#i might make a separate post exploring how tragic of a character control is

[tired-momfriend]

I am like 30 pages out from finishing a book (and the series) and AAAAAAAAA

[stxleslyds]

It’s very interesting to see your thoughts on Winnik cause personally while I like that he made jason a bit unhinged and fun in utrh his other characterizations of his were eh at best. Like why would jason not care about the world and why would he take over the drug trade of all things considering his history. I feel like Winnick had a very surface level understanding of Jason. There was a lot of his past to explore but it wasn’t explored that deeply. Plus I absolutely HATED his Bruce and talia characterization. And how he wrote Talia in both utrh and lost days was absolutely disgusting and his explanation for why he did it was that Jason loves Talia and that they were both messed up ppl??? Which is where I can’t forgive him. I feel like he was a one hit wonder because ever since utrh his Jason story started to go downhill. I also feel like it’s because DC doesn’t know how to write a character that’s from a poor background and that’s a huge disservice to Jason. I do hope that Rosenberg or another writer (hopefully female) does a good job on him. He’s been suffering under shitty writing for so long. Sorry for the long ask I really enjoy reading your posts.

Hi Anon, thank you for sending your ask!

Well, this is a great question because I love giving my opinions on Winick’s UtRH and Lost Days. I know those books (or some moments in them) are not everyone’s cup of tea and I had and have some problems with some of them but I have also come to understand them or even accept them as a writer bringing up a morally grey area in his books and doing it well (or at least I saw it that way after re-reading and researching a bit about his thoughts on those matters).

This is going to be a long post (I suppose) because there is a lot to cover and I want to let you know in a clear way why I think that what Winick wrote works beautifully for Jason. I will try to answer this as coherently as I can, so I will talk about the points you made in your ask separately so I make sure I don’t forget anything.

Let’s begin!

“Why would Jason not care about the world?”

I assume with that you meant about what happened in Bludhaven when Chemo was dropped there by the Society? That is valid but that really wasn’t Winick’s fault (I believe), that whole thing was shown in the book because back then the Bat-related books were more interconnected and that was what was happening in Dick’s Nightwing run at the time, which I think was used to explain why Dick suddenly stopped helping Bruce in Gotham.

And then I think Jason and Bruce watching that happen when they were having that conversation on that roof was very well planned out. I think Winick used that opportunity for Jason to be his peak level of little shit and make Bruce feel bad about not arriving in time to save another one of his kids. Even though Jason later revealed that he never blamed Batman for not arriving in time to save him, I believe Jason said that about Dick to make Bruce hurt more. Jason was trying to make Bruce stay in Gotham so either Bruce or him killed the Joker that night. Winick on the other hand had to finish his story, him branching out and having Batman go to Bludhaven would have benefited absolutely no one either, and it just didn’t fit the story that was being told in Under the Red Hood.

That’s why I think that Jason reacted that way to the Bludhaven and Chemo situation. If by caring about the world you meant something else let me know! (He obviously cared about Gotham in UtRH and other people in Lost Days).

“Why would he take over the drug trade of all things considering his history?”

Well, I have to be honest with you Jason wanting to control the drug trade in Gotham makes absolute sense to me, and even more when I think about Jason’s past history.

Jason and Bruce have always been (to me) clear opposites in various angles, and in UtRH, Winick talks about that a little bit too.

Batman was created to eradicate crime from Gotham after Bruce witnessed the death of his parents, that was the tragedy that set him off, and even though it was tragic and awful he had everything outside of his parents, he had a home, a support system, people that cared and gave him love, and money. He never had to be in contact with the cruel reality that was Gotham. We know through various stories that Gotham is deeply rotten and corrupted.

But Jason did know how corrupted, rotten and devoid of hope his city really was, he lived in the streets and in an abandoned apartment alone because he didn’t trust the police or social workers (he didn’t believe the system was helpful). He had seen his mother die at the hands of drugs after his father was sent to jail due to his criminal behaviour. Probably his father was a drug dealer and was the person that got his mother into drugs, (I believe that was later made canon, I might be wrong). But why did he do that? Maybe because he came from a poor and complicated background and nobody wanted to employ him so the real bad people of Gotham, like Black Mask, Cobblepot and many others, saw his vulnerability and his desperation to make money and they gave him a job as a drug dealer.

Considering that Jason was made out to have very deep problems with people selling drugs in schools and all that, I can estimate that maybe one of the big Drug Lords at the time employed Jason’s father when he was barely a teenager, that way he earned money, he stopped going to school and sold drugs to his peers so the bad people could control more people while they were vulnerable.

If all of that is true then Jason wanting to control the drug trade in Gotham, by becoming a Drug Lord himself, makes perfect sense to me. I mean let’s talk about this, what were his other options?

Kill every drug lord?

What if that set off a gang war in Gotham over who got to be the next big Drug Lord? I mean, it would be like real life, if someone dies in that sort of position there would always be someone else to take their place. Drugs are clearly (in Gotham) a great way to get money and power.

Also, if he killed all the drug lords then what happened to the people that were working for them, how could Jason help them get another job?

Explode every warehouse and facility with drugs in them?

And then what? Wait for Black Mask and the others to buy more and put a target on his back? Maybe kill some innocents so they can send a message to Red Hood that if he keeps destroying their drugs or whatever people will pay for it?

Maybe all the drug lords would come together and kill the Red Hood themselves, what could one man do against everyone else? Black Mask and the others had vulnerable people on a payroll, if they stopped working or went against what their boss said they would have been killed and then families would still be vulnerable and desperate to survive in Gotham.

Come forward as Jason Todd, the not so dead son of Bruce Wayne, and start a campaign against drugs?

Jason would have ended up dead in seconds, everywhere you look there are corrupt people. What could have been the point of that? What could have Jason be able to give families like his so they could stop living under the control of drugs and Drug Lords?

-

Jason being a Drug Lord himself was the best option because Jason KNOWS the reality of Gotham and Gotham’s people. His way of dealing with drugs could control the drug trade in the first 10 years and then eradicate it after that time. His plan was genius!

Jason knew that for people not to suffer as his family did, he had to take the slow and hard path of becoming the thing that he hated the most. He needed to attack the monster from within. So, when he made his first move he controlled the street-level dealers, he told them “I will protect you from both Black Mask and Batman if you stop dealing drugs to kids and in schoolyards if you do that, you are dead”, it is genius! By being clear about not wanting to have kids and high schoolers involved with drugs he set out a new path where those people weren’t forced into drugs and driven away from school. And that’s the way Winick made us see Jason’s not so new morals, he protects Gotham’s kids and he will kill you without hesitation if you endanger them.

From that he built, Winick made it clear, at first Jason would convince the people working for other Drug Lords to work for him if they followed his rules (and he offered them protection!). If Jason worked on the drug trade, he could have controlled who was inserted in the drug life or could have made it exclusive to the rich or club exclusive. In his intention of taking over the drug trade, he could have moved drugs away from Gotham’s most vulnerable.

And if he employed those vulnerable people, he would have made them work for him on other levels, that way those vulnerable people still had jobs and were protected from people like Black Mask. And in due time, fewer young and poor people would be involved with drugs or the drug trade.

Red Hood employs poor people and makes them not sell to other poor people or kids, he pays his employees good money so their families make a better life for themselves and their kids go to school, they are all protected by the Red Hood and his team (Jason could have trained others and make a team or gang that focused entirely on security), those people then get to retire with their families far away from drugs and maybe Gotham too.

I mean, Winick never did those things but I think that was the way he was thinking about it, he really set a golden path for future writers, his story had to finish Jason’s dilemma with Bruce and Joker but then his life as the Red Hood continued. And it could have been good if other writers used the characterization that Winick had given Jason: protector of children, killer of rapists and everyone that endangered women, children and teenagers. All of that was thrown away for a mythical fight with Ra’s al Ghul for people that were as trashy as Ra’s.

“I feel like Winick had a very surface-level understanding of Jason”.

I have to disagree. I think he understood Jason’s character before his death well and then built a grown-up version of him with those morals more developed after he suffered more and then saw how the world and Batman’s ways hadn’t changed after his murder.

We are talking about post-crisis Jason here; he was sweet and he loved being Robin but he also saw the world differently from Bruce and Batman. He lived a very different life than the one that Bruce lived when he was a kid. Jason even said that he “could fend for himself just fine” and that he had “graduated from the streets of crime alley”.

To me Winick understood this completely, he knew that Jason had had close contact with how drugs could affect people and what a criminal record could lead you to, but he also understood that Jason was a survivor of "crime alley" and all its worst people. He probably knew of things that people were doing of he saw them happening. He knew how to protect himself from those things but understood that not everyone could do it. And when Batman took him to Ma Gunn’s school Jason learned that Batman was ignorant of how awful and manipulative Gotham’s people could be. Ma Gunn wasn’t running an orphanage or cool school; she was teaching children how to steal and harm others. He hated it, he was “okay” when he was alone and now, he was locked in with older kids that beat him and Ma Gunn who was exploiting children’s vulnerability.

I assume Winick took that and maybe decided that was the moment when Jason knew that even if Batman was trying to do good, he still didn’t see Gotham (or that side of Gotham) for what it truly was.

When Jason became Robin and worked along with Batman, we could already see that Jason thought very differently about what should be done with rapists, and abusers of all kinds, Jason saw the world differently when he was a kid and a teenager and then after his death, Winick used that to build a Jason Todd that as a young adult still saw Gotham for what it truly was.

“There was a lot of his past to explore but it wasn’t explored that deeply”.

I am really confused by this (and I am very dumb), did you mean that his past before his death wasn’t explored? Because that was not the point of this book, the information was already there with Jason’s previous appearances in comics, and even then, Winick explored through flashbacks in UtRH how he saw Jason and what it was that Jason thought about crime.

If you didn’t mean that and you meant his past before the events of UtRH but after his death then, well, I would say that Winick couldn’t have fit that in UtRH but he did write a story about that time in 2010 when he wrote Red Hood: Lost Days.

“I absolutely hated his Bruce and Talia characterization”

I will only talk about the Bruce part here because you mentioned Talia later in your ask.

To me his Bruce was perfect. I really think that his characterization of him was spot on, but maybe I am biased because I don’t like Bruce at all? I suppose that you are talking about Bruce’s characterization in those last moments in "crime alley" with Jason and Joker? And how he decided that making Jason drop the weapon by throwing a batarang to his throat and saving Joker was a better option than Jason killing the Joker?

If it is that then I would love to see what you think Bruce would have done at that moment because I didn’t really see Bruce using a gun (in any way) as an in-character thing for him, and even though DC has always danced with the idea of Bruce actually killing somebody I know that they wouldn’t have him do it, and even less when it comes to killing the Joker.

I mean, Bruce brought back Joker from the dead when Dick finally killed that piece of shit so, yeah, I don’t know.

I feel like Winick was trying to show just how loyal and squared Bruce is when it comes to his own no killing rule. Jason wasn’t asking for Bruce to go on a killing spree he just wanted Bruce to kill the Joker and he didn’t. Winick even had Bruce say that about him not wanting to kill one person because he felt that if he did that, he wouldn’t be able to stop and I think that’s pretty true. Maybe it is a bit too much but I don’t think it’s a lie.

“How he wrote Talia in both UtRH and Lost Days was absolutely disgusting”

That is absolutely valid, listen, if you didn’t like how he wrote her at all I really can’t say anything against that. My first real and solid contact with Talia’s character was in that book, so when I read UtRH I really liked how he wrote Talia in that, it seemed to have that aspect of Talia’s love for Bruce being so strong that when she saw Jason was alive, she wanted to help him so Bruce could see how much he loved her. It is messed up but I believed it fitted her character, she had good intentions but her reasoning was a little bit wonky.

With Lost Days, I thought that her character was well written, she isn’t a hero and she isn’t a villain, she is just a player in the game that is the League of Assassins and that world. That obviously changed up until we had that scene happen between her and Jason, I was grossed out and I didn’t understand why that had happened which leads me to what you said next in your ask.

“His explanation for why he did it was that Jason loves Talia and that they were both messed up people”.

This is a part of the interview where Judd Winick answered a question about Jason and Talia sleeping together. The interview was done by Sara Lima in ComicVine’s podcast.

“SL: Why did you decide to write the romantic scene between Jason and Talia in Lost Days?

JW: For those playing at home, Jason Todd, at the end of Red Hood: Lost Days, and Talia slept together. I did that because it was really disturbing and to shine a light on the fact that these are not really well people. A lot of people didn’t like that, which was correct. “You weren’t supposed to like that. That was supposed to be, ‘oh God, stop that, what are you doing?’ It really was. As well as, for Talia, her reasons, being that Bruce had wound up inadvertently killing her father and she was ragingly angry with him and went from love to pure hate and still loving him at the same time. And Jason, given the opportunity to have sex with just about the only woman who Bruce has had sex with or really cares about, ‘Yeah, I’ll go there.’

SL: He’s like, ‘yeah, cause I hate that guy.’

JW: Yeah! ‘I hate that guy!’ And I think that Jason probably had the hots for Talia. She’s hot, he doesn’t exactly have a lot of relationships going on – It’s not a good thing for either of them. These are two people who murder people, two people who are screwed up, screwed up emotionally. There’s this question that why would he do that and Talia only loves Bruce. She might only love Bruce, but she does have sex with other people because that’s just sex. And we’re all grown-ups here. I think those who shake their fist and get angry at this kind of thing might be some of our older readers. I’m an older reader, but I acknowledge the fact that people aren’t that chaste and grow up: people have sex. That’s why I ended it like that; It was messed up.

Maybe it was in another interview or something but this is the only time that I have seen Winick talk about that and I don’t think he mentioned Jason loving Talia but he did say said that “These are two people who murder people, two people who are screwed up, screwed up emotionally”.

When I looked it up, I found that someone that is described as screwed up is a person that is “emotionally disturbed”. That description is one that I feel is valid for both Jason and Talia at the time, they both had a lot going on and were fighting some demons so maybe it’s not a nice thing to say but I can’t say that the statement isn’t true. Or at least that’s how I see it.

When I came across that interview for the first time, I wasn’t expecting Winick to apologise for writing that interaction but I did want an explanation so after he said, “A lot of people didn’t like that, which was correct. “You weren’t supposed to like that. That was supposed to be, ‘oh God, stop that, what are you doing?’ It really was” and “for Talia, her reasons, being that Bruce had wound up inadvertently killing her father and she was ragingly angry with him and went from love to pure hate and still loving him at the same time. And Jason, given the opportunity to have sex with just about the only woman who Bruce has had sex with or really cares about, ‘Yeah, I’ll go there.’”

I felt like that was enough, granted I didn’t like it and I still don’t like it but I don’t see it as Winick writing something disturbing with evil intentions, I just see it as him writing these two morally grey people doing some very morally grey stuff.

This is not me saying that this is how things have to be taken, I know and understand many people who absolutely don’t like this at all and that’s valid. I am not here to change your mind about that, personally when I read the why he wrote that I felt like that explanation was enough but that is just me.

“I feel like he was a one-hit-wonder because ever since UtRH his Jason story started to go downhill”

I think Winick was only meant to write Jason’s comeback to comics, around the time he was writing Outsiders and Green Arrow. And there was also the “Infinite Crisis” (Winick wasn’t involved with that one) event going on in the middle that explained some stuff like how Jason was resurrected which was explored in Batman Annual #25 in 2006 (like a year after the UtRH book had come out and it was also written by Winick). Then with the popularity of the UtRH book the animated movie was made (written by Judd Winick) and because that was coming out DC allowed Winick to write the six-issue mini of Red Hood: The Lost Days in 2010.

The UtRH story didn’t go downhill, DC simply couldn’t handle that level of mature storytelling at the time, just after that event ended DC was already planning on changing stuff and then the New 52 came years later.

Winick’s Jason even made an appearance in Outsiders #44-46, there Red Hood wanted to help the Outsiders break out a good man (Black Lightning) out of prison because he hadn’t killed anyone (it had actually been Slade). Jason/Red Hood’s characterization and story going downhill wasn't on Winick, it was on DC and their lack of interest in making their characters complex and dual.

“DC doesn’t know how to write a character that’s from a poor background and that’s a huge disservice to Jason”

Absolutely. But in my case, I do think that Winick did work with Jason’s background very well. To me, he set a path and no one could follow it but I might also be horribly wrong.

-

I also hope that Rosenberg does an amazing job! I absolutely love his work, as I have said before he is super funny and isn’t scared of writing characters who kill. I feel like he will bring back the sarcastic little shit that Jason once was but he will also bring back that sense of seriousness and dedication that Jason has for the work that he is doing. Rosenberg even showed us some of that in that prelude to Task Force Z in Detective Comics, I absolutely recommend them if you haven’t read them, issues #1041 and #1042 were the ones with that backup story.

I can see that we have very different opinions but that’s just a part of the comic world, we all perceive these comics differently and that’s valid! I am glad you enjoy reading my posts and I hope that even though we have those different opinions you were still able to enjoy my answer! If you think that I misunderstood anything that you say please let me know, sometimes my brain just doesn’t click.

Hope you have a fantastic week!

[neoyi]

I don’t think I’ll ever get to humorously commentate on KH2 piece-by-piece as I tried to do for the first two games (and god knows if I’ll wrap up Re:chain of Memories with the writing method I was doing, but I digress.) I like talking about this endearingly dumb series and replaying this game is a nice opportunity to revisit how I feel now versus how I felt back when I was a fresh-out-of-high-school Neo playing this game for the first time back in 2005.

So I’m going to surmise my current play session (this collects my thoughts up to the Hercules world) with easily containable bullet points.

*I kind of want to make a separate post about the infamous prologue and discuss how people felt Back in the Days (an understatement, let me tell ya), and ultimately what I feel it does for the game and whether I personally liked it, so I'm going to leave that in the back burner for the time.

I will say Twilight Town sounds like a nice, quiet place to live. I love the concept of a city that's always perpetually sunset. It's a beautiful place and like Traverse Town, sports an amazingly cozy soundtrack.

*I'm sure there's some bullshit reason why, but I don't get why Sora's one year absence meant some of the people he's met just....forgot him. Like why? What purpose does this serve? This especially affected Kairi, but it’s ultimately negligible because she regains her memories of him during the beginning portions of the game.

Was this Namine's doing? Was it to protect Sora from the bad guys or something? Why hasn't Riku forgotten him? Was Namine just selective on who she erased Sora's existence from? Did Kairi forget just because she’s connected to Namine? Or Sora? What purpose does this narrative serve? What was the point?

*Speaking of, I forgot, did they ever explain why Riku disguised himself as Ansem? I don’t remember if they ever explained it when I played through this game, but also I haven’t touched KHII in six thousand years, so I don’t remember a lot of the more convoluted parts of the plot.

*It is comical to see Setzer of Final Fantasy VI fame turn from a risky, gambling sky pirate who doesn’t give a rat’s ass about the empire, only cares for the freedom of the skies, and enduring survival’s guilt over a tragic loss of someone dear to him into a...

Whiffle Bat Champion.

*My sheer excitement and obsession when they first announced Vivi as one of the FF cameo was astronomical. I remember keeping a DeviantArt journal detailing any news and screencaps of the little guy pre-release. Still my favorite character from the whole franchise.

Even if he suffers the same fate as Donald and has a zipper on his mage hat for absolutely no reason other than this game existing during Nomura’s Belt-and-Zippers phase.

*Someone’s going to get sued one day because these damn kids keeps sitting atop the clock tower that has yet to be grafted with bars to prevent their inevitable deaths when one of them slips and falls.

*I swear I could play a six degrees of Kingdom Hearts with all the voice actors in this game. Or at least a "Whozit" and "Whatzit" they've done in other media (like Yuffie who is voiced by Mae "Katara" Whitman here. Pre-Avatar, even.)

Also I’m sorry, Will Friedle, you’re a fine voice actor, but you’re...Terry McGinnis. Batman told me he “totally owned all you lamers.”

*I love the Nobody enemy designs. The sheer creepiness and uncanny valley of them all lends credit to their existence as, well, non-existences. The Dusk enemy design alone is inspired with its unsettling belts wrapped around its fingers, or terrifyingly sharp teeth subtly hidden inside of its mouth. I can imagine the creature unzipping its mouth to reveal a set of flesh-eating teeth and the fear is real.

I love the way it flies and circles around its victim, almost like it’s trying to wrap itself around you, but I’m especially fond of that one attack where it essentially kicks you as while it sashays over to you upside down.

The Samurai Dusk also has my favorite reaction command. It’s just unspeakably badass.

*I never liked Squall in FF8 back then (don't know how I'd feel now if I ever replay FF8) and he was just okay in the first Kingdom Hearts, but I remember I really endeared myself to his reappearance in KHII. Squall in this game is what happens when he grew up, found good friends and family, and got some therapy for his issues. He’s stoic, but always a team player, and supportive of Sora and the people around him. KHII Squall is what FF8 Squall has the potential to be once he reaches adulthood and it’s nice to see that here.

*I really love the little changes the developers inputted for Sora, Kairi, and Riku's models to accommodate for their physical growth. Riku's is the most obvious (boy clearly ate his vegetables), but I like that you can tell Sora grew not just through story observations (Yen Sid points out how he outgrew his old garbs) but by comparing his height in relation to Goofy. Sora was shorter than him in the first game, but has since outgrown him in KH2.

Along with his better skill set during combat, this is a really nice way to visually shown how far Sora has come and how much time has passed.

This also goes in the opposite direction with Namine whom I think had to redo her mod when they remastered Chain of Memories for 3D. I notice she looks younger in that game than in KHII which would make sense at the time since it takes place a full year ago.

...Well, maybe. Can Nobodies age???

*Damn it, game, don’t give me a pouch containing 5,000 munny and treat it as an in-game key item that I can’t use even though munny is literally the currency I use to buy things.

*The retooling and emphasis on battle mechanics means the platforming element of the first really suffers and that’s a damn shame. I wasn’t particularly in love with exploring the Disney Worlds in the first KH, but I appreciate the effort put into so Sora could not easily get from Point A to Point B.

Even finding treasure chests is comical and if not for sake of posterity for anyone going for 100%, I wonder why Jiminy bothers to keep track of how many you find. There were literally like three out in plain view the minute I entered the Mulan world.

*Speaking of level designs, yeesh, the layout is not optimal for the skateboarding minigame.

*Trying to design a gummi ship in this game requires a masters degree in gummiology and metaphysical engineering, as well as the ability to tap into the 4th dimensional. The 45,000 page instructional manual they give you, the odd grid map used to piece together your ship (fair, the latter was also in the first game), and finicky button controller layout means it took me a while to fully grasp what I was suppose to do and I’m still not sure I got a full handle of it just yet.

*I don’t understand why Sora had to use a physical object as a conduit in each world to open up a metaphysical gate to the next world. He never had to use an in-between to close it. What’s the exception outside of unnecessary symbolic tie-in to the individual worlds he’s in?

*Props to the developers for recreating the ballroom. It’s actually kind of majestic to look at the beautiful ceiling and chandelier design from Sora’s perspective.

*There are a couple of random gameplay elements I forgot completely existed and seemingly there for arbitrary purposes. I just find it unusual that Mulan’s world forces you to collect literal manifestation of morale. It’s like the developers decided they wanted to reuse the Struggle minigames’ balls into a repurposed Morale Ball because well shit, someone programmed these things they’re damn well going to put it to good use.

I guess if Sora and pals don’t literally collect morale, all the soldiers will be, I don’t know, sad and die in battle or something.

*I’m aware Disney villains using the Heartless as their personal army is the norm, but it’s tonally weird when it’s Shan-Yu of all characters doing it. The infamous Charge-In-The-Snowy-Mountain scene doesn’t quite have the leg up in terms of threat when his army consist of adorable Heartless bumblebees.

*You know what pointless shit I am obsessed with? The stupid puzzle pieces scattered throughout the game. This is the first time I’m playing the Final Mix game and I’m just seething at the lack of abilities I currently do not have that prevents me from reaching certain pieces.

*Auron was instantaneously my favorite character when I first played FFX twenty years ago, and his return in KH2 sent me in fangirlish squeals. How could I not? Look at this handsome bastard. He’s calm, collected, badass with a cool sword, has rugged good looks (he doesn’t have it here, but he rocks some killer shades), and a good dad. That’s prime DILF quality right there. Of course I can’t get enough of him.

Square Enix knows we can’t get enough of him; dude be all “fuck off hades” and gives the god the middle fingers and fucks off elsewhere. Auron is King Shit.

*Oh man, do I still have my old Sora figurine? I think I got him in Katsucon way back in 2009.

*So who’s done a drinking game every time the game introduces Sora, Donald, and Goofy individually to every character they meet?

*Hey, so I noticed Square Enix is finally moving their asses and bringing the Ultimania books to the US. I doubt they’re going to bring the older KH Ultimanias overseas (my kingdom for an officially translated FFIX one), but ya know. I kinda think that yeah, I might want the KHIII Ultimania.

...Just saying.

*GET UP ON THE HYDRA’S BACK! GET UP ON THE HYDRA’S BACK! GET UP ON THE HYDRA’S BACK! GET UP ON THE HYDRA’S BACK!

GET UP ON THE HYDRA’S BACK!

[neighborhood-merc]

Guys !!! I am back! First of all, I hope all of y’all (your friends, family, pets! too) are doing alright. Keep safe! Wash your hands! Don’t go out if not necessary! Kisses! Kisses! Kisses! Alright, alright, let’s do this shall we? Same shit applies. [Here is Part 1 & 2 btw ] 

The themes of the stories on this list varies, I’m either into something heart-warming, fluffy, domestic that sort of stuff or into some really really heavy and dark messed up ones. (READ THE TAGS) It always depends on the mood am I right? *wink wink*

It’s always gonna be smutty though lol

As long as it’s tastefully written, whatever kinky shit, I can be into it, I don’t judge the writer (they give us free content y’all, who are we to judge??) With that being said if I add something straight up messed up here now/or in the future, don’t come for meh, just mind the tags of the fic, for your own discretion if anything.

this list should be Wade Wilson/Peter Parker - Spiderman/Deadpool pairing only. I kinda like my babies greedy/possessive for/of each other.

READ THE TAGS.

I don’t care who tops or bottoms.  ¯\_(ツ)_/¯

Summaries are taken directly from the fanfic’s summary.

Read the tags first!

Deluge (this is such a good boi, this fic is a good boy!) Weapon X chose Wade Wilson because of several factors in his life. He was a preternatural. He had extraordinary abilities that could be expanded upon. The cancer just made him desperate enough to agree to whatever they wanted to do with him.They didn't just turn him immortal. They destroyed his very soul, tearing him apart and shaping him into something new and never seen before. They took everything he had been and left him with ashes and bones. Soulless.He killed his creators and went on with his life.Then he met Spider-Man.Things started to change.Something inside him, something that had come out of the ashes and was a nightmarish, terrible thing, sat up and took notice. An intense, single-minded notice.

The Perks of Working Third Shift An AU in which Wade is wandering the globe and ends up in NYC where he meets the absolute most perfect man he's ever seen who's working third shift at a quick mart. Even better, the man seems happy to flirt back. Wade makes it his mission to score a date.Peter stopped dating a long time ago, but Wade's flirtations, energetic attitude, and hilarious comments make it hard for Peter not to enjoy the attention. But will all of that be ruined if Wade finds out his secret?

Better Like This  (Listen,  NotEvenCloseToStraight’s Spideypool works are amazing, read all of em, honestly just check out ALL the works of the writers on my list because if I list everything, this is gonna be a long ass list) No one knows Spider-Man is an Omega. Not the newspapers, not the NYPD, and certainly not the overly loud, definitely obnoxious, sort-of-a-good-guy, completely Alpha, Deadpool. And Peter would like it to stay that way. But when he drops into an unexpected heat, Deadpool is the only person he can call to help, and how quickly the Alpha switches from shouting dirty innuendos to whispering comforting things really throws Peter for a loop. After sharing a heat, Peter is convinced that Wade is his Alpha, and is ready to take him as his mate, but Wade rejects him. Wade knows that a man like him wouldn’t make anyone a good mate, much less a perfect, pretty Omega like Peter. So he says no, pushes the Omega away and unable to even work together anymore, they go their separate ways. Peter is devastated, heartbroken, seeking comfort in the arms of another Alpha, and all Wade can do is watch from a distance, and keep telling himself that he is doing the right thing, sparing Peter a life of disappointment and pain. Peter deserves better than him as a Mate, and one day Peter will understand. It’s Better This Way. But is it really?(Peter is Andrew Garfield)

Use Me Peter wants to help Wade. Wants to make him feel beautiful, wants to make him feel wanted... Wants to put out the fire in his own gut whenever he sees the merc for what he really is. He does.

Double Mint Gum Wade decides that only one of his fine-ass self just isn't enough 

Spider Spidey (SPIDERY SPIDEY!)

Bleed the Water Red Peter and Deadpool are held captive by a super-villain that has an inclination for torture. After she boasts her untarnished record at never having hurt a child or teenager, Peter is forced to break the truth to both her and Deadpool.“Did you know I have a perfect record?” The villain collects a rusted pocket knife, tracing it up Peter’s arm, over his shoulders, down to his collarbone, as though considering where to cut. Peter focuses on controlling his breathing, fear twisting awfully in his belly. “You may look down on me, Mr. Spider-Man, but for all the righteous suffering I inflict, I’ve never hurt a child. Not once.”“Y'know, I don’t think you do,” Peter blurts. At his words, Deadpool's stare intensifies. “Have a perfect, non-child harming record, that is.”

Don’t Keep Me Waiting Peter's 90% sure Wade likes him. Or at least he was sure. When you almost jerk off in front of the friend you're definitely not pathetically pining for and they never mention it again, it makes you doubt yourself. Peter knows he should probably just ask what the fuck is going on, but where's the angsty fun in that?

Sometimes When We Touch Peter answers a Craigslist ad for someone who is willing to pay for some unspecified physical contact/sex because he's just that broke. He's surprised to find out Wade Wilson is the one who posted the ad, but thinks he can still manage just fine even when the man explains he'd like him to wear a special costume for the occasion. Of course things become a little more complicated when Wade reveals the outfit he's chosen: a shockingly accurate Spider-Man suit

Sunflower 26 and standing at the head of Parker Industries, Peter feels young in every way. He doesn't know himself, he lacks a lot of experience, and he's struggling to get a grip on what he thinks of the merc with the mouth, an absolute force who has starting pushing his desires in a direction that terrifies him.He desperately tries to come to terms with sexuality, even when it means dragging Wade flat on his face.Takes place after the dance scene in Spider-man/Deadpool, with important plot details omitted. Follows these two through extreme character growth.

Two Thirds of a Whole (I honestly felt weird about this one, but eh, maybe someone who’s into it would appreciate it) Peter Parker and Wade Wilson, finding Vanessa dead and having never met, assume the second body is their other soulmate. When they meet in a market ten years later, they both have a chance they never thought they would get again-- a chance at love.But can they find a way to be happy as two thirds of a whole?

Holding Back The thing about not being able to die is that it makes everything so dreadfully boring. Seriously, immortality's a bitch. So, you gotta keep things interesting. How else are you supposed to get through the day without going insane? Well, more insane.Wade wants to be a hero, but fighting bad guys isn't enough to keep things interesting. Wooing Spider-Man might help, though. And exploring his kinks definitely will. Of course, he never thought anything would come of either of these things. Boy, was he wrong!

Missed You  (Imagine me covering me shyly covering my face for this ehehe) “Wade,” Peter whines, pulling off Wade’s mask and catching his lips in a deep kiss. All he can smell is leather and sweat and gunpowder, and he’s already embarrassingly hard. Wade comes home from a mission. Peter missed him. A lot.

Big Peter can't stop looking at and thinking about Wade's great big arms and shoulders and hands and back. He's fine. (He's not fine.) 

 Slip of the Tongue Sometimes Peter can forget how big Wade is, how much presence he has. Right now is not the time. His heart rabbits in his chest as he swallows, looking up. There’s always something there when Wade’s looking at him, something predatory, that makes Peter nervous and wanting, shivering hot all over.

Wade The Cat  “Aw don’t be afraid little buddy, it’s okay, he’s gone”Wade almost cringes at how someone is talking to him, what the hell?! He’s not a defenseless animal. Wait. No, yeah, he is.Wade looks a little alarmed, stepping back as the man crouches next to him, smiling sympathetically “It’s okay, I won’t hurt you. You okay?”Wade holds his breath, gives an once over at the guy, beautiful chestnut eyes, the adorable smile, the red face probably resulting from the cold and the brown humid hair stuck to his forehead as he holds his umbrella for both of them and yep, ladies and gentlemen if he wasn’t before, Wade is right now a defenseless animal because “Meow” Wade says wiggling what should be eyebrows “Honey, I’d let you take care of me all night long” Wade purrs.

Gonzo Journalist (It belongs to a series “We fell in love in October) A young photographer working for The Daily Bugle hears about the tragic fate of an ex-soldier and decides to write an article about his cause to help him out. Maybe more than in one way.

The Man in the Mask When Wade is unceremoniously dropped off into the custody of one Dr. Parker, he assumes the man has only the worst possible intentions for one of the world's last remaining mutants. But it turns out, the universe still holds plenty of surprises for them both.

You Wear My Name Over Your Heart Like It’s Invisible "Why don’t you ever let me see it? If you have the name already, why can’t you tell me whose it is? I thought we were best friends."Everyone gets their Name when they turn twenty-one. It isn’t their own name either. It’s the name of their Soulmate. When Wade Wilson wakes on his twenty-first birthday, he looks down at his chest and sees Peter Benjamin Parker. He stares for a moment then shrugs, gets dressed, and doesn’t think about it for another six weeks.

Parachute, Please Peter unexpectedly goes into heat after an Avengers mission, which could have been fine, but the ride back is 2 hours and he's stuck on a plane with his closest friends and family.At least there's one person he can call at times like these for relief. And in comes Wade.

Peter Parker’s Home for the Wayward Villain A really long redemption story.

And Words Are Futile Devices Peter doesn’t think he’s lonely. He’s too busy to be lonely. He’s twenty-two, working on his PhD and holding down a shitty job at the Daily Bugle, not to mention his nightly extra-curricular activities. He’s too busy for friends, and he’s certainly too busy for romantic interests. And yet, shockingly, apparently everyone in his life thinks he needs to stop being an anti-social recluse and get laid.So Peter enters the wide, wonderful world of online dating. He doesn’t expect to find his soul mate, or even a friend, and he’s definitely not looking for hook ups. He doesn’t know what he’s looking for, really, until one Wade W. Wilson catches his eye and captures his heart with risqué dog pics and a concerning obsession with cannibalistic serial killers.This is a love story. A sweet, inevitable journey towards each other. There is humor, and melancholy, and a touch of both gravitas and levity to the weeks that trickle by. But really it’s just an account of the slow, magnetic movement of Peter towards Wade, and Wade towards Peter.

Strays Wade finds Spider-Man unconscious on a roof top. Score!Or: Spider-Man has lost his memories, some of his vocabulary, and all of his social conditioning. Wade is losing his mind.

The Inverse Deadpool doesn't have to try very hard to hide his second gender anymore because ever since Weapon X, no one in their right mind would ever believe that Wade Wilson was an omega. It doesn't matter anyway, because Wade knows no Alpha would keep a male omega. No alpha WANTS one, much less one that's as scarred and unstable as he is. Apparently, Spiderman was born to break every rule Wade has ever known.

The Body Remembers When the Mind Forgets When people need a mate in their life, it isn't usually because they've forgotten they already have one. 

Half Your Age (Plus Seven) In which Deadpool has oddly specific and frustrating morals, Spider-Man has excellent friends, his lab partner has an opening for a bassist, Johnny Storm has the warmest feet, and everyone has had enough of hearing Peter talk about Wade Wilson (except Aunt May: she’s always glad to hear he’s back in town).

[themattress]

OUAT AND ME: IN WONDERLAND

Story - Because this spin-off series only lasted for one season's worth of 13 episodes, its story is simply the Wonderland Saga and nothing else beyond that, which is for the best given that the story reaches far too complete an ending for anything beyond it to make any sense. The story is about Alice and what transpired after she returned from her original journey through Wonderland as a little girl, leading up to her romance with a young genie named Cyrus as a teenager, their tragic separation, her commitment to a mental institution, and her return to Wonderland in order to reunite with her lost love alongside her friend the Knave of Hearts, all while facing threats from the Red Queen and Jafar who seek to use Cyrus’ genie powers to break the laws of magic in order to accomplish their own secret goals.

The Wonderland Saga is as tight as tight can be, with one chief setting (Wonderland), a relatively small cast of characters, and a 4-episode beginning, 4-episode middle, and 5-episode end. Of course, this wouldn't matter if it wasn't an engaging story with enjoyable characters, but thankfully it very much is. This series is the brainchild of not just Adam Horowitz and Edward Kitsis, but also of Jane Espenson and Zack Estrin, and because of this fact combined with its limited length, it actually surpasses the original Once Upon a Time when you stack the two completed shows up against each other. Sometimes, less is more.

As I said, the story is divided into a clear-cut beginning, middle, and end. The beginning focuses on the early part of Alice and the Knave's journey and establishing who they are and what their deal is, while Jafar and the Red Queen's goals and motivations are kept enigmatic and Cyrus is trapped in a cage for the whole duration of the time. The middle lets Cyrus escape, sheds light on Jafar and the Red Queen's goals and motivations, and explores the darker sides of Alice and the Knave as we see just how badly their past traumas have affected them. And the end is all about the alliance of Alice, Cyrus, the Knave and the Red Queen as they fight Jafar and his new ally the Jabberwocky to decide the fate of Wonderland. It's here that all lingering questions are answered and all character arcs are fully completed.

As far as stories go, this is top tier OUAT. I think I like the Dark Curse and Neverland Sagas slightly more, but the Wonderland Saga comes in at an incredibly close third place.

Characters - There are less of them than in the main show, so this will be easy.

* We start with Alice, played by Sophie Lowe as a teenager and by pre-Stranger Things Millie Bobby Brown as a child. She is a wonderfully multi-faceted heroine, capable of great love and great hate, great kindness and great cruelty, great ingenuity and great gullibility, and always treading the line between holding to hope and giving into despair. While her romance with Cyrus is the focal point of the story, I love that it's not the only important aspect to her character. We also delve into her fractured relationship with her father; her initially unsteady but eventually rock solid friendship with Will; her hate, fear and distrust of Anastasia up until she finally sees the girl behind the queenly mask and how very much alike they truly are; and even her internal mental and emotional conflicts with herself on various matters that sometimes go external due to how Wonderland works. And no offense to Emma Swan, who is great in her prime, but I feel like Alice is ultimately the stronger and more likable lead.

* Cyrus really impresses me, because being the romantic male object of the heroine's attention and a guy who spends the entire first third of the story stuck in a cage, he could have very easily been a boring character. But very quickly, he shows that good looks and magic powers aren't all there is to him - this guy is smart. His cleverness and ingenuity that allows him to affect the plot even when inside his cage is something to behold, and he only gets better once he's free from his prison and gets to play off other characters with more frequency. Add to this a backstory where we see he used to be a selfish con artist, and it being his love for Alice that changed the selfish part while repurposing the con artist part for the cause of good, and you have a character you can enjoy and a couple you can root for.

* The show's breakout character, for better or for worse (no, it's definitely for worse, as we'll see in the next post) is the Knave of Hearts / Will Scarlet. Played excellently by Michael Socha, Will was formerly one of Robin Hood's Merry Men but is now an outlaw all to himself in Wonderland. He's sardonic and quippy, selfish and yet reliable at the same time, eerily muted in his emotions due to having his heart removed from his chest and yet clearly possessing deep feelings within his soul that occasionally bubble to the surface. We watch him go from an untrustworthy, cowardly cad who refuses to accept responsibility for anything to a brave and loyal friend who will sacrifice his own well-being for those he cares about. And his love story with Anastasia honestly steals the show from Alice and Cyrus', as it's full of betrayal and heartbreak and fights and truces and reconciliations before its happy ending, and that honestly feels more human than Alice and Cyrus' entirely plot-based separation.

* Speaking of the Red Queen / Anastasia, she is the female villain with a redemption arc that Regina (and Zelena, to a lesser extent) wishes she was. When she first appears, the Red Queen seems to be a chillingly calm and poised sociopath without moral scruples, but she quickly starts displaying vulnerability, and kudos must be given to Emma Rigby for conveying this through her amazing performance. Her cool, haughty face is like a mask, with more and more cracks beginning to show until we see who she really is - Anastasia, a peasant girl who was misled into a life that was full of power and privilege but that was also lonely and way over her capability to endure in the long run, and who desperately wants to take it all back and return to who she used to be. Once she realizes that she won't be getting the magic shortcut she seeks and that in the process of seeking it she'd wrought even more damage to Wonderland, Anastasia fully commits herself to doing better by everyone that she'd hurt. Even horrific torture, temporary death and mind control doesn't stop her from aiding in the cause to save Wonderland! She's amazing and more than earns her happy ending with Will.

* I could gush about Jafar, the Big Bad of the story, all day long. Jafar has always been my favorite Disney Villain, but he's the villain of an animated musical comedy, so I guess I've always had the question in the back of my mind as to what he'd be like if applied to something with a more serious tone? Well, this version of the character, played to chilling perfection by Naveen Andrews, answers that question. Stripped of most of his caricatured and humorous elements, Jafar is a psychotic, power-hungry madman who will stop at nothing to get what he desires. There is no-one he won't manipulate or torture or murder in his quest to become all-powerful. And the show also gives him a feasible, compelling and incredibly dark backstory (he's the bastard child of an Agrabahn sultan who rejected him to the point of trying to murder him) that explains why he is the way he is but is never used to excuse him or entertain the slightest notion that he might be redeemable.  This version of Jafar perfectly embodies what Roy Disney and Jeffrey Katzenberg said about the original: “Jafar is just pure evil. He wants to take over the kingdom and kill everybody in sight or enslave them, or whatever suits his fancy." "This is the guy that wants it all. You know right from the start that he is a desperate character, capable of doing anything and everything to get what he wants".

* The White Rabbit / Percy is a purely CGI character, and you'd fear that this wouldn't work, but the show embraces how cartoony he is and so it actually works perfectly. He's a very appealing character as well: very neurotic and cowardly, but also a family man whose heart is in the right place and who can be very brave when push comes to shove. A lot of his likability also comes from the fact that John Lithgow (yes, I'm surprised they were able to get him too!) does his voice, and I can't think of anyone else who could voice such a character better.

* In terms of side characters, we have many Wonderland staples reimagined for this show, such as the Cheshire Cat who is now a feral beast voiced by Keith David, the Caterpillar who is now a Jabba the Hutt-esque crime boss voiced by Iggy Pop (who sounds nothing like the voice from the main show, but I digress), Tweedledee and Tweedledum who are the Red Queen's manservants (one being undyingly loyal while the other is a spy for Jafar), the sleazy Red King who tempts Anastasia into becoming his bride, the Carpenter who is trapped in a drug-like haze in the Boro Grove, the White Knight who stands guard over an important pair of doorways, and the Jabberwocky, a monster in the form of a humanoid woman whose power is being able to see a person's greatest fear and use it to psychologically torture them.

There is also mention of Alice having met Jefferson the Mad Hatter when she was a child, and Cora the Queen of Hearts herself appears in the flashback that shows how she manipulated events so that Will became the Knave of Hearts and ensure that Anastasia remained the Red Queen, whom she taught magic and villainy to and treated like a daughter. Regina, Zelena, Anastasia...is there no young woman that Cora won’t attempt to ruin?

Other side characters from other realms include Alice's highly flawed yet ultimately repentant father Edwin, his bitch of a new wife Sarah and her precocious young daughter Millie, and the cold-hearted Dr. Lydgate all from Alice's Victorian world; Robin Hood, Maleficent (voice-over only) and Anastasia's mother Lady Tremaine all from the Enchanted Forest; Nyx the guardian of a sacred well, Cyrus' mother and Jafar's teacher Amara, Cyrus' brothers Taj and Rafi, and Jafar's father the Sultan and half-brother Mirza all from Agrabah. The Sultan, by the way, is a particularly interesting character, as he's introduced as Cyrus' kindly old cellmate and you really get to thinking of him as a good guy, only to then learn who he really is and just what an utterly horrible person he was in the past. His tale is a tragic one, as while he sincerely commits to repenting, it’s not good enough and thus he cannot escape fatal poetic justice.

And then there's one side character that just really gets my goat: Elizabeth aka the Lizard, a cute young thief who has a crush on Will. She appears in the 4th episode and doesn't really do much of anything, then disappears for a while. I thought maybe she was going to end up paired with that "Mr. Darcy" suitor of Alice's from her world and it was going to be a big Pride and Prejudice reference...but instead, she reappears in the 9th episode, becomes the now genified Will's master, and makes a wish that accidentally kills her in order to give Will man-pain. And then she isn't really spoken of again afterward. What was even the point of her!? You could cut all of her scenes and actions from this story and miss absolutely nothing!

Atmosphere - I would describe this show's atmosphere as light and dark, back to back. When it's light, it is much lighter than Once Upon a Time, being very whimsical and romantic and fluffy and hopeful to an even higher degree than its parent show at its best. However, this kind of lightness helps to make the dark elements come off as that much darker as a result. And while there's certainly some dark stuff where Alice in concerned, from an intended lobotomy in the premiere episode to the intense clashing she has with her father, and in the troubled pasts of Will and Anastasia, nothing comes close to the darkness of everything Jafar-related. It's a guarantee that he will do something horrible to someone at least once per episode, although it's usually more than once. The nature of his backstory as a bastard child whose father attempts to drown him plus the intensity of his depraved power-lust also make him a particularly dark character, as is his eventual partner, the terrifying Jabberwocky. Personally, I have always appreciated stories that can balance light and dark in this way and am able to handle both of them, so this show's atmosphere is very appealing to me.

Episode Quality - All I can say here is that there is only one dud in this series, and it's not hard to spot which episode it is. Like I said, while the beginning and middle portions of the show are 4 episodes each, the end is 5 episodes...and the first of those 5, "Nothing to Fear", is incredibly awkward and poorly executed. On top of being where the aforementioned death of the Lizard occurs, the plotline with Alice, Cyrus and Anastasia is also botched. Alice clinginess to Cyrus out of worry that he might become separated from her again and she wants to savor the time she has with him now doesn't really work in the context of needing to find where the freshly genified Will went ASAP, and it makes Alice look bad - Will went through "Bloody Hell" to help her reunite with Cyrus, and now that she's been reunited with him at the direct expense of Will, she doesn't give a fuck? She feels no urgent desire to pay her friend back and be as dedicated to helping him as he was to helping her? Also, the way she verbalizes her issues sounds too ripped off of Emma Swan from the similarly clumsy episode "The New Neverland", and what works for Emma doesn't really work for Alice.

Alice's distrust of Anastasia and dislike of working with her is also badly written, in literally every other episode the tense dynamic between these two has been handled with more care and nuance, but here Alice just comes off as a bratty child. Again, Will is missing and you need to find him quickly, so being able to put aside your differences with Anastasia maturely would go a long way in helping make that happen, Alice! Also, there's a sequence with angry peasants tying Anastasia, Alice and Cyrus to stakes to be eaten by nocturnal wolf-like creatures, and it's so thoroughly mishandled to the point of coming across as comical (Anastasia really can't fight back or escape her binding despite the skills we've seen her have before? Cyrus really thought an eloquent speech was going to instantly convince the peasants to do what he wants of them? The peasants act like they're righteous people who are getting justice against their oppressor and yet then tie two completely innocent people up for daring to go against the grain on the matter? And oh my God, those wolves look awful!)

The only good parts of the episode are the very last scene between Alice, Cyrus, Anastasia and (finally!) Will, plus all of the scenes with Jafar which lead up to the Jabberwocky's debut. Otherwise, this was a transitional episode that needed a lot of fine-tuning from its makers.

Overall - Once Upon a Time in Wonderland is now on Disney+, so if you have that streaming service and haven't watched it, please do so. It's a very well-made limited series that features a great story and great characters played by great actors, and is a definite part of OUAT in its prime. And again, when both completed shows are compared, this one wins hands-down.

[rhowena]

Pile of stuff concerning what happened to Loki between Thor and The Avengers

Originally posted on r/FanTheories

https://inforapid.org/webapp/webapp.php?shareddb=IAxUFHnwkGJSYMj9OFbT8mRl5goHm9SC2qHbWw4knO1cng5qI5Wrg48nP1MdgbWlJmHj6UpwbN343IqnstQUwxIIO01M5Rvb

As it does not escape my notice that I’ve created a digital version of this meme, some navigation help for anyone who needs it:

Mouse over/tap an item or relation to view its description

For items with the yellow ‘Note’ label, select the node and then 'Notes on Item’ in the side menu to view an additional notes page

If an item has a globe icon it the top-left corner, click it to open a webpage

'Adjust View’ in the side menu has controls to zoom in/out, increase/decrease the distance between items, and filter items or relations by category

Relations (and items) are color-coded by type: solid green lines are for in-universe evidence (light green connects evidence to the theory it supports, while dark green connects pieces of evidence that should be looked at together), purple dotted lines denote parallels, and dark red lines mark cases of “one of these things is not like the other”

And an overview of the theories contained therein:

First, the central piece of tinfoil around which all other tinfoil is arrayed: remember how, at the end of the first Thor, Loki was pathologically obsessed with gaining his father’s approval? And how, when he next showed up after vanishing for an entire year, he’d gotten mixed up with a guy who keeps a menagerie of adopted children? And how, during his argument with Thor on the mountaintop, he said this?

Loki: Did you mourn? Thor: We all did. Our father– Loki: Your father. He did tell you my true parentage, did he not?

Loki: I’ve seen worlds you’ve never known about! I have grown, Odinson, in my exile. I have seen the true power of the Tesseract and when I wield it—

Tom Hiddleston: There’s a bit where Thor says, “We all mourned! Our father…” and Loki interrupts him and says, “YOUR father.” And it’s that sense of 'don’t include me in this anymore. I have no relation or connection to you.’ It’s his way of saying 'I’ve let go, I’m gone, I’m on the outside of the fence, I’m happy here, I don’t want to come back in.’

If I may take a minute to get out some of my extremely complicated feelings on this, while there’s a bunch more evidence in favor of Loki having been another of Thanos’s children that can be viewed on the mind map, I want to highlight this pair of quotes because it’s everything implied by the words “Your father” that makes it into a devastating punch in the stomach which draws on both halves of Loki’s Woobie, Destroyer of Worlds characterization: his genuine love for his family is his primary redeeming quality and that he forswore it like this puts the terrible moment when he first knelt before Thanos and pledged himself to the Mad Titan’s service firmly into archetypal Faustian sell-your-soul territory, but when you consider the straits he was in at the time and the implication that Thanos initially ensnared him not through promises of power but by preying on him emotionally, it’s a very human kind of tragic mistake.

The other mitigating factor is that based on everything we’ve heard from Thanos’s other children, it’s a safe bet that he did in fact do unspeakably horrible things to Loki too – indeed, noticing the resemblance between the existing theories about Loki having been tortured/brainwashed and Gamora’s “He took me, tortured me, turned me into a weapon” was what prompted the above realization in the first place. (It’s reminiscent of Theon’s storyline in ASOIAF/GOT: yeah, he betrayed his adoptive family and did some generally awful stuff, but no one deserves what happened to him.) It also bears emphasizing that accountability cuts both ways: one of the key takeaways from the previous bullet point is that the suffering Loki went through doesn’t absolve him of responsibility for his villainous actions, but the other side of the coin is that Loki’s partial complicity doesn’t absolve Thanos of responsibility for the choice he made to take a broken, desperate young man who’d just lost everything and turn him into the rabid animal we saw during The Avengers, and I dearly hope that exploring the rich font of psychological horror that is that time period will erase any remaining doubt that Thanos’s claims of acting For The Greater Good are nothing but empty, egotistical, self-righteous posturing and everyone in the audience who insists on taking them at face value is being duped just as Loki was.

Stephen: No. I mean, come on. Look at your face. Dormammu made you a murderer. Just how good can his kingdom be?

As for where this is all going, I believe there’s a good chance that the Loki Disney+ series will be where they finally address this as a. the split timeline Loki the series will be following is still fresh from his time with Thanos and it will therefore have to explain what happened if we’re to understand the kind of headspace that he’s in at that moment and b. Tom Hiddleston has revealed that the series will also clarify whether or not Loki really is dead in the main timeline, and everything I have so far indicates that understanding the nature of his original pact with Thanos is essential to understanding both Loki’s choice to die and Thanos’s choice to kill him (see the 'Pledge of fidelity’ and 'Limited use’ notes pages on the mind map). Character-wise, I think one of the points of emphasis will be that Loki’s death in Infinity War doesn’t wrap up his story as neatly as it may appear to on the surface; truly completing his redemption arc will require him to confront this part of his past in full, and with it his guilt over everything he’s done and his fear that he’s wrecked his life and relationship with his family so thoroughly that he can never, ever fix them.

Loki: Can you? Can you wipe out that much red? […] Your ledger is dripping, it’s gushing red, and you think saving a man no more virtuous than yourself will change anything? This is the basest sentimentality. This is a child at prayer… PATHETIC! You lie and kill in the service of liars and killers. You pretend to be separate, to have your own code. Something that makes up for the horrors. But they are a part of you, and they will *never* go away!

An additional giant red flag indicating we really should be asking more questions about that time gap is a group of lines in The Avengers which reveal that Thanos taught Loki how to use the Tesseract.

The Other: The Tesseract has awakened. It is on a little world. A human world. They would wield its power, but our ally knows its workings as they never will.

The Other: You question us? You question HIM? He, who put the Scepter in your hand? Who gave you ancient knowledge and new purpose when you were cast out, defeated?

Loki: I’ve seen worlds you’ve never known about! I have grown, Odinson, in my exile. I have seen the true power of the Tesseract and when I wield it— Thor: Who showed you this power? Who controls the would-be king?

Sharing that kind of knowledge and power with someone as volatile as Loki strikes me as an monumentally terrible idea (and as much as I don’t want to be the person who throws a tantrum because their fanfic didn’t come true, I’m kinda salty that Thanos was defeated without it coming back to bite him in the ass), which leaves me wondering what Thanos hoped to gain that he believed would be worth the risks. My thoughts on that particular sub-puzzle are still somewhat hazy, but my basic sense is that there’s something weird going on between Loki and the Tesseract and wanting to exploit that connection is one of the reasons Thanos went to all the trouble of breaking him into submission.

Loki: So I am no more than another stolen relic, locked up here until you might have use of me?

The other reason for Thanos’s interest in Loki ties back to all that emotional twistiness I talked about earlier: he planned to leverage Loki’s anger and resentment towards his family in a bid to destroy Odin and Asgard from the inside.

Zemo: An empire toppled by its enemies can rise again. But one which crumbles from within? That’s dead… forever.

As a prelude to this, during The Avengers Thanos had additionally tasked Loki with killing Thor as a way to prove his loyalty and destroy the last remaining shreds of his own humanity, a test Loki failed because he still loved his brother too much.

Coulson: You’re going to lose. It’s in your nature. […] You lack conviction.

What’s more, Thanos anticipated this, and the Scepter’s influence over Loki was aimed at forcing him to go through with it if he refused.

Loki: I won’t touch Barton, not until I make him kill you! Slowly, intimately, in every way he knows you fear! And then he’ll wake, just long enough to see his good work, and when he screams, I’ll split his skull!

Lastly, even with Infinity War having established that Thanos simply gets off on emotional torture, that he would go out of his way to fuck with Odin personally by turning his second son against him leads me to believe there was a special hatred there stemming from some as-yet unrevealed history between the two. I mean, when I picture the alternate universe where Thanos shows up to attack Asgard with a corrupted Loki in tow like “You screwed up so badly that he chose me as a father figure over you” …that isn’t something you say to a complete stranger.

GRRM on writing villain POVs: That’s a comic book kind of thing, where the Red Skull gets up in the morning [and asks] “What evil can I do today?” Real people don’t think that way. We all think we’re heroes, we all think we’re good guys. We have our rationalizations when we do bad things. “Well, I had no choice,” or “It’s the best of several bad alternatives,” or “No it was actually good because God told me so,” or “I had to do it for my family.” We all have rationalizations for why we do shitty things or selfish things or cruel things. So when I’m writing from the viewpoint of one of my characters who has done these things, I try to have that in my head.

[necer0s]

So I just reread all of Mother of Learning in preparation for the big finale, and boy do I have a lot of Thoughts.  So I put them all in one post so as not to spam everyone.  

The summer festival planar alignment being an excuse for a huge political/social/academic party makes a lot of sense when you consider that this particular planar alignment is essentially the anniversary of the Ikosian Empire.

Can I just say that the Splinter Wars and everything that goes into them is an absolutely masterful piece of worldbuilding craft? Those combined events set the stage technologically, socially, and politically, at scales large and small.

I really enjoy the Northern Frontier chapters. Whenever I think about an epilogue, I always imagine that eventually Zach and Zorian will move north to settle some patch of land with their incredible skills. I feel that Zach wouldn’t be happy without the adventure, and Zorian would enjoy the relative isolation.

I also really like the mind magic in this series. It has a great set of abilities and limitations. Watching Zorian master those abilities and push those limitations is what makes his progress in the field so enjoyable.

Aranean culture is also fascinating. It’s kind of interesting that we explore a number of different web cultures before we really start exploring the different human cultures.

The foreshadowing in this story really is quite remarkable. Nochka and Raynie, two totally separate people with nothing in common other than being shifters, are both introduced to us in the very first chapter, however passingly. Eventually, Zorian is given completely different reasons to get to know both of them. And by the end, getting their respective stories is not only crucial to understanding the invaders’ plans, but essential to stopping them entirely.

The more I reread, the more I wish I’d read the conversation with the angel a few more times. I still don’t really understand why the angels chose Zach of all people to be at the center of the time loop. If it’s a matter of character, surely his Tragic Backstory should have made him look like a potential danger? With his history, there was always a danger that Zach would decide not to care about Cyoria or something.

You know, during this period where Zach is waiting for Zorian to show up... I wonder what’s going on in his mind? I mean, apparently Zach knows all this time that only one of the two of them can survive. But by the time they meet up again, he seems... antagonistic, maybe, but he’s also determined to get Zorian out of the loop pretty soon after talking to him. Is he hoping that they’ll find a way for both of them to live? Or has he already given up on life at that point?

Seeing the “original” version of the invasion is making me think about how Z&Z will defeat the real invasion. I suspect they might have warded most of the artillery magic targets, for a start... and of course, Zorian’s city-wide mind magic will be devastating.

I really do like Xvim. He’s just such a strong character. And yet we know so little about him! I really hope he doesn’t die at the end of the story.

I have to say, I much prefer when Zorian starts becoming exceptional, rather than merely competent. The basics are fun and all, but it’s undeniably more fun to watch him master more advanced skills like mind magic and dimensionalism.

Zach is such a wonderfully fascinating character. That was true even without the contract reveal, and with that information... he seems so carefree and happy most of the time, but he has such delightful hidden depths. The depression and rage were always sort of there, but it’s only with this new insight that I can see just how good a liar Zach can be. It’s not something you’d expect from him.

Random theory: is the Ghost Serpent a former god? He says that a past Branded One made him “fall”, and if anyone could cause the gods to lose their power and be thus diminished, it would be someone who had been through the full time loop.

I will never stop loving the reveal of how the time loop really works. It’s such a masterful culmination of foreshadowing and worldbuilding. “Time travel is impossible”, “blueprint conjuration”, “Black Room-style time acceleration”... the list goes on. Dozens of little hints and facts and observations all add up to this one revelation.

Zach’s determination to get both of them out of the loop is so bittersweet with the contract revelation. What is he thinking in this moment? Is he resolved to die if it gives them a better chance to save Cyoria? Is he quietly (desperately) hoping that if he saves Zorian, Zorian will somehow save him? It’s honestly heartbreaking.

You know, I’ve thought this before, but I really want Kirielle to end up learning from Silverlake in the epilogue.

Oh yeah, the Sovereign Gate belonged to House Noveda in the past... I wonder if the same is true of the Dagger? Even if it’s only the Gate, it does sort of imply that Zach is a distant descendant of the original Ikosian kings. Which might account for why he was chosen for the time loop...

I know that the story is supposed to be divided to into three Acts, but seeing Act 2 end at chapter 54 when the maybe-final chapter is going to be 101 really makes me think that it’s really a four-act story (partly thanks to later chapters being either longer or more plot-dense than early chapters). Maybe Act 3 should end when Silverlake leaves the time loop? There’s a certain symmetry in having each act end with the revelation that someone has left the loop.

So the gate has sufficient power for a thousand iterations even under the suboptimal conditions of this early activation. That’s... over eighty years. Easily a lifetime. At full power... would you expect to see two lifetimes? Five? Ten? That’s incredible power. And yet, for as relatively little time as they’ve had, Zach and Zorian have sure come a long way. By the end of the time loop, even counting Black Box time, Zach has had just about 40 years, and Zorian has had about... 15? Even with all the advantages of the time loop, it speaks to their talent that they both leave the loop as powerful as they do. For them to be as close behind Quatach-Ichl as they are, when he has almost a thousand years on them... it’s impressive.

I love it when Zach and Zorian start bantering. It’s a lot of fun, of course, but it’s also just... so good for them. It’s the kind of thing that just seems really healthy for both of them after how long they’ve been effectively isolated.

Have I mentioned recently that I love Xvim? He’s so totally down with Zorian being a powerful mind mage.

The reveal that Quatach-Ichl is wearing the Crown is such a delightfully sadistic moment. Like, you knew that gathering the Key was never going to be easy, but they went ahead and put the single greatest possible obstacle right at the start.

The Dragon Cult being worried that QI might try to betray them if he knew they were trying to control the primordial seems a lot like foreshadowing... as does Alanic saying that knowing the simulacrum spell is half of what you need to be a lich.

Daimen and Zorian meeting each other for the first time in so long is another one of those moments that makes me wish we could get Zach’s viewpoint on all this. Partly because I’d love a neutral perspective on their interactions, and partly because... what must he be feeling, as someone who lost all his family so long ago?

The wraith bombs are such a wonderfully horrible development. Not only are they about the most disturbing weapon imaginable, they make horrifically perfect sense in this setting. The perfect fantasy nuke.

The fact that the invasion is actually cancelled after the Ibasan Gate is stolen seems like a fairly significant point to me. (Especially since it happens before Silverlake joined the team, meaning she may not know about it.) If one of the first moves in the counter-assault is to shut down the Gate somehow (a sensible option anyway, as it would cut access to Iasku Mansion), there’s an increased chance of Quatach-Ichl deciding to retreat.

...I wonder if Zorian could dominate a couple soulseizer chrysanthemums and use them to fight Quatach-Ichl? They do seem like kind of the perfect option for something like that... I’m just imagining Zorian luring him into a seemingly undefended Noveda garden and then suddenly half a dozen tiny flowers pop out of the ground and try to eat his soul.

With the knowledge that Jornak is Red Robe, it strikes me as important to wonder who exactly it was that screwed him out of his inheritance.

Zorian is such an annoying little brother. I can’t blame him— it’s obviously self-defense against his asshole older brothers— but it is definitely funny.

Boy, every time Zach talks about his future instantly becomes sad when you consider the contract, huh?

Silverlake’s study of the primordials and their prisons is really worrying now that she’s working for the other side. Does she even need the shifter children to release Panaxeth?

You know, Silverlake suggests tracking Quatach-Ichl’s movements to try and find his phylactery, and Alanic agrees, but I don’t remember them ever actually doing that? That’s going to become extremely important by the end of the story. If they could just place the ring’s tracking marker on him, then send him back to his phylactery...

I really do love that dealing with both Quatach-Ichl and Silverlake has serious consequences. Powerful and ancient mages shouldn’t be completely at the mercy of anyone with a time loop, and these two certainly aren’t.

...so the Sovereign Gate can be used as a replacement for the shifter children, right? But the question is— is that true in the outside world as well, or only while it’s “attached” to him to create the time loop? The answer to that question will have a big effect on the final battle. (Could the angels possibly re-attune the Gate to a different primordial? Can the Guardian of the Threshold push Panaxeth back?)

You know, even having seen most of what’s coming, I can’t keep from imagining foreshadowing in everything that happens in this early part after leaving the loop. Like, is Bryn a spy for Jornak? That kind of thing.

Zorian says he has “that one trump card that no one but him knows about”. Boy, what a tantalizing line. Is he talking about bypassing mind blank? Being a lich? A secret spell formula weapon? We just don’t know.

Okay, here’s a thought: how does the contract kill Zach? Is there any way he could survive, like by becoming a lich? Or would it just... erase his soul?

I love that one of the necessary characteristics for the angels choosing Zach is him being dumb enough to agree to a mysterious contract presented by beings in a dream.  He’s Stupid Good by design.

You know, most of the angels’ concerns and precautions make sense to me.  Zach needs to be good, he needs to be willing (however dubiously), he needs to keep Panaxeth from escaping... but why is it such a big deal to them that no one knows about the time loop?  The Sovereign Gate can realistically only be activated by them, and if I understand its function correctly, once Zach went in, no one else was going to be able to use it for another 400 years.  

...oh shit, Zorian is going to put the grey Hunter in a box and send it at someone. Silverlake, probably— he knows for a fact that she can’t defeat it, after all.

It’s sort of ironic that Zorian is the one who will probably end up using the most monsters in the final battle, given how heavily the invaders rely on the monsters.

Ah, okay. The Sovereign Gate can’t serve as an alternate key to Panaxeth’s prison. That’s made explicitly clear. So no shifter children... no Panaxeth. (Except now that I’m thinking about it... what about Silverlake and Jornak themselves? They have a pact with Panaxeth and he literally created their bodies... that’s the kind of thing that could easily work.

[village-skeptic]

on “having it both ways”: thinking about S2 and looking ahead to S3

So apparently once a year I end up latching on to Riverdale pre-season promo and having WAY TOO MUCH to say about it.

Image analysis, pop-culture riffing, S2 criticism, meditations on resistant reading, my own discomfort with “wrongfully accused” narratives in this particular historical moment, and some hopes on the literal eve of the S3 premiere, below the cut...

So, last week when this piece of promo dropped, the very first thing that I thought of was the visual reference to Chicago and the Cell-Block Tango.

(I didn’t do it! - but if I’d done it? - how could you tell me that I was wrong?)

HOW perfect is that homage? The red lighting, the raised arms? The promo still just FEELS like a snapshot from a Fosse dance routine. (A little more on legendary choreographer Bob Fosse here.)

It’s a defiant pose, right in the center of the frame, but a slightly vulnerable one at the same time. There’s nothing hidden here; everything’s on display. The pose draws the viewer’s eyes inescapably to the body - a muscled body, but one which here seems like a gymnast or dancer’s body: lithe figure, tapered waist, power that is channeled into performance.

(this is tasty; this is plenty; this is hungry work)

So, on a first pass, insofar as it puts this demonstrative male body on display, it’s a little bit of a subversive image, I think. And that’s well in line with the way that Riverdale so often courts the female (and/or gay male) gaze, and at its best does some really unusual stuff with masculinity. 

I thought about all of this - and then, silly me, I saw that this piece of promo was NOT a still, but is, instead, a short clip. 

Archie doing pull-ups on the prison bars, as another heavily muscled dude saunters behind him, reads to me like a completely different type of performance! To the degree that it invites the eye, it sends the message: don’t fuck with me. In motion, we have purely the pursuit of greater strength, the purging of weakness in favor of the means of self-protection. 

Instead of Chicago, my mind jumps to 3x01′s title source: Fortune and Men’s Eyes. Dominate or be dominated. 

Realistically, I’m willing to believe that the ambiguous interpretation here between “still” and clip is just a quirk of how it happened to be uploaded to Twitter by a social media intern. 

Still - the interpretative gulf between the still image and the image in motion got me thinking how often Riverdale seems to want to “have it both ways,” and what that does to the audience’s experience and expectations of the show.

For instance:

Other people have written at length about how Riverdale’s pursuit of aesthetic homage or plot contrivance has created character inconsistencies that occasionally baffle. Cheryl is alternately a tragic Gothic heroine and a lacquered, ruthless Mean Girl; Jughead is both a sensitive loner writer and also a bad-boy gang leader; Betty is both Betty and Dark Betty. (GOD.)

Other folks have discussed how the show needs to really play out the consequences of conflicts between the characters. It’s not that the show shouldn’t drop bombshells like the Bughead breakup(s) or the conflict between Betty and Veronica/Jughead and Archie, but it seems all too willing to reset back to milkshakes in a booth at Pop’s without doing enough work to explain WHY things are okay again. (See also: resolving major conflicts between characters literally with a song.)

The desire to “have it both ways” also really shows up in the show’s tendency to engage complicated issues (racism, sexism, colonialism, the prison-industrial complex) on a shallow level - thus getting credit for mentioning them, without really taking the time to explore them meaningfully or to explain the characters’ investment in them. 

The result of this, in terms of storytelling, is that you leave a lot of room for resistant (even combative) readings of the text to emerge. To name a few of my own:

frustration with Jughead’s acceptance of what feels like a suuuuper patriarchal role as “the Serpent Prince” (and later King)

the fact that it’s really hard to sympathize with Veronica throughout entire swathes of season 2

a profound opposition to a storyline that sexualizes Betty’s mental health issues in a really exploitative fashion

And then... there’s Archie.

In the “Cell Block Tango,” the murderesses of Chicago (bar one) get to justify their crimes. Conversely, as we open the third season of Riverdale, the audience knows that Archie’s being blamed for something he didn’t do. Despite bragging about it (!!) to a bunch of mobsters (!!!!), Archie is not guilty of the murder of Cassidy Bullock. 

...but he IS guilty of so! many! other! things! across Season 2. I’m sure I’m forgetting some, but aiding and abetting a criminal, covering up a murder, blowing up a car, and forming an extralegal vigilante militia group - TWICE - all come to mind. 

The last bits of S2 offer us a version of Archie’s amends-making that comes in the form of defending the Serpents, turning on Hiram, supporting his father, et cetera. And then the very last image of S2 - Archie being clapped in cuffs right at the moment that he’s supposed to be sworn into office - is meant to distress us.

But a season of watching Archie embrace fascism leaves some marks, y’all. And a not insignificant portion of the audience, still frustrated with the character’s choices, couldn’t help but say - well, he had it coming.

So, yeah. It’s been a few months between the close of S2 and the open of S3, and in most cases that would be enough time for me to sit with the story in and of itself, to consider more broadly where it had failed or succeeded, and to allow some of that “resistant reader” response to drain away.

But real talk, you guys: I’m finding it really hard right now, at this moment in American history, to connect emotionally with the story of a young man trying to fight the charges of which he has been wrongfully-yet-ever-so-plausibly accused.  

[Please note, I am NOT trying to say that RAS is somehow trying to weigh in explicitly on the SCOTUS debacle. The S2 finale laying the groundwork for this plot aired this spring, and S3E1 has (presumably?) been in the can for a while now. And, to its credit, Riverdale has in both seasons explicitly criticized a sexual culture that objectifies young women and reduces them to “points” (the football team’s playbook) and to prey (Nick St. Clair).]

But, for me personally, I can’t help looking at this plot and hearing echoes of “It's a very scary time for young men in America when you can be guilty of something you may not be guilty of.”

Here’s the interesting thing: I think RAS knows this, and I think the promo around this plot is partially designed to try to dispel these connections. 

(For me, at least, it’s having mixed results.)

(source)

For instance, I can’t look at this still (young man, formal suit intended to project good character and youthful vulnerability, sullen face, flanked by counsel) without thinking, “Wow, this feels....Brock Turner-y.” 

I don’t know if anyone’s written about courtroom photos and sketches as a genre of visual composition, but I feel like I’ve seen variations of the Riverdale still a million times, often printed on the front page of the local university newspaper, discussing the controversy over the conviction (or NON-conviction) of a promising young athlete accused of something awful that no one who knows him EVER would have suspected he would do. (Nice boy, nice family, so many extracurriculars, such good grades!)

Of course, there’s a major difference between the photos above: Archie’s defense team is entirely female. 

Obviously this makes sense because Mary Andrews and Sierra McCoy are both major supporting characters who are also lawyers - but it also makes sense in trying to dismantle some of the potential gut reactions to this visual framing. There’s some “innocence by association” going on here, I think. And after all, Archie IS innocent of this particular crime!

This still lands with mixed effect for me though, because any defense strategy that suggests the intentional composition of a visual tableau feels inherently cynical, even when the character is sympathetic or innocent. 

For instance: I just watched The Marvelous Mrs. Maisel, which features a scene where the main character shows up in the courtroom in full Upper West Side respectable regalia to try to get the obscenity charges against her dismissed - she fails and ends up having to plead guilty, because she mouths off at the judge. Anyone who’s familiar with Amy Sherman-Palladino’s work will recognize this bones of this plot point in the courtroom scene in Gilmore Girls: Rory’s grandparents’/lawyer’s attempt to portray her as a naive little angel backfires, and she ends up getting a ton of community service as penance for stealing a boat. It’s important to note that the characters are both guilty of their charges - although, as another favorite show of mine might note, “the situation’s a lot more nuanced than that.”)

(source | source)

Another way in which the pre-season promo is distancing Archie from both his actions last season, and the present context external to the show, is to emphasize his profound contrition. In this teaser from Riverdale 3x01, we get Archie declaring that “whatever happens to me in the courtroom on Tuesday - that is what I deserve.” This a statement of universal guilt and responsibility (one might say martyrdom?) that goes well beyond the scope of his actual infractions.

Now - I really, really appreciate that we’re getting a sad Archie rather than a mad Archie. And I want to acknowledge that he’s so definitely a kid here, trying hard to “man up” and to grapple with the fact that he screwed up big time and that there are consequences for his actions. After a season of doing the wrong thing over and over and OVER again, he’s trying to do the right thing. 

But here’s the thing: Fred responds to this confession of near-universal guilt with what (in this snippet) feels like a pair of universally-exculpatory statements: “You are a good kid. You got manipulated by a mobster.” (Mary is more nuanced: “You do not deserve to be framed for murder.”)

Archie does not deserve to be framed for murder, and he certainly did get manipulated by a mobster. In fact, I would like to formally start a petition to have Archie not fall under the control of an unscrupulous adult in S3!

However. 

Instead of accepting guilt for anything and everything and being immediately absolved for non-specific sins because of his inherent “goodness,” I really want to know that Archie understands what he actually DID do last season. He climbed wholeheartedly on board with the plan to Make Riverdale Great Again, and in that process, he did things that were NOT AT ALL commensurate with being “a good kid.” I think both the character and the show would benefit from a more explicit meditation on exactly why Hiram’s manipulation was so effective, and why Archie moved so quickly past being merely Hiram’s pawn, and voluntarily embraced the role of Hiram’s very ambitious accomplice. 

One of the specific preconditions of restorative justice is that the offender has to acknowledge their actions and the hurt that they caused. Reconciliation and vagueness are incompatible for so many reasons, but one of them is because a BIG part of learning from your mistakes is thinking precisely about what you did so that you can choose not to do it again.

I read a bunch of the new Archie comics over the break, and I think I now have a greater appreciation for the trope of Archie as a schlemiel. Despite his best intentions, the Archie archetype keeps making the same goofy, klutzy mistakes over and over again. This is fine, even funny, when it means that Archie just keeps accidentally ending up with a bucket on his head. Whoops! 

It is super not okay if it means that Archie just keeps finding himself supporting fascists. ...whoops?

(At present, my entire country is being “manipulated by mobsters.” Clearly, I have some feelings about this.)

I don’t actually know how to wrap all the loose ends of this analysis up meaningfully and coherently at the finish here - but then again, that probably puts me into good company with our showrunners. Optimistically, I’m going to hope that that’s intentional - that I’m judging in media res, and that plotlines and character arcs in S3 will weave together in a way that will surprise and delight me! 

But mostly, I’m going to reiterate my hope that S3 makes meaningful choices. That the people in charge don’t waste their actors’ time filming oodles and oodles of material that gets sliced and diced to ribbons. That they make choices EARLY about major plot points; that they stick to them; and that they let the rising action and falling action of your narrative reflect those choices, and the consequences that naturally accompany them. 

I hope that the people in charge of S3 will resist the ever-present temptation to “have it both ways” - which ultimately works out to really no definitive way at all. Telling a sturdy story is risky in a totally different way than courting controversy - but it’s so, so worth it. 

[mimzilla]

Hi there! Three questions: What things do you think Gon and Killua need to work on respectively before they reunite? Do you think they are keeping in touch? And how do you hope/imagine their reunion and post reunion bond to play out?

I’m going to append this other ask onto these three questions, because it links up with the third one pretty neatly!

tl;dr: This is so long I’m dying Squirtle

Actual tl;dr: Gon’s had a failed coming-of-age story arc, and is at the beginning of a new one about who he wants to be. Killua’s arc focuses on his dependence on other people’s approval, so he needs to develop an identity separate from what others need from him. I think they aren’t actively not talking to each other, and I hope Alluka knocks some sense into these ridiculous boys.

Mild warning for minor post-ending-of-the-anime manga spoilers.

Busting out the big guns right at the start, huh? I’m doing my stretches. Let’s dance.

Gon is really interesting to think about, because his ‘hero’s journey’ is… done. He had a goal, struggled to overcome insurmountable odds to meet it, did overcome them through determination and sacrifice, and returned home in the end. So now what? He’s lost his Nen, which Hunters are said to need in order to truly be Hunters, but having taken the exam he’s also a Hunter for life. He’s landed in a grey area, not quite a Hunter and not quite a civilian. And I certainly hope he doesn’t just do the same stuff over again, because that would be kind of boring.

What I want for Gon is for the narrative to explore his story as a coming-of-age arc, because while his hero’s journey has reached the end of its circle his coming-of-age story has only just hit its climactic point. These stories follow a different arc, where the protagonist starts out suffering an emotional loss that compels them to journey in search of answers; they struggle through obstacles that contribute to their maturation; and in the end, their greatest obstacle is to overcome their own perspective on the question they’re asking.

Gon starts out with a very obvious emotional loss: he learns that Ging chose to leave him behind on Whale Island. The answer he’s seeking is to the question “What is it Ging is searching for that is more important than me?” He matures both in terms of his strength (learning Nen and developing his own fighting style) and in terms of encountering/being confronted by worldviews different from his own (e.g. meeting all his friends for the former, the Troupe truly loving one another and Pitou being more than a mindless killer for the latter). He doesn’t overcome the climactic last challenge, in fact he fails rather spectacularly. He can’t let go of his own perspective on the world, and as a result he hurts both himself and his most intimate friend.

As far as I’m concerned, that’s a good thing. It’s brilliant. The series builds a stunning structure of Jenga blocks atop Gon’s black-and-white perspective that wobbles (the Troupe love each other) and has new pieces added to it through the story (the Greed Island players killing each other is an expected part of the game), but doesn’t topple until he’s faced with a truth almost impossible to carry that kicks his foundation out from under him.

It’s really hard to actually accept and believe that the people who hurt you aren’t purely malicious. I don’t want to get into real world examples all that much, but suffice to say that ‘good’ people are capable of doing evil things and people with intensely bigoted views are also fully able to feel genuine love for others. It doesn’t mean they’re secretly actually not bigoted, or their views should be discarded as superfluous to who they are. It just means they’re people. Cruel people are still fully people.

Continuing on with the anime talk…

So Gon’s tower of metaphorical Jenga blocks has fallen. The prospective climax of his coming-of-age story falters and falls into a valley. Soon after, the climax of his hero’s journey… is abruptly handed to him. He doesn’t find Ging, Ging’s just there. Neither of them are ready to meet this way, for good reason; according to a standard story structure, Ging flat-out shouldn’t be there yet. Gon’s not ready to meet him, hasn’t completely faced the challenge of finding him, hasn’t come into his own. It’s jarring, out of place. It’s doesn’t match up to the structure of a hero’s journey.

But as another obstacle in a coming-of-age story, it’s perfect. Gon has seen enough of the world and learned enough to approach the question “What did Ging leave me in favor of?” anew. And here’s Ging, able to answer it directly.

Gon’s emotional collapse at the end of the Chimera Ant arc is beautiful (narratively speaking…) because it functions as a new coming-of-age story’s beginning. He knows what it’s like to be a Hunter, has experienced its joys and agonies for himself. He can answer the question he started out with, and does form the bond with Ging he’s sought from the start. But his story doesn’t end, because he hasn’t come of age yet.

He befriends Ging… but that’s all. The validation and intimacy he chased after isn’t quite there. He doesn’t even feel much drive to stay with Ging for long, and says the only thing that could convince him to chase Ging for any longer would be being able to feel how powerful a Nen user Ging is, which Gon can no longer do. Meeting Ging doesn’t truly conclude either of Gon’s arcs, and Gon is now home again, where the hero’s journey both ends and begins. Because Gon went through his emotional crisis, he has the tools to recognize the new question before him.

We know that Ging has accomplished great things. He’s restored sprawling ruins and uncovered who knows how many historical secrets that might otherwise have been lost forever. Satotz looks up to him as an inspiration and a mysterious figure within the Hunter Association. He’s influential enough to be partially in control of the Hunter Association (until he peaces out, anyway). He also acts like an asshole to basically everybody, is hugely manipulative, and makes the two people with the closest familial ties to him chase his footsteps to prove themselves worthy of his respect.

Gon, with his new perspective, faces a new question.

“Do I want to live my life like Ging has lived his?”

That sure was long-winded, wasn’t it? Phew. It only sort of answers the question, too. Whoops. Moving on…

There’s a character trait among Aristotelian tragic heroes that if one wants to sound smart is called “Hamartia” and if one wants to be understood is called a “fatal flaw”. I’m not going to adhere exactly to the fatal flaw as it works in Aristotelian plays, but suffice to say that a fatal flaw is a trait the hero possesses that leads them to their own downfall. For example, Gon’s black-and-white worldview is a fatal flaw that leads him to his breakdown.

Killua’s fatal flaw is basing his own self-worth on being important to other people.

Killua never really struggles with specifically not being an assassin. He just decides to stop. The ground-in bloodlust and mechanical killing instinct that rear their heads on rare occasion seem quite firmly within his control. It’s something else that’s held over from his childhood and the way his family raised him: being used as a tool.

Writing that first bit took a bit out of me, energy-wise, so I’ll just cliff notes this one, maybe...

Killua is, shall we say, in the habit of thinking of himself as something useful to other people

Even as powerful assassins, the Zoldycks largely just do what whoever hires them tell them to do

Illumi’s needle is a direct example of this

His goals from the start have just been “Escape his family” and “Help Gon achieve his goal of meeting Ging”

His second goal has now been achieved: he helped Gon meet Ging. This is one of the reasons playing into his decision to leave, since staying would get Gon mixed up in his primary goal of escaping/getting rid of the other Zoldycks. Alluka’s... “supplanting”? That’s not the right word for it but whatever, Gon in Killua’s priority list is emblematic of this

His helping Gon is different from his doing what his family tells him because he actively wants to help Gon. Just wanted to make that point

All the same, his affection for Gon is part of what keeps him in this self-destructive mindset

That Alluka can directly empathize with this mindset, having been held captive and literally having magic powers that depend on other people making wishes, means (I hope) that she and Killua together can have some adventures and grow into their own autonomy

Were I to posit a coming-of-age story question for Killua to be searching for an answer to, it would probably be something like “Separate from what other people need from me, what do I want to do with my life?”

 As for the other stuff-

I don’t think they’re keeping in touch, at least not regularly, but I think they definitely do both have an understanding that they can call on each other for help if they need it. Gon references what Kite tells him - that whatever changes have happened, they still are and always will be friends. And friends help each other when it’s needed! Killua does his tsundere thing and makes a fuss to Ikalgo about Ikalgo so much as thanking Killua for his help, because to Killua it’s not something that even needs saying. Of course he’ll help his friends. This no doubt still holds for his friendship with Gon. So maybe not sending each other weekly updates, but I also don’t think they’d deliberately avoid speaking to each other.

I’d say that both Gon and Killua agreed to split up with the understanding that it wouldn’t be the last time they’d see each other. Whether either of them have an outright plan to link up again and travel together indefinitely, it’s hard to say; I kind of doubt it, mostly because there hasn’t been much discussion for either of them on practical long-term plans. Killua has escaping his family, but he’ll need something to do after that as well. Gon’s back on Whale Island doing homework (bless his heart), and now that he’s met Ging who knows where he’ll turn his eyes next.

Personally, I really want Alluka to play an important role in getting Killua to a place where he can be totally secure and happy with Gon again. Partly because she’s already proven herself capable of asserting herself and setting him straight, partly because she needs some good ass character development herself (and her establishing independence would be huge in helping Killua establish HIS), partly because she has that great line about letting Killua go play with Gon again once she’s had her fill.

It’s kind of hard for me to say what exactly I want their reunion to be like because it relies so heavily on what they do in the meantime, and there’s not much to work with there yet. I love drama, so some dramatic circumstances and tension would be nice. A big ol’ emotionally cathartic payoff when they see each other again.

I guess I can’t really offer anything concrete in the way of their post-reunion bond, firstly because it’s hard to imagine them interacting in a way that’s really different from their canon relationship, and secondly because if I start going down that road it’ll be fanfiction city, baby. And I live there, but if we’re talking about stuff I actually consider canon… who knows! I’m looking forward to it.

[raywritesthings]

It is interesting that you can write 10 so well considering the way you feel about him. I understand what you mean, I do, but I think there’s more going on there and 10 is my favorite in part because he has such a depth, hurt and real emotions to him, even that he hurts others (and he does). I can’t stand 12 see him as almost evil. SoI get it! I just wanna say you have mad skills to be able to write him despite your feelings. So please don’t take this the wrong way. I couldn’t write 12. No way!

Anonymous said:Whoops, I didn’t realize there was a bit of an argument going on when I sent that last comment. I was just replying to your post about shipping 10 and Donna but not liking 10 outside of series 4! Definitely didn’t mean to get into anything here... Sorry! You can just ignore me. Lol.

Haha, no it’s okay. I think the debate has blown over. And sorry if it seems like I was ignoring this; I was just celebrating my birthday yesterday and didn’t have time to get on my laptop to properly reply. And it’s probably gonna be long (sorry) so the rest of this is gonna go under a cut. Read more if you all wanna know some of my thoughts on Ten, otherwise feel free to skip.

Firstly, I want to thank you for the compliment. Regardless of how I feel about a particular character, when I sit down and write them I try to get into their head and into what they’re thinking and do it from their point of view. Now, I don’t always agree with what they think/feel/do in the story, but I present it as logically as I can.

My frustration with Ten specifically is that, while David Tennant put so much into the character and RTD clearly had certain character beats or threads he wanted to explore - they’re never really given their proper due in the narrative. 

Like, there’s this idea there that he and Rose are too reckless/careless in series 2, a bit too arrogant and uncaring of how their actions impact others (we see it specifically with Mickey and Jackie), and that it leads to the creation of an organization bent on stopping the Doctor (even though Rose was the one ceaseless bugging Victoria, but I digress). Here’s the thing, though: the initial plan for Tooth and Claw was for them to accidentally get Queen Victoria killed, thus altering/damaging history. Real consequences, not just a single moment where we see Jackie sad in the Elton episode, or Rose admitting for one second that they take Mickey for granted right before we say bye to him in the parallel world (for the time being). But without that plot, a majority of the audience completely misses that idea. Series 2 is considered the “good times” for Ten, where everything was right and nothing bad had happened yet. Never mind that there was plenty wrong with him already.

“Don’t you think she looks tired?” With one bit of misogynistic language, he topples the government that was supposed to usher in a Golden Age according to his previous incarnation. Into the power vacuum steps the Master. There’s this repeating theme that the Tenth Doctor creates his own worst problems, but it’s never really crystallized in the narrative. Again, I read that RTD was planning to emphasize that, but never quite got around to it.

On the other hand, the narrative has no problem shifting blame off of him wherever possible. “Then what happens next is your own doing,” he tells the Racnoss Empress before pressing a button he knows will drown all of her children. “You make me this,” he says to Miss Hartigan before destroying her and the other Cybermen. It doesn’t exactly matter that they’re evil; he’s still blaming the victim of his actions for causing his actions in the first place, rather than taking ownership of them. And other characters do it for him, too! “Some things are worth getting your heart broken for.” “The Doctor is worth the monsters.” “He’s like fire.” Like it’s just a natural thing that he can’t help it if you get hurt, when there are absolutely things he could be doing to mitigate the damage he causes, he just doesn’t. And almost nobody holds him accountable, at least not successfully.

Almost nobody - enter Donna Noble.

Donna was the best thing to ever happen to the Tenth Doctor’s character. I’ll be honest with you, I got into the show a bit late. DT was already gone, so I went back to watch his stuff after watching most of the Matt Smith era (what had aired of it at the time). A friend had told me to skip Rose, so I started right in on the Runaway Bride. Then, because I didn’t want to wait for more Donna, I skipped right over series 3 and went straight into 4. And here’s the thing; I genuinely liked his Doctor. I was enjoying it. Imagine when I then went back for series 3 and got to see what an asshole he’d been for an entire series to Martha. And then peeked back at series 2 to see if it was a fluke only to discover even more I found distasteful.

It was like night and day! He’s quite simply a different character around Donna. That’s the only real way I can explain it. Part of it just has to do with the Runaway Bride. It is so important to their development as characters and as a relationship. Because they see each other at their absolute worst - and there’s no hiding that. There’s really no excuses for it. Donna knows exactly what he is capable of - and demands better. Won’t take no for an answer. And because he wants to impress her, wants her to like him, he delivers. That’s simply it. He cares about her opinion of him in a way that he didn’t care about what Martha thought. He wanted Martha around, but he felt he had free license to lash out and give her as much hell as he liked until she refused to take it anymore.

People like to say he’s grieving in series 3. Okay, I get it’s fine to have emotions and feel sad and miss someone. That doesn’t give him a pass to treat the people around him - people he invites into his life - like dirt. And yet, he’s largely left off the hook for that. Martha gets her goodbye speech, and Ten admits to Donna in Partners in Crime that what happened “was all my fault”, but by the Sontaran Stratagem notice how the narrative has shifted what that means. What happened is no longer “I made Martha feel unwelcome and like she didn’t matter as much as other people for an entire year (or two)” and is instead “I taught Martha how to fight and she became a soldier”. Because it’s no fun acknowledging that your main character - the through-line for most of RTD’s era - was kind of an abusive friend.

The Tenth Doctor to me is a Byronic Hero in the worst sense. Broodingly handsome and haunted by the things he’s done in the past, meant for girls to swoon over and tolerate how he treats them because he’s in pain. But Donna doesn’t give any of that nonsense the time of day, and that’s why he had to change so much in series 4. The few times he slips back into it, she’s there to pull him out or flat-out tell him “I think you’re wrong”. If he had grown out of that Byronic phase of his life, if the series 4 him had remained for the rest of his run, I might have found his character alright. There was an arc there, and he learned something and improved.

But instead, with Journey’s End, all the good is undone. He lobotomizes Donna. Full-stop. Sends Rose away with his clone and doesn’t tell anyone else what’s going to happen or that he’ll be alone, because he knows what’s best for all of them and this has to be the way. I think he likes being that tragic figure a little too much. He enjoys blaming all of his woes on inevitability and “the curse of the Time Lords”. It’s nice to have a scapegoat for all his wrongs. (Isn’t it so convenient, that Dalek Caan prophecy which declares the metacrisis “destiny”? Almost like it’s not the Doctor’s fault for leaving his hand lying around chock full of regeneration energy for anyone to touch. It simply had to happen, completely out of his control. It’s not his fault, isn’t that nice?) And then he’s killing Miss Hartigan like he did the Racnoss Empress, he’s turning down Christina because he’s meant to be alone~, he’s fighting time itself in Waters of Mars.

Sidenote, I hate the whole Time Lord Victorious title-y thing. You know why? Cause it lets the narrative push the blame again. It’s treated like this separate persona, what he ‘almost became’ - bullshit. That was the Tenth Doctor. He did those things. He spiraled out of control. The only reason he stopped was because a woman put a bullet in her head. He thinks the Ood is there to signal his death at the end and to be honest, I agreed with him. He deserved to die there.

When it came down to the Tenth Doctor’s actual final episode, RTD had to make a choice between a big, bombastic finale and a quieter, personal one. He went with the first option; had to send his hero out with a proper swan song, right? But the quiet finale I feel had much more potential to do something good to his character. Nobody watches the End of Time now for the plot - they watch it for those quiet scenes between him and Wilf, where he finally starts to admit his failings and owns up to them. It is beautifully tragic, and rightly so. The Tenth Doctor is a mass of contradiction and complexity, and I can absolutely respect people who find value in that and consider him their favorite character. My issue stems with the way the narrative chose not to properly interact with that complexity. I have an issue with characters who get off scot-free while others are held accountable in the same narrative. It bothers me. The hypocrisy in the writing there feels like an injustice. It also doesn’t help that I think any and all Byronic Heroes can go step off the nearest cliff and stop bothering women who would be much better off without them.

So I think if I tried to write him outside of that series 4 bubble (excepting some kind of post-Journey’s End fixit or, possibly, something to do with Sarah Jane because she’s about the only other character who made him likable to me), you would see a much harsher take on him. I would write as fairly as I write any character I dislike, but I would hold him accountable where the show did not. I don’t know if that counts as bashing or not. To me, it’s honesty.

I think the reason I’m much more receptive to Twelve than you are is because I feel he does learn and improve from his initial beginnings. I’ve never managed to finish series 8. Believe me, I get it, it’s sometimes painful to sit and watch how he treats the people around him in those early episodes. But, if you haven’t done it, I would recommend skipping ahead and giving series 10 a try. Because to me, that is the proof that he learned, in a way Ten was never allowed to because RTD was determined to have his “tragic hero” ending. Certainly Twelve is not perfect (no Doctor is), but I would take his interactions with Bill Potts over series 2, 3, and the Specials any day.

So, if you read this far, again thanks very much for the compliment and for giving me the opportunity to expand on my Ten thoughts. I hope I didn’t offend, as I know it’s no fun to read criticisms of a favorite character, and I hope I continue to write him well for you!

[pixelgrotto]

The horrific Resident Evil playthrough, part six

Resident Evil Zero starts with a bang and a wonderfully tight example of level design, as new STARS member and series cutie pie Rebecca Chambers investigates the Ecliptic Express, an Umbrella-operated train that’s become the testing ground for an early version of the zombie virus. On the train, she meets an escaped convict named Billy Coen, and the two of them have to blast their way through tight cars filled with bio-weapons and a great number of leeches, which play an important role in this game, before finding a way to stop their Orient Express outta hell.

I adored RE Zero’s Ecliptic Express, partly because I have a thing for old locomotives and also because it reminded me of 1997 adventure game The Last Express, but with zombies. The environment also felt wonderfully fresh, since aside from the ruined Raccoon City briefly featured in RE 2 and more prominently in RE 3, the majority of the series has, thus far, been content to fall into a fairly standard cycle of settings - mansions, ruined industrial complexes and underground laboratories. What better way to inject some variety into this mix than with a Gothic train, perhaps the perfect environment for a survival horror game thanks to its many rooms, narrow hallways and plentiful hiding spots for the walking dead? Unfortunately, the Ecliptic Express is more or less the highlight of RE Zero’s environments, and once Rebecca and Billy crash the train and end up in an old Umbrella training facility, the game once again falls back into the trope settings that Capcom was content to recycle. This was a disappointment, but RE Zero injects some unusual, experimental shifts into the gameplay experience that make up for packing its most atmospheric surprises into the first hour, though not all of them are entirely successful. Chief among these is the partner zapping system, which has players controlling two characters at the same time and occasionally separating them to solve puzzles, like when Rebecca has to stand on an elevator to reach a higher area and Billy has to work the controls. It’s good stuff, since if one thing has become clear to me since beginning this RE journey, it’s that the series has always harbored fantasies of being a partner affair but never was quite able to figure out how to do it. Previous games would only feature very brief sections where another character accompanied you, and the rest of the time, they would keep making ridiculous excuses for why they needed to split up, kinda like members of the Scooby-Doo gang. With Becca & Billy, finally this nonsense has been done away with, and while you now have twice the amount of inventory management to wrangle with, it’s great to finally explore these secluded, dangerous environs with some backup. The fact that Becca & Billy are actually good characters with chemistry helps, and while it’s understated, the story gradually forces them to trust each other more and more. It all stays mutually respectful and there’s no forced romance angle (even though I totally ship these two), but when Billy gets into a bit of a tight spot near the end of the game and Rebecca desperately shouts out his name in panic, you can sense how much she’s bonded with him through their shared night of terror.

I mentioned inventory management, and this leads me to RE Zero’s other big surprise - the magical connected item boxes that have been a series save point trademark are completely AWOL in Zero, and players can actually drop their stuff anywhere, a first in the franchise. Apparently, the devs implemented this to take advantage of the nonexistent load times of the cartridge-based Nintendo 64, which was supposed to be the original platform for this game. (Prototype footage of the N64 version exists and looks impressive, though the ROM’s never been leaked, unfortunately.) I’ve also read that they did it to bump up the difficulty level and intentionally go back to the essence of Sweet Home, the grandpappy of the series.

I thought Sweet Home was a fantastic hidden gem, but the limited inventory space and necessity to drop your items was actually my least favorite part of the gameplay, since it led to lots of housekeeping and backtracking where you’d realize you needed a particular tool but had left it on the ground ten screens away. And this problem exists in RE Zero as well, which is probably one of the lead criticisms that the game faces on the internet. In my opinion, Zero’s backtracking is nowhere near as bad as in Code Veronica, but there were definitely large stretches of the game where I was simply picking up all my crap and moving things to save point rooms, which I basically converted into makeshift item storage halls. There are also a lot of items in the game, like the hookshot, which take up two slots in Becca & Billy’s precious inventory space and aren’t used for a long time only for the game to suddenly drop a “hey you need this to progress” moment, which is liable to piss folks off. I can understand the devs wanting to make things harder, but there’s a fine line between challenge and annoyance, and Zero’s inventory wrangling occasionally enters the realm of the latter. It would’ve been best if the team had given players the ability to drop their stuff and included the traditional item boxes, but unfortunately, it seems like they were operating under the mentality of “we’ll give you ONE freedom but take ANOTHER away, muahaha!”

In the end, I was able to forgive most of the item problems thanks to the fact that I liked Rebecca and Billy so much, and I had more fun with RE Zero than most of the fanbase, which tends to view it unfavorably. If I were to rank all the classic Resident Evils, I’d actually put Zero right under REmake, RE 2 and RE 1, and in my eyes, it’s better than RE 3 and Code Veronica, which end up on the bottom of my list for different reasons. (RE 3 is competent fun but kinda by-the-numbers, and Code Veronica remains the only Resident Evil game which really felt like a slog the more I played of it.) 

Why then does Zero end up getting so many apathetic reactions? Well, it’s probably because aside from the inventory management problems, this game feels a little unnecessary, which is an issue that most prequels suffer from. Zero was advertised as revealing the details behind the tragic mission of the Bravo STARS, the team that you learn was slowly massacred over the course of Resident Evil 1. Unfortunately, aside from Rebecca and a few token cameos, the Bravo guys are barely in the game at all, and most of the plot revolves around the background of Umbrella and a case of backstabbing and industrial espionage where one of the original founders, James Marcus, was killed by his colleagues. Marcus, who created the zombie virus via experiments with leech DNA, was resurrected by the very leeches he experimented with, and now he’s out for revenge.

All of this is vaguely interesting, but if I’d been a hardcore RE fan back in the day and was promised a prequel that revealed the fates of the Bravo STARS only to be given a side story about a dude and his leeches, I’d probably go WTF. Capcom dropped the ball on their storytelling by providing something that nobody was really asking for, in other words, and I’ve found out through my meanderings on the Resident Evil Wiki that The Umbrella Chronicles, a spinoff game for the Wii, actually delves deeper into the deaths of Bravo team. That’s the sort of stuff Zero should’ve focused on in order to feel more needed in the grand scope of Resident Evil. Another option might have been to ax the prequel concept entirely, which leads me to another thought that’s only appropriate to bring up now that I’ve finished all of the “old school” Resident Evil games.

If it had been up to me, I probably would have plotted the course of the series differently after RE 2, which contains an interesting nugget of information hinting at an Umbrella Europe base that was never expanded upon to its full potential. The game seems to indicate that Jill, Chris and Barry are going to Europe to investigate and shut down this facility, and just about EVERY strategy guide, article and bit of speculative message board posting I can find from around that time was obsessed with this concept. It seems like everyone thought that Resident Evil 3 was going to be a rollicking European adventure…and it wasn’t, it was instead a game that took place at the same time as RE 2 and explained how Jill escaped Racoon City. Code Veronica never really expounded upon this tidbit of lore either - we get a very brief intro with Claire Redfield investigating an Umbrella headquarters in Paris, but then suddenly she’s captured and the vast majority of that game takes place on an island near South America.  I can’t help but feel like a massive opportunity was missed here, and if I’d been in charge of Capcom’s scenario division for these games in the late 90s, I would’ve changed the plot of Code Veronica and basically made that one Resident Evil 3 (which it was originally going to be if Capcom hadn’t wanted to keep the “main” RE games on a Sony console). I would’ve made it an adventure with Jill, Chris and Barry in Europe, and near the end I would’ve brought Claire in to join them and fight alongside her brother. Then, I would’ve made a spinoff game simply titled “Resident Evil: Nemesis” or something of the sort, and taken the general “escape Racoon City” plot of RE 3…but had it star Rebecca Chambers.  See how nicely that would’ve worked? Fans would’ve gotten their detailed peek at Umbrella Europe and the return of the classic combo of Jill + Chris + Barry. The weird Ashford siblings and Code Veronica doofus Steve could’ve still been incorporated into the story. Meanwhile, Rebecca could’ve starred in a game that felt necessary, since the beginning scenes of destroyed Racoon City were some of the best bits of RE 2, and there’s no reason why she couldn’t have met escaped convict Billy Coen while escaping the city. They could’ve worked together to flee from Nemesis, and I guess the mostly forgettable mercenaries of RE 3 could’ve made an appearance as well. 

Sadly, I don’t work at Capcom, and they planned these games totally differently. We finally would go to Europe proper with Leon Kennedy in the next RE game, but that one would mark a shift in both storytelling and atmosphere, as Resident Evil quickly transitioned away from its horror roots…and into the realm of fast-paced shoot ‘em up action.

Resident Evil 4 is next, and the playthrough continues! 

All screenshots taken by me. For more, check out this Twitter thread showing my step-by-step progress through the game.

[marybeatriceofmodena]

/ slams fist on the table/ TELL ME ABOUT YOUR PREDICTIONS FOR HOW REYLO IS GONNA GO DOWN

Aw, thank you for that question! *cracks knuckles* 

AND JEEZ I WROTE A FUCKING NOVEL ROFL

To be honest, I have trouble separating my general TLJ speculation from my Reylo speculation, but I think that’s mainly because I think Rey and Kylo are going to spend a lot of time together in the next film. 

Basically, I’m pretty sure Rey and Luke won’t get along very well. I even think Luke might downright refuse to train her. It doesn’t help that we got pretty solid evidence that Rey is not exactly good Jedi material. It’ll depend on what kind of Jedi Luke is, but again, Rey is anything but all calm and the “no attachments” kind of person. (Like, not gonna lie, I read the Ahsoka novel lately, and one thing that struck me was how rigid the “no attachments” rule was, and how Ahsoka suffered from it even if she didn’t admit it out loud. All I could think was: “Nope. Rey is not a Jedi, unless she undergoes some serious character change. And that wouldn’t be positive character change AT ALL.) 

I think Luke’s possible refusal to train Rey might also come from the fact she’s a lot more like Ben/Kylo than she (and the audience) believe. It’s not going to help that I’m pretty sure Rey is going to be an eager puppy around Luke, at least at the beginning. Remember that part where she bypasses the compressor and looks all happy about it, and Han doesn’t give her the credit she thinks she deserves and gets all crestfallen? I mean, she clearly already saw him as a father figure at that moment (even if she knew Han for, like, ten minutes), and she was pretty desperate for his approval. I’m ready to bet she’s going to go after Luke as a replacement father figure, which is not the healthiest thing to do, but at same time, considering Rey’s background, it’s not surprising (and it makes her situation pretty tragic, come to think of it). Luke pushing her away is REALLY going to hurt, methinks. 

Rey will probably learn something about Kylo’s backstory at some point, that will make him more sympathetic to her eyes. I don’t know how. It could be a vision or something, but we have to keep in mind that MSW rumors had it that just before Kylo shows up on Ahch-To, Luke wants Rey to kill Kylo and she doesn’t want to. Make of that what you will, but I think it would take something BIG for Rey to refuse to end Kylo’s life, because she ain’t a sweet little peach. I think it might have something to do with Kylo/Ben’s backstory with Luke. I mean, I’m pretty sure TLJ will be the answer to whatever question we might have had on the current Skywalker family drama. 

I think Kylo is going to come on Ahch-To probably at the end of the first act or in the middle of the film, max. Otherwise, if he comes at the climax like (fake) rumors seem to claim, Rey is going to spend the entire film stuck with Luke on a desert island, and she’s supposed to be the heroine. Booooring. (Plus, Adam Driver spent a lot of time filming in Ireland, so I don’t think Kylo is going to show up on Ahch-To just for one scene at the end.) 

As for Kylo’s mental state when he shows up… I don’t know. I’m pretty sure the trailers are going to show him off as a Big Bad, but there are two scenarios: either Snoke managed to convince him to have his revenge on Rey, and he’ll come on Ahch-To with his stupid-ass Vader cape flappin’ in the wind, and he’ll start dueling Rey and realize he just can’t bring himself to harm her, and then Rey drops the bomb about whatever she knows about his past. That just renders him helpless. But the other scenario is that maybe Snoke’s convincing just didn’t work this time, because he’s having way too many doubts, and while he keeps on obeying the Supreme Leader, he goes straight to attacking Rey when he arrives on Ahch-To just to pull off a tough show in front of the Knights of Ren (because no, I have a feeling they ain’t Kylo’s buddies). 

As for the rumors of Rey falling from a cliff into the water… I don’t know. It could happen (well it would just be a good excuse to see Dangerous Dreamboat without his shirt, and I wouldn’t be complaining, but hey.) 

And sure, have Luke take down the KoR in the meantime. I admit they’d kind of be in the way (I mean, they’re probably just there to look cool. *eyeroll*). 

From there… so we have Rey who knows thanks to backstory that things aren’t quite what they seem with Kylo, even if she still feels confused towards him at best, and Kylo is still all like “The Supreme Leader is wise” while on the inside he’s screaming “WHAT THE FUUUUUCK”, and then TEENAGE HORMONES KICK IN, AND FROM THAT MOMENT, AFTER DEALING WITH THE HELL THAT WAS HAN AND LEIA, LUKE SKYWALKER IS FUCKING DOOMED

Okay, no, for real. I’ll just point out one little thing: in TFA, Snoke and Hux seem to have no problem with the map getting destroyed or Ahch-To getting blown up. What’s important is that Luke must not reach Leia. Kylo… seems to have another purpose entirely. He *wants* the map, so I think there’s something on Ahch-To (which is home to the first Jedi Temple) which he wants. Not to mention that I’m pretty sure him falling to the DS and joining Snoke isn’t just for UNLIMITED POWAH. I also think that whatever treasure is on Ahch-To is hard to access. I mean, it doesn’t seem as if Luke managed to access it. So methinks it takes two to access the Jedi Temple. (starts humming “It Takes Two” from Into the Woods) 

All right, considering Raiders of the Lost Ark is a big inspo for Rey and Kylo’s plot, according to Rian Johnson… I think we’re going to have Kylo coaxing Rey into giving him the headpiece for the staff of Ra helping him access whatever’s in the temple. Luke… will not be pleased. But I think at that point, Rey will have had more than her share of Luke and will side with Kylo. 

I MEAN WHY THE FUCK WOULD YOU PUT AN 30-YEAR-OLD VIRGIN IMPERIAL ARCHIVES NERD AND A CUTE SCAVENGER ON A DESERT ISLAND CONTAINING AN OLD JEDI TEMPLE, C’MON RIAN

Gimme some fun Jedi Temple exploring action. And Kylo attempting to impress Rey with his AMAZING knowledge. And Hanleia levels of bantering. 

I think it would be a good opportunity for the movie to become more introspective without slowing down the action too much. Rey has issues, and so does Kylo, and I think it’d be a good moment for them to realize that they’re not so different, and that families aren’t the sugar-coated vision Rey used to have of them. 

And then… let’s say the FO arrives on Ahch-To because Snoke realizes Kylo is planning to elope with Rey slipping out of his control. I JUST WANT A SCENE LIKE THIS M’KAY. 

Basically, just replace Indy with Kylo, Marion with Rey, and Belloq with Hux (?). 

Then… I could see the movie’s climax taking place on Ahch-To, and Finn’s Resistance plot coming to meet Rey’s there. Basically, the Resistance could get worried of not getting any news from Luke and could head to Ahch-To and start panicking when they see the FO presence there, or maybe get info thanks to intel that the FO is heading straight to Luke. Meanwhile, Rey and Kylo would try to escape, and get caught. 

Not gonna lie, I think Kylo is going to get the Skywalker Special (i.e. getting his hand chopped off). I also think Rey is going to tap in the Dark Side at the end of the movie, and I could see a scenario where she gets so scared and angry she unleashes a wave of pure DS power and kills every enemy around her (let’s say Hux too, because you know, it would permit Rey to tap in the DS and do a kill that could easily be forgiven in the eyes of the GA. Plus, that ginger space Nazi is deaaaad.) I could also see that happening when Finn is around? I think Rey and Finn will meet again in the third act of the film, but in not so good circumstances, and that would make that kind of situation work. Anywho, Rey will probably be devastated, and I think the movie is going to end with her and Kylo finally managing to escape and going rogue. 

I think there will be a time jump between VIII and IX (because there seems to be something happening whenever you’re 23 in SW, and Rey is going to be 19 by the time of TLJ). I think travelling together will help both Rey and Kylo to see things from another perspective, and just… take a break from all this? If that makes any sense? (Okay, I’m kind of going quick because this post is way too long already, lol)

I also think Reylo will become two-sided at the very end of TLJ. Before that would be too rushed imo, and for it taking place in IX… I admit I don’t really see Colin Trevorrow pulling it off. Plus, if they spend some time on their own, it might help them find a bit more stability with themselves and all that jazz (even if I think it’ll just be the beginning of Rey’s problems…) 

So yeah. Those are pretty much my predictions - or rather wishful thinking, lol. I’m pretty sure the ending is super not clear because I kind of rushed to finish this rant, but hopefully, it’ll give you a good idea. ;) 

Send me a SW-related question. 

[melaniefloodprojects]

Thinking Through Photography with Maria Antelman

Carlin Brown interviews Maria Antelman on the occasion of her solo exhibition My Touch, Your Command, Your Touch, My Command.

Maria Antelman makes videos, photographs, sound installations, and sculptures using both new and traditional technologies. Conceptually, her art practice points to our interaction with machines and the complicated systems they weave around us. Her themes come from disparate sources like space exploration, crash test facilities, artificial intelligence experiences, and utopian possibilities. Recent shows include On the Exactitude of Rain at Ryan Lee Gallery (NY), A Nonexistent Event at Melanie Flood Projects (Portland, OR), Notes from the Field at the University of Melbourne, Soft Machines at Impakt Festival (Utrecht), Private Matters at Apexart (NY), Stigmergy at 247365 (Brooklyn), The Amateurs at the Agency (London), …But the Clouds… at Room East (NY), and Capsule Spaces at the Eugenides Foundation (Athens). Antelman received her MFA from Columbia University.

—-

CB: There are a few repeating motifs in your work; a hand collaged over footage, explicit references to science and science-fiction, and of course the machine. The title of your exhibition at Melanie Flood Projects, My Touch, Your Command, Your Touch, My Command suggests back to some of that same imagery. I think of voice command systems, tactile technologies, and Artificial Intelligence — the difference between the “touch” (whether physical or psychological) of a human hand or that of a machine becomes blurred. Technology and the machine is an extension of us. This is something you’ve addressed before, like in the sound piece The World of Blocks (2015). Can you speak to that?

MA: We used to handle machines. Now we command technology with a sound, a voice, a touch, a gesture, a motion. There is a relationship of power and a feeling of control attached to how we use it, and it’s intelligent. With the machines, the master and slave component was clear. Digital technologies are kind of sneaky. We create tools and then these tools transform us. We become extensions of the technologies we use. Objects are turning into information technologies and are entering our personal territories. An example is prosthetics: your bionic hearing aid is smart, and thus accessible by a third party (hackable). There is a vulnerability inside its intelligence. Also, on a larger scale, we become dependent to smart technologies serving us. We are losing the ability of doing certain things by our selves. There is always the underlying question: who is in control?

CB: There are also intimate and sexual connotations behind the title. What is the correlation between human intimacy and our computers? If machines are not an extension of us, how might you otherwise describe human-technology relationships?

MA: “We are gathered around the altar of high technology, transforming our loneliness into some kind of community”, a quote from a forgotten source.

CB: You grew up in Greece and studied history in Spain, but relocated to Silicon Valley during the dot-com boom, bust, and rebound of hi-tech. Starting from a place so rich in its own history and moving to a hub of fast-paced technology, your artistic practice seems to act as a bridge between these two worlds. How does the parallel of past and future exist in your work?

MA: Rich history can become a burden, while the hub of fast-paced technology can feel extremely empty. The poet says that thinking about the past connects us to our mortality and thinking about the future connects us to the idea of utopia. What conjures past and future is our imagination. My father was a political cartoonist, and I grew up looking at all these sophisticated comments on politics, economics, society. I loved how they were sad and intense but always made you laugh. Their effect lasted for a second, but that second was amazing. I really admire this quality: being comic and tragic at the same time. Maybe the past is tragedy and the future is a comedy, or vice versa.

CB: You’ve often made work that sits somewhere between video and still image by animating sequences to an audio track. The Repeater (2016) superposes slides of side-by-side photographs with the soft, echoing voiceover of a hired actor. How did you come to this process? Given that your new exhibition is a part of the series Thinking Through Photography, can you describe your relationship with photo as medium?

MA: “Death is a photograph, life is a movie”, wrote Susan Sontag. A photograph makes you wonder what happened, while a movie is an anticipating experience. The viewer is expecting to see what is going to happen next. So, I make movies with photographs, because I am interested in the contrasting feeling of these two reading responses. I started taking pictures very young and later as a cinephile, I felt great admiration for filmmakers. Years later, I came across a video editing program in a box with a user manual, and I started making videos using my photographs. I make these compositions, or rather juxtapositions of different elements (images, sounds, voices, texts, motion, etc), which question the sanity of our society.

CB: “If there is a copy of you, while you are still alive, then the real you ceases to exist at that moment. You can never know if you are the very same person, for fear of an unknown double running around somewhere else.” There is a really powerful message here — it makes me think about the way our virtual presences can succeed our “real lives” and in a way have a separate existence. Can you elaborate on this quote from The Repeater?

MA: This is part of a philosophical argument, also known as the duplication objection. It has been used in the film Total Recall with Schwarzenegger, a technophobic film from 1990. Arnold, the man-machine has had his memories duplicated in multiples. He ends up losing his sense of who he is. The best moment in the film is when Arnold watches a video recording of his original self talking to him, his physical duplicate. It is very nicely confusing. It makes me think of the way we are dealing with our multiple digital personas, which we curate and update constantly. These copies or representations inhabit multiple platforms and data banks. In the Repeater, the images transport us to a natural setting, on an island, with a bunch of amateur radio operators, far away from a dark machinist urbanscape. The radio operation is low key, a couple of stations set on the sand, surrounded by stray dogs, antennas facing the sea and a few careless tourists taking selfies. It feels harmless, and innocent, but the slight possibility of such duplication absurdity creates an intense feeling.

CB: In 2015 you showed in Portland for the first time with your exhibition A Non-Existent Event at Melanie Flood Projects. There are some clear aesthetic differences between the work you presented at that time to the work in MTYC, YTMC. How would you say your practice has shifted since your last exhibition?

MA: Then, I presented a photomontage series inspired by the J.G. Ballard’s novel The Drowned World. The novel takes place in a post-apocalyptic tropical London with high-saturated color descriptions. I loved the feel of the story, the characters and the landscapes. I had shot these black and white negatives inside a metal shop at a NASA center, there where satellites and rockets are built. Again, I was thinking about the interrelation of the mechanical with the digital world. My photographs were shot with a mechanical camera and were about mechanical tools, but I was using digital tools to manipulate them. The result was an amalgam of these two technologies, dipped into the color palette of the Ballards descriptions. Then, I played a sound piece about one of the first inspiring AI intelligent program created at MIT. Two voices were reenacting the human machine interaction, highlighting tensions of knowledge and nonknowledge. Now, that I think about it, I could have used the same title for that show as well.

CB: The work produced for A Non-Existent Event includes photographs you captured during your visit to NASA centers in Mountain View, California and Hampton, Virginia. Can you describe your experiences visiting the NASA centers and how else those visits informed your practice?

MA: I have visited three NASA centers, Ames, Langton and Glenn. All of them were initially Aeronautical Centers, and have wind tunnels built in the first stage of space exploration. Walking inside these humongous architectural monuments, was an incredible experience. The feeling was very archeo-futuristic. The most fascinating part was how they stood there, immense and empty, as proofs to ideas that don’t exist anymore. After the space exploration funding ended, all the space technology was applied to global networks and economies. Satellites now orbit earth, support the communications systems and mirror back to us all our posts, selfies, locations, data, etc. Digital culture technically flourished, using the technological infrastructure of the cold war. During those years people’s vision was directed outwards; now we are looking at each other. It is strange how the culture we are experiencing is a byproduct of another process.

[shionch]

Mention some of your favourite videogames please

Oh boy, you have asked The Question! I’m a major video games nerd, and there are so many I love… if I had to choose a single one, I’d implode from the pressure.

This post is going to be LONG (sorry), so I’ll put the most important part first: currently, I am in the process of making a game of my own. It takes ages because other than a couple of people who helped me out with music and sound, I’m pretty much on my own. But we’ll get there eventually, just you wait. The working title is City Under Siege, and it’s a visual novel mixed with strategy and dating sim elements. Basically, you play as a General who arrives to save the besieged city, you meet local resindents, you investigate who started the war and why, etc, and naturally you can fall in love with almost any of the characters you meet, including the enemy general. I’m so excited to write that game!

(ask me at cityundersiege-vn for progress updates if you’re interested, we have a playable demo and everything)

Now, on to the actual games I play… putting that under the cut, because the post is super long, and I don’t want to clutter anyone’s dashboard too much.

My absolute favorite series has to be the Sims, The Sims 2 and The Sims 4 in particular. TS2 allows virtually unlimited control when you create your character’s face, something the latter games lack; the animations quality is also top-notch, the smallest things like getting in/out of the car, taking the frying pan out of the kitchen drawer, all kinds of things are animated. The Sims 3 is a step back in that regard, although it offers some spectacular building tools, probably the best in the series, but I don’t really like building stuff. So. Currently, TS2 cannot be run properly on my computer, so I’m playing TS4 which is actually good, it had body diversity and trans gender options (that last part solidified my love for it).

There is one sims family I’ve been playing for 9 years, almost a decade. Five generations with an accompanying story. I love them so much, they’re like my own family at this point.

I love BioWare games for their intricate stories and quality writing.

Jade Empire is the best in that regard, the story is rich and complex, all the choices are truly difficult because they all have moral reasoning behind every option. The music, the colorful graphics, everything in that game is so enjoyable! I would sell my soul for a good sequel tbh.

Dragon Age 2 is one of my all-time favorite games, again, for its writing. Sure, it’s a little unpolished in parts, but ultimately, I find the story very nuanced and multi-faceted. It shows how true evil can hide behind benevolence, and the finale is tragic and brilliant in that tragedy.

Mass Effect trilogy is pretty good, although I usually prefer fantasy to Sci-Fi. It raises some interesting questions, especially ME3, regarding sentience and how far “the good guys” are willing to go for survival, what makes us people, etc. When I watched that recent “Annihilation” movie, I kept thinking I saw those themes explored in Mass Effect, lol.

I love visual novels, too! One VN that I cannot recommend enough is Solstice by MoaCube. IT IS SO GOOD. Brilliant writing that keeps you on the edge of your seat, the intrigue, the moral complexity, and of course the stunning art… one of my favorite games ever, definitely! I especially love the Kala subplot there: a knowledge so powerful, even asking too many questions about it can drive you mad…

Coming Out On Top is a really fun game, as well as Dream Daddy. Both are gay VNs, and both have interesting characters and hilarious cutting-edge humor. The light tone, the lovely art, they’re the fluffy rom-coms you never knew you needed until you played them.

Most Choice of… games are fun if you like text games (which I do). They’re more like interactive novels, really. My favorites are Zombie Exodus; Affairs of the Court: Choice of Romance; Pendragon Rising.

Oh, I also love old adventure games like Sierra’s and Lucas Arts’ ones, and recently Telltale. The Day of the Tentacle and the Monkey Island series were a big part of my childhood, they helped me learn English, and overall they’re just very fun, witty, beautiful games. The remastered versions are even available for mobile phones, I think.

Technobabylon and Shardlight are great adventure games. Powerful emotional stories. A must-play if you like adventure games and/or cyberpunk.

The Legend of Kyrandia series is one of my favorites, too. The second game in the series, Hand of Fate, is probably the best one due to its humor and the peculiar game mechanic where you get to make magic potions.

I’ve recently played Expeditions: Viking, and while it might be not my favorite game yet, the start is rather promising. It has its problems, which I’m not sure I should focus on. It’s time-consuming due to its tactical focus, a single fight takes 10 minutes at the very least. I haven’t managed to finish it yet, but the beginning of the game looks promising.

When it comes to strategies, I love Age of Mythology and Age of Wonders: Shadow Magic. Don’t let the titles confuse you, they’re completely different games. AoM is a real-time strategy, while AoW:SM is turn-based. In AoM, you meet a wonderful Queen Amanra (incidentally voiced by the same voice actress who plays Meredith in Dragon Age 2) and travel through Ancient Greece, Egypt, Norse lands, and in the latest DLC even China. Very fun. In AoW:SM, you play as a wizard in a war against shadow demons; not much in terms of story, but the soundtrack is one of the best I have ever heard in my life!! I even bought it separately, which I never do. That music is so good, it’s a balm that cures a wounded soul.

I could go on and on, because I have barely scratched the surface of the games I love, these are the bare essentials… but this post is too long as it is.

Sorry for the late and disproportionally huge answer ^.^’