad and his sword. He has a sword now. I love that design.

There’s one more issue of Future State: Legion of Super-Heroes out in February, but there’s no Legion in DC’s solicitations for March and April.

But there are Legion plans coming. Legion is a hard book to make. There’s 34 lead characters, and we try to shove as many of them on panel as often as possible because that’s one of the best parts of the Legion is the scope of it.

I think you can kind of tell from the jam issues and the fill-ins and the level of quality, attempting to keep it at the highest quality possible, yet still delivering that very special Legion feeling…instead of fill-ins that may not be up to the quality that we were doing, we’ll stop, get a story ready to go, and solicit it when it’s time. There’s more to come.

I know that’s frustrating for some people and some people just want it monthly. I get that, but not all books are created in the same way. It’s art. Even though it’s commercial art, it is art. The pandemic also takes a lot out of the schedule. When we’re ready, we’ll put out more. We’re planning stuff that connects to what’s going on in Justice League as well. Not to connect the two, but that is 100% within what’s happening.

Do you already have your artistic collaborators lined up for the next arc of the book?

Yes.

You’re not going to tell me, are you?

cnx.cmd.push(function() { cnx({ playerId: "106e33c0-3911-473c-b599-b1426db57530", }).render("0270c398a82f44f49c23c16122516796"); });

No. It’s very, very good news. I’m absolutely delighted, but honestly, I don’t want the person stolen. Sometimes that has happened to me. I don’t mean to be vague, but right now, I don’t want to oversell something that is down the line.

One of the cool things you did in the main run of the book was introduce legacy characters that fans don’t usually associate with the Legion, like Dr. Fate and particularly Gold Lantern. I want to know what kind of feedback you got from fans on those.

Well, I was actually quite delighted. I thought the purists were really going to hit us hard on any additive stuff, but most Legion fans know that almost every run of Legion has had the added characters to the roster.

It gets frustrating only because when there’s been a lot of time in between Legion books, so some of these fan-favorite characters from past runs don’t get as much face time because you’ve introduced Gold Lantern and “oh, Gold Lantern is standing in front of Ferro Lad. We want more Ferro Lad!” Which I understand, so you better make sure Gold Lantern is interesting enough that no one feels slighted because it’s not Shadow Lass. I must say the additions, particularly of Gold Lantern and Dr. Fate and Monster Boy, all seem to go over very well and I was grateful for that.

Our biggest pushback was on redesigning the costumes. That comes with every Legion redo as well. So I pointed that out. But part of it is that some of the biggest fans in the world have already dedicated cosplay, and we messed up their cosplay. This happened in the X-Men too when we redid Magneto’s costume. People were screaming at us. We’re like “Oh, because you bought the helmet. Okay. I’m sorry. I get it.”

But I just don’t think they take away from each other. I just know from Legion past and other franchises I’ve worked on that anything you’re earnestly adding to it is good, even if it’s got pushback in the moment. I live in a world with the things I’ve gotten pushed back on the hardest ended up being huge movie moments that everybody applauded 10 years later. “Good job on creating Ronin!” I’m like, “Really? Where were you when it debuted? Because people were ripping my face off.”

So compared to stuff like that, I think the Legion fans have been just really, really generous and cool about where we’re going. I think they can tell we’re real Legion fans and we’re not messing around, and we’re taking it seriously. Even though you may not agree with every choice we’re making, you see we’re making loving choices.

Future State: Legion of Super-Heroes #1 is on sale now. We’ll have more from Brian Michael Bendis about his upcoming run on Justice League very soon!

The post Future State is the Next Evolution for DC’s Legion of Super-Heroes appeared first on Den of Geek.

from Den of Geek https://ift.tt/3ceaRTK

[shadowslackinglight]

#2 - The Interview

This is Victoria Winters. Friends and family had warned me prior to my fateful interview with the Collins family that they had a reputation of being eccentric. Of course, with the excitement of the opportunity coursing through my veins, I dismissed the concerns out of hand. I quickly came to realize, however, that this particular family was shrouded in dark secrets and motives. No person residing at the Collinwood Estate was without an internal struggle hiding just under the surface.

From the diary of Victoria Winters.

Vicky winters stood slightly damp from the rain in the foyer of the new Collinwood Estate. Although citizens of Collinsport referred to the current residence of the family as the “new” house, it was hardly a modern construction. The house was originally built during the Spring and Summer of 1860, just over two hundred years after the original house was built. It appeared to Vicky, who had a keen eye for these things, that much of the furniture in the modest-sized entryway was originally from the Victorian era. The floors were made of finely-preserved wood, part of which was covered in a large rug. The walls were covered in a dark red wallpaper with black flowers. Directly in front of Vicky was an elaborate wooden staircase, complete with a polished banister. To her left was a large set of double doors leading into another room. The wall opposite those doors held two more doors leading to other rooms. Between them hung a large oil painting of a tall, pale man with dark, black hair. The man was donned in what Vicky believed to be the traditional wardrobe of a gentleman from the seventeenth or early eighteenth century. 

“Miss Winters,” said an elderly man who had descended from the second floor of the home when  Vicky entered the house, “Ms. Stoddard-Collins will be with you shortly. Would you care for something to drink?”

Vicky looked at the man, attempting to make eye contact and convey a confidence that she did not feel in her heart.  The man’s face was gaunt and because the room was dimly lit, partially covered in shadow. What she could see of him did not appear to be in great health.

“No thank you, Mr...” came Vicky’s response in a semi-whisper. 

“Sorry,” he said to her, “How rude of me not to introduce myself. I’m Roger Collins, Elizabeth’s brother.”

The man motioned to his right where the large double doors stood. Vicky followed him to the doors and entered once he opened them.

“Who is that man in the picture?” she asked him, motioning to the picture on the wall.

“Oh, that old thing?” Roger replied, “He’s a distant relative. When this house was built, all of the art was taken from the original and put into storage here on the estate. Elizabeth has always loved all of the portraits, ever since she was a child. When she took over the house after our parents’ deaths, she wanted to add them all to this house. Unfortunately, the shed they were in allowed a bit too much of the weather to intrude. All of the artwork was destroyed except that one. Peculiar, really.”

“Peculiar, indeed,” Vicky said.

“Please, Ms. Winters, have a seat anywhere in this room. I will summon my sister, presently.” Roger left the room, closing the double doors behind him.

Vicky stood in the massive drawing room and took it in. The room was dimly lit by a fancy chandelier dangling from the center of the ceiling and several lamps placed at small tables arranged strategically around the room. The effect cast interesting shadows in every corner. The floor was wooden, polished extravagantly. There were a couple of old, green, leather couches and chairs in the room as well as a large piano. Each of these items stood atop very old, expensive-looking rugs. The walls were also made of wood paneling with various pieces of art hanging from them. On the wall directly across from the entrance to the room was a very large, elaborate fireplace that was outlined with a decorative, wooden hearth. The aesthetic of this room appeared to be untouched from the time in which the house was built. Vicky was sure the furniture was new, but it was clearly ordered custom to match the style of the rest of the house. The wall pointing to the outside of the house held a massive window. The storm was really picking up, now. Lightning and thunder struck again, illuminating the whole room for a moment before subsiding. 

Vicky chose one of the leather couches facing a small table with a matching chair directly across from it. Perfect for an interview, she thought. After a few minutes that crawled on like hours to Vicky, Ms. Collins Stoddard finally entered the room. 

“Apologies for the wait,” she said in a monotonous voice, “There was a bit of family business to address that ran longer than I had hoped. 

Vicky stood, turning to face the woman, “No problem, at all,” she replied, offering her hand to the matriarch.

Ms. Collins Stoddard walked to the chair opposite her and sat. Vicky wasn’t sure if she had seen her hand or had simply ignored it. Vicky sat back down on the couch, making sure her posture was perfect.

Looking at Ms. Collins Stoddard, Vicky could tell the woman was trying to put forth an air of superiority, but she wasn’t quite pulling it off. Her dark, brown hair, while put up in a bun, had a few strands that indicated it was done in haste. Her midnight blue dress was just slightly disheveled, and her green eyes looked weary. She looked stressed. Vicky was not surprised. The public relations nightmare that was this project had to have been taking its toll on Ms. Collins Stoddard. Daily protests and weekly articles about what Vicky assumed had to be a very difficult decision couldn’t have helped the situation, either. Vicky felt a bit sorry for the woman, but that empathy would quickly disappear as the interview started.

Ms. Collins Stoddard began leafing through the copy of Vicky’s profile that Vicky had mailed ahead of her visit. The woman’s face displayed no emotion as she did. Finally, after taking a look at every sheet of paper in the folder while Vicky waited in silence, Ms. Collins Stoddard finally made eye contact with her and spoke.

“Apologies for not being fully prepared,” she began, “Normally, I would look over your dossier in advance of our meeting, but to be completely honest, I did not fully expect you to come for this interview.”

“Pardon me?” Vicky stammered.

Ms. Collins Stoddard gave the slightest smirk, “Well, it’s just that you must’ve known that you are only getting this interview as a favor to a member of the family. A project like this takes experience and know-how. I don’t believe you to have either of those things. It’s a big responsibility that cannot fail.”

“I see,” was all Vicky could manage to say. Again, thunder cracked loudly outside. Vicky jumped at the sound. Her interviewer did not.

“But, here you are, aren’t you, girl? You should know that yesterday, alone, I interviewed three world-renowned architects itching to get their paws on that house,” Ms. Collins Stoddard continued, “However, I did promise to conduct this interview, and your work does look quite impressive for someone so...young. Therefore, in order to fulfill my familial obligation, I will give you five minutes to tell me why I should even remember that I met you. Why do you think you can do this project? What, if any vision do you have for my ancestral home?” she paused, “If nothing else, consider this a practice for your next interview at some low-rate firm in New York that has time to waste showing you the ropes of being a professional architect.”

Vicky looked down to her hands in her lap for a moment, trying to gather her thoughts. If nothing else, she considered, at least the Collins family matriarch was honest. Vicky, however, considered herself to be an overachiever. She was not going to give up and let this opportunity pass her by. In truth, this project was the only thing, at this moment, that she wanted. 

She took a deep breath and looked up. Her eyes met Ms. Collins Stoddard’s. She tried to show determination and grit, but there was no visible response from the person across from her to indicate whether or not she had succeeded. “Very well,” Vicky said calmly, and then she dove in.

For the next five minutes, exactly, Vicky outlined everything she had gathered during her time researching the estate and during her time today in Collinsport. She spoke intently about her initial ideas and plans for a remodel of the original Collinwood house that would turn it into a bustling hotel and tourist attraction while maintaining what made it appealing in the first place: its history. She did not pause. She did not invite Ms. Collins Stoddard to interject. This was her five minutes, and she used every single second of it. She left nothing out because if she had, she knew she would regret it for the rest of her life. She may have been gifted this opportunity, but she was going to make the most of it.

The moment the five minutes ended, the double doors to the drawing-room opened with a creak, and Roger Collins walked through them. Ms. Collins Stoddard tore a scrap of paper off of the corner of Vicky’s resume, wrote something on it, closed the portfolio, and thanked Vicky for her time. She then stood up abruptly and exited the room, handing the scrap of paper to Roger as she walked past him.

Vicky felt tears welling up in her eyes. She had given it everything she had and, apparently, it wasn’t enough. It wasn’t enough for the job, and it wasn’t even enough for a response. She stood quickly, eager to leave the house before her emotions got the better of her. If she got to the station soon, she thought she might be able to catch the last train out of town, and if not, she would stay at a local hotel. There was no way she was going to stay the night in this house after that interview. The embarrassment would be too much.

As she began to make her way out of the drawing-room, she passed Roger who was looking at the scrap of paper in his hand. Her presence near his person startled him to attention, and he turned to her, “Where are you going, Ms. Winters?” he asked.

She turned on her heels and looked at him, exasperated. “I’m going to try to catch a train back,” she replied.

“That won’t be necessary,” Roger told her.

“Mr. Collins, I appreciate the opportunity and your family’s hospitality, but...”

Roger stuck the note out to her, “Here,” he said.

She hesitated, confused, then took the piece of paper and read it for herself. There was a dollar sign on it, followed by a number. A large number. A number that was at least twice as big as any she’d expect to get at a firm. 

“What is this?” she asked.

“Your salary,” Roger replied, “I know it’s a tad low, compared to what you may have expected, but we will be providing you room and board here at Collinwood, which will significantly cut your costs. I’m afraid, however, that the offer is non-negotiable.”

Vicky looked down at the number written by Ms. Collins Stoddard’s hand, again. After a moment, determined to keep a professional face, she looked up and replied as calmly as she could, “Mr. Collins, I believe this will suffice.”

“Excellent!” he said, “You begin tomorrow. Planning for this project must be underway at once!”

“But my things,” Vicky stated, “I’ve only brought enough for one night. I need time to gather my belongings to move.”

Roger looked at her incredulously, “Nonsense. Provide me with a list of your personal belongings, your address, and a key, and I will have someone fetch them for you. If you have them at breakfast, we should have the job done by tomorrow evening.”

Thunder and lightning crashed once more, but this time when the bright flash retreated from the room, all of the lamps and the chandelier had gone out. The two were standing in complete darkness.

“Drats,” Roger said.

To be continued...

[touchingoldmagic]

Comic Review

Issue Three is here! Unfortunately this is the issue I've liked the least so far, but that isn't to say the story is bad, just that I didn't enjoy it as much as the previous two.

In keeping with my tradition, here's my day-it-came-out-review! Under the cut to save you all from spoilers.

We open with the now established theme of the short snips of interviews with other movie characters. Previously these interviews were just about the GB’s in general, but now Rebecca is asking the characters about Peter specifically. Louis, Peck, Janine and Dana all give their opinions. It's good fun.

Dana warns Rebecca that Peter will steer the conversation how he wants it and will evade questions he doesn't want to answer. Then apparently Rebecca brings up thorazine? Dana explains why she had a prescription for thorazine, which is the drug Peter gave her when she was possessed in the movie. Honestly, I'm confused about why this was included in the comic. I guess because it's always been a highly controversial scene in the fandom. I've seen people online debate it a lot, wondering why Peter would bring it on a date unless he had planned to knock Dana out (which is silly of course). I've seen people theorize that Dana probably had it in her apartment and Peter didn't bring it at all, which is the explanation the comic went with here.

I mean, I can understand why the comic writer might want to address this part of the movie and defend Peter from a controversial scene that potentially paints him in a bad light, but they didn't really work it into the story in a way that makes sense. Rebecca just randomly brings it up to Dana. It has nothing to do with the story in the comic and kinda derails us as readers.

Also I didn't like this page because it's just four panels of Dana talking. They didn't really need to take up a whole page for just four panels. They could have done something more interesting. But that’s a nitpick I guess.

(Also also, holy crap if you thought the guys had a lot of hair in the '70's flashback last issue, just wait til you see Dana here. Previously they've drawn her with her hair up but now it’s down and the artist can't even fit it into the panel LOL.)

So we jump to Peter in Central Park giving a talk to people who spotted him in public and have gathered around. I think? Anyway there's a big crowd around him. Rebecca shows up and reminds him that she has an appointment to speak with him and the two of them take a walk in the park.

Peter asks what everyone has been saying about him, which is a cue for some funny flashbacks.

Great lines: Peck: --Combative, evasive, disrespectful, and... you know what? I've changed my mind. I decline participation, no matter what my supervisor says, if one quote makes its way into your book, I'll sue.

So as they walk, Rebecca asks Peter about ghostbusters and he says there's more to his life than just ghostbusters, but then he doesn't clarify what that 'more' might be. They talk about parapsychology a bit, and around this part we see they have ended up at Tavern on the Green, from the first movie, and Peter convinces Rebecca to eat lunch with him there and bill her publisher. (We can assume this was Peter's plan all along haha!)

As you can probably guess by now, this issue doesn't have a lot of stuff actually going on. There's a lot of panels of people walking and talking. That's not necessarily a bad thing, but the lack of action does make me feel like this issue is kinda boring. It's fun to see Peter evade questions, but instead I would have liked to see more interaction between different characters, not just an interviewer trying to grill Peter and him brushing her off for multiple pages.

At one point Rebecca brings up that she interviewed Dana, and we get to see Peter looked completely panicked for one moment before he recovers. That was probably my favorite part of his whole interview.

Rebecca starts getting annoyed that Peter won't give her any real answers about himself so Peter brings up the incident at the Rose, the nightclub mentioned in a throwaway line in the movie, as a distraction.

We jump to a flashback for the rest of the issue, which I like much more than the first half. A ghost has attacked the Rose and locked the doors, trapping people inside. The boys in gray arrive, shoot out the door, and head in.

Peter: What is that, New Wave? Glam? Ray? Ray: I only know the blues. Egon: It's Prince. (I looove the Blues Brothers reference and the fact that Egon can identify Prince!)

I feel like if I was more of a music buff I would enjoy the setting of the nightclub more, but I still liked it. The neon colors of the lighting jump around from blues to pinks and purples and is really fun.

Inside, the ghost has possessed the crowd and is making them dance in mid-air above the dance floor. Ray demonstrates his ability to identify all the different types of dance going on, so the ghost scoops him up and adds him to the collection as well.

Peter: Why you figure it didn't take us too? Not enough rhythm? Egon: I dance like a god.

Peter and Egon try blasting the DJ table, but the ghost just reconstructs it and continues on with its party. Peter declares that Plan B is to get the ghost to manifest by attracting its attention with dance moves, and commands Egon to do it.

Egon's moves do the trick and the ghost appears, at which point Peter and Egon zap and trap him. (The ghost has the most hilarious '80's getup you've ever seen.)

With the ghost caught, its power is broken and Ray and the rest of the nightclub revelers fall to the floor. Peter is prepared for them to be angry and Egon assumes they would be traumatized, but instead they all cheer for the Ghostbusters and convince them to stay dance through the night. No need to break up a party just because a ghost crashed, right?

So the last page resolves the interview, as Peter thanks Rebecca for lunch but says he has to go talk to his agent about a TV appearance. Rebecca asks if the nightclub story was true or if he just made it up to avoid personal questions, to which Peter replies that life is full of mysteries.

Issue three was half a comic of characters walking and/or talking, and half a comic of a fun nightclub scene where we got to make music jokes. (The latter being much more interesting than the former, for me at least.) While there wasn't anything really bad about any of it, it didn't add up to anything really interesting either.

Next month we have the last issue and it's Egon's turn to be interviewed! Since these are stand-alone stories, I'm curious whether this last issue will be like the previous three or if it will be all adding up to some sort of larger climactic conclusion. We'll see next time!

[arecomicsevengood]

Alan Moore’s WildC.A.T.S

I gotta wonder if Alan Moore is pretty happy about his nineties period of working for Image Comics, inasmuch as it’s out of print and no one asks him about it. Like, doing business with a person like Rob Liefeld, whose career is a series of shitty self-sabotaging business decisions, may be preferable to working with the people at DC Comics who know what they’re doing enough to continually screw a man over.

These WildC.A.T.S comics are not by any means great, but DC owns the rights to them but hasn’t kept them in print. The trades I have are from 1999, and Alan Moore’s name is not printed anywhere on the cover. This might be because there are way too many artists to credit alongside him. Travis Charest draws the covers to the trades, Homecoming and Gang War, and while he is easily the best artist represented within their pages, he definitely doesn’t draw the majority of the run. Charest’s style is fascinating. He must’ve been the best artist Wildstorm had at the time, and putting him on a book together with Moore could’ve been a real gunning-for-greatness move. He’s genuinely slick, in a way that reinforces how Jim Lee is comparatively noodling, with all this aggressive hatching and needless detail. He’s closer to John Cassaday, or latter-period Jae Lee. There’s a sense of a realism to anatomy and proportion, and this sense of dynamic lighting so that everything feels posed, like fashion photography or a movie poster, that gets configured into sequences which, while they don’t really work in terms of action sequences, are able to sell the melodrama of superhero comics, by virtue of looking cool. Maybe that’s overselling it: It’s more like, his figures definitely look like they’re posing all the time, but his staging is solid, and they end with more dignity, while the rest of the Homage Studios C-listers filling these books have a chaotic ineptness that makes action scenes feel exhausting to look at. He definitely possesses the major flaws associated with the Image artists, even if I’m saying he’s “better” than them: He doesn’t draw backgrounds if he can help it, and he is nowhere near fast enough to draw a monthly book. The best issue is split between Travis Charest and Kevin Nowlan. Kevin Nowlan’s pretty great, but he has such a weird career, and has drawn so little, it’s always unclear if it’s meant to be a big event when he turns up or if he’s being treated like a journeyman fill-in artist. He shows up here for one issue, but it’s an oversized anniversary issue, and he’s really good in it, and he letters his pages. Nowlan, of course, would work with Alan Moore on the Jack B. Quick strip in Tomorrow Stories, but there’s only a few of those, with my understanding for that being those were pretty challenging for Moore to write. While I might imagine a Moore/Charest/Nowlan superhero comic would be a perpetual seller, that wouldn’t have been hard to make happen, maybe none of the principal players would’ve been interested in that.

Moore’s storytelling here, moreso than on Supreme, is deliberately dumbed down to accommodate the Image style. What emerges is an object lesson in how something can be totally dumb but still basically work. To get around the fact that his artist cannot handle a monthly book, he splits the cast. Half of each issue takes place on Earth, the other half in space. The stuff in space upends the book’s status quo, but also feels like he’s fleshing out incredibly skeletal characters in a way that makes them, not well-rounded, but interesting enough for organic conflicts to emerge between them. Alan Moore has this backhanded compliment he gives Stan Lee in an interview somewhere, where he says that Stan made superheroes two-dimensional, whereas before they were one-dimensional, and here it seems like be’s basically doing the same thing. The stuff in space is largely about caste systems and political conflict: It’s genuinely interesting, and also seems like it was inherent within the premise of each character but just not worked out at all. It really seems like a smart way to write dumb characters, that is simplistic enough that, when the next writer comes on to the book who’s not as smart as Alan Moore, they should be able to keep rolling with it no problem, because a caste system is inherently simplistic and plainly fucked up, and therefore a source of simple conflict.

Most pages seem to have, on average, three panels apiece. He gives Charest an issue where like half of the pages are pin-ups of a character flying. It works pretty well at being stupid! The characters are dumb, the whole engine of the plot on Earth is that the characters are actively being manipulated into escalation of violence and conflict. The main new character he introduces is a violent cyborg who loves Trent Reznor. She’s named Ladytron, and I briefly thought the electroclash band was named after this character, which would’ve been insane, before Googling to realize the way more understandable truth, which is that both band and character are named after a Roxy Music song. She’s an example of this thing that also characterizes Warren Ellis’ Stormwatch run, where the creators seem encouraged to come up with new characters, but they also basically must feel like they need to, in order to come up with something they can actually write because what exists in the book’s history is this weird form of baggage where the preexisting characters in a book are just fundamentally empty. Ladytron is sort of astoundingly generic and of-her-time, a cyborg lady that just loves killing! kind of like Deadpool or Lobo but as a woman with eyebrow piercings! in a way where I actually do get on board and think, this is a cool character, a good addition to the WildC.A.T.S group dynamic. There’s a completely unearned revelation that she was sexually abused thrown out there at the end of the run which is maybe the most egregious example of Alan Moore putting sexual assault in his comics ever, notable even if you’re inclined to forgive it in most other instances.

Maybe it would’ve been okay if the book had been drawn consistently well? Because, after Moore reunites his bifurcated cast, Charest leaves the book, never to return, and goddamn does the book lose momentum. This coincides with the interjection of a linewide crossover, during which one of the main characters in the book gains some more backstory, and also happens around the same time the story is wrapping itself up and having its other plotline culminate. It’s funny, the book could’ve easily been a lot better, which wouldn’t have brought it up to great, but rather the standard of “readable junk,” but it also feels like no one involved was that interested in reaching that level with any regularity.