#i thought the books would adapt him as primary protagonist

[lazulian-devil]

Ive been thinking about Omen Darkly again.

And how, even though the story is about Valkyrie and Skulduggery, his storyline just feels so raw.

Valkyrie has everything. She has all the power and all the trauma of being a god. She has an overpowered sorcerer as a best friend. She has a family that loves her, a sister she would do everything for, a girlfriend, a dog. Yes, she suffered for it. But she still had a support system and friends. And she turned out to be kind of a lovable asshole that I think I would like a lot less if I met her. Shes very selfish. And shes allowed to be selfish because shes powerful. Im not saying shes only selfish and that is her defining character trait. But y'all know what I mean.

Omen though. Omen has nothing. Omen is a literal punching bag. Omen has no power and still all of the trauma. He has no family, he has lost his brother (His beloved, wonderful brother that deserves only the best) in a horrendous twist of fate. He had to grow up so quick. And then he had to grow up again and become a whole different person with all that responsibility. He is exploited, used and thrown away at every goshdarn turn.

But Omen? Omen is kind. Omen is good. Omen prevails in a world that spits in his face over and over and over again. Omen Darkly faces unbelievable odds and falls down so many times and yet he always stands up. Not because of some divine power or some belief that he is better, blessed by birth, blessed by blood. Because he has to. Because he loves the people around him. Because he wants to be seen. And Omen friggin Darkly is seen by so many and liked by so many and he doesnt even know. He finds a place in which people look up to him and he has to leave them all behind and go back into the darkness. And yet, he still continues on.

Omen Darkly is just... Its just a good fucking character in a world filled with shitty selfish world-ending-power sorcerers. And I like that. I like that quite a bit.

(If anything happens to him in AMFOM I will kill Derek Landy with my kindness).

[markantonys]

More Twitter nonsense.

"Rand has no connection with Tam in the show."

"Rand's relationship with Tam is so central to his character and his development that he feels like a different character without it."

Like...what? It's not missing we just didn't get as much of it as we would've liked. And how is he an entirely different character than book Rand? I hate this idea by the fandom that Rand is an entirely different character than he is in the books cause they didn't include this one specific thing. Rand is probably one of the closest adapted of the EF5 imo

rand's relationship with tam in the books is just a few scenes in book 1, the very occasional thought in books 2-11, and a few scenes in books 12-14. it's not that much! i remember spending much of my readthrough going "okay the rand-tam relationship is sweet but why does it get THIS much love in the fandom? it's barely been in the story at all after the first book?" their relationship is significant to rand's character arc only in books 1, 4, and 12, and even then, only book 1 has it as a book-long theme whereas it just comes up briefly in 4 and 12, but in 12 its brief relevance happens to be as part of rand's biggest turning point in the series, which makes people remember the relationship as being a lot more significant to his overall story than it actually is imo.

if you take all that and adjust it proportionally for the 4 million words:64 hours book:show ratio, then yeah, that's not going to work out to be all that much screentime. the show has and will continue to fit in what they can for that relationship, but it has rightfully deemed rand's relationships with his fellow primary characters as more important to the overall story than his relationship with tam, who is a secondary or tertiary character. and that's the case in the books too; i'm fond of the rand-tam relationship but it 100% is overhyped and isn't nearly as big a part of the story as people think it is.

plus, the thing that's "central" to rand's character arc is the idea that his upbringing and his roots in the two rivers have shaped him into a good, humble man who can succeed where LTT and his arrogance failed. in the books, the rand-tam relationship is one of the vehicles for that, but it's that broader idea that's important rather than the specific relationship. all the show has done is shift the focus to use the EF5 relationships as the vehicle for the very same idea, since the EF5 relationships are a much larger and more constant presence throughout the story than the rand-tam relationship. it was a good narrative choice for a time-constrained medium that must tell the story as concisely and efficiently as possible (the rand-tam relationship only serves this 1 theme & function, but the EF5 relationships serve many themes & functions and serve multiple main protagonists' arcs instead of only rand's, so you get more bang for your buck with them, so to speak). but a lot of book fans really struggle with the idea that the show can and does convey the same themes and emotional beats using different scenes/characters/relationships/etc, and so many Show Complaints stem from that inability to see the forest for the trees.

(also! it's very easy to "shortcut" parent-child relationships because the audience has a prebaked assumption of how deep such a relationship is and we thus don't need to spend much screentime showing its depth. for example, rand and tam had only a couple scenes in s1, but my show-only mom was very emotional when tam asked about rand in nynaeve's test in s2! i don't doubt that if the TGS scene were to make it into a later season, it would hit very hard for her regardless of how much time was spent on that relationship in prior seasons.)

[feysandfeels]

Okay okay okay I read your thread, I did the homework but I want to know how do you feel about KotC??

Hello sugar,

Well overall I will say I deeply enjoyed this sequel. I think Kerri did a wonderful job of exploring hell, as a Dante lover I think to go into this territory when your primary location is Italy and not have Dante's inferno as a Hell intertex would have been a disservice.

I loved Emilia's progression as a character. I think she developed well in this environment and learnt from the get go that she needed to adapt. That her shyness and second guessing nature had no place in the circles of hell. She understood that this people trade in power yet power does not always mean wealth, there is power in how you hold yourself and she got that. I loved how she came in somewhat empty handed with not many things that she could bargain with, other than herself, yet she made herself a desirable currency by learning more about the world, by improving her power, by taking risks. You can see her evolving as a player throughout the book and what I really love is that she used a "fake it until you make it" approach.

As for Wrath, I think he can rightfully claim a top spot in the "most interesting love interest lists". Lately I've been noticing that many of the love interests don't have a personality beyond being turned on by the main lady and wanting to save their people. I think I can legit name five from the most popular books in the past two years that can fit this description to a T. Yet Wrath offers more and more, yes he's after the power, yes he has a court to lead, yes he is very very much into Emilia, but his story and the exploration we had of it through the book offers layers and levels from which we can attempt to understand Wrath and his motivations. You can read from the catholic point of view, you can understand it from the demon lore, you can see the humanity in the wrath, you see the human vs the divine/demonic, you see the intrigue and the vulnerability, you see the power play, you see the constant oscillation between surrendering yourself to the natural impulses that feed the notions of sin vs the wanting to remain in control because he is in it for the long game. All of this on top of the fact that he is utterly whipped for Emilia.

It is very satisfying to read about Wrath, because you get the adoration and love and you get the grounded layers of character work. I think Kerri did a good job creating this character because she did not sacrifice his sense of self and the feeling that you are reading about a layered person, for the sake of his attraction to the protagonist.

As for the plot, I loved how it pivoted from something external, like solving a mystery about a death to something deeply tied to Emilia's development as a character. What drove the book forward, more so than Emilia putting the pieces together regarding Vittoria's murder, was her feelings about the marriage bond. The marriage bond was the nice façade that propelled Emilia forward, that had her asking questions regarding who she was and what she wanted out of all of this. In the first book we have an Emilia who out of the pureness of her heart heads into every situation headfirst and then she creates a plan, what keeps her moving forward is needing to find who killed her sister. In this book we have an Emilia who realizes that she needs to equip herself better, to grow, to question, to understand that in accepting Wrath she is accepting much more than the she originally thinks she is accepting (her lust for him). It was a character driven book and one of my favorite aspects was to see Emilia thinking, making mistakes, backtracking, exploring another path of thought, analyzing, thinking, questioning herself.

On top of that the twists were well developed and so they were surprising but well founded so they did not seem to pull the rug from under you. That being said you still got your "AHA!" moment

My biggest complain about the book is that it did not deliver that sex scene. More than just me wanting to see how Wrath is, I feel that since most of the book and the development of both the story and the characters depended on this act, it feels very cheekily rude of her to deprive the reader of the scene. Like it feels like she wanted to leave it out because she wanted for us to get worked up about it, and not because it served the plot. In that sense I find the ending quite lazy.

I feel the exclusion of this scene came more from the it being a cheap cliffhanger rather than a necessary one.

But yeah, solid sequel, created a more balanced character in Emilia and added depth to her relationship with Wrath. Wrath grew as one of the hottest, most caring, interesting book boyfriends I have. So a girl can't complain really

[mediaevalmusereads]

Would I Lie to the Duke. By Eva Leigh. Avon, 2020.

Rating: 4.5/5 stars

Genre: historical romance

Part of a Series? Yes, Union of the Rakes #2

Summary:   Jessica McGale's family business desperately needs investors, and she's determined to succeed at any cost. But she knows London's elite will never look twice at a humble farm girl like herself. Posing as “Lady Whitfield,” however, places her in the orbit of wealthy, powerful people—most notably the Duke of Rotherby. His influence and support could save her company, but Jess never expected the effect he'd have on her. Society thinks Noel is a notorious, carefree duke who dabbles in investments, but there's a side to him that only his closest friends see. When he crosses paths with Lady Whitfield at a business bazaar, his world tilts on its axis. She's brilliant and compelling, and brings him to his knees like no woman has before. Trust is difficult for Noel, but Jess makes him believe anything is possible... As time ticks down on her Cinderella scheme, the thought of achieving her goal at Noel's expense breaks Jess' heart. He doesn't just want her now, he wants her forever. But will her secret end their future before it begins?

***Full review under the cut.***

Content Warnings: graphic sexual content, light dominance/submission, allusions to fire and loss of home

Overview: I’m going to have to keep an eye on Eva Leigh because this is the second book of hers I’ve read and I’ve been impressed by both. I devoured this book in 2 days, and immediately put 3 on hold at my library when I was done. Overall, I was pleased by the way Leigh constructed her plot and developed her complex protagonists. It was fun to read about a business-minded heroine who balanced both compassion and profit, and I loved that our hero was conscious of his title and valued honesty. Thus, I give this book 4.5 stars.

Writing: Leigh’s prose is well-balanced in that it knows when to show versus tell. It also moves along at an appropriate pace and sentences flow together in a way that is both easy to follow and moves the story along. I also think that Leigh structured each scene well and had some witty dialogue that was an absolute delight to read.

Plot: The non-romance plot of this book follows Jessica McGale, a ladies’ companion who poses as a titled, wealthy widow in order to gain access to an exclusive business event. Jess grew up on a farm whose primary method of making money was to harvest honey and make soap. After a fire destroys the farm, she takes it upon herself to seek out potential investors to get the business back on its feet and thereby keep her siblings from being scattered to the wind in search of work. She gains employment as a ladies companion, and by happenstance, heads to London ahead of her employer for the duration of a couple weeks. While there, Jess schemes to gain access to Lord Trask’s Bazaar - an annual 5-day event in which London’s elite convene to decide which businesses they wish to invest in. Jess poses as a baron’s widow and must subtly convince the crowd to give her family a chance. However, her attraction to Noel, the Duke of Rotherby, threatens to undo all her plans, and she struggles with the need to keep up her façade and her desire to be honest with him.

I really liked that this plot had high stakes and a goal that our heroine could strive for. Leigh seemed to know exactly when to put twists and turns in Jess’s plan, providing both opportunities for further scheming and adaptation as well as moments of potential setback. It was honestly thrilling to be kept in suspense of what Jess would do next, and I appreciated that things felt important and desperate without focusing too much on misery and suffering or trauma.

Characters: Jess, our heroine, is admirable for her quick mind and business acumen. She shows early on that she’s not just a schemer, but has a good head for business and finance. She can see when an investment will pay off and when there are factors that make it risky to invest, but instead of coming off shrewd, she comes off rather compassionate. She not only recognizes when risks and setbacks within a business are beyond the owner’s control (weather, accidents, etc.), but she values integrity, withholding her support from businesses which exploit their workers (through slavery or just bad working conditions). I also really liked that she struggled with her own lack on honesty, trying to balance what she needs to do to save her family with her desire to be open with people she comes to admire.

Noel, our hero, is likeable in that he’s a duke who actively tries not to let his title go to his head. As one of the most powerful men in England, Noel is constantly surrounded by people who want something from him and will offer false flattery to get it. While he sometimes acts entitled, he shows himself to be someone who takes his responsibilities seriously and tries to use his power for good. I appreciated that he wasn’t a broody, rude hero who treats the heroine like crap; instead, he’s always willing to apologize for when he oversteps and treats Jess with respect.

Supporting characters were likewise charming and easy to enjoy. The two other women at the Bazaar were older widows who didn’t take any nonsense, and I liked that they were so supportive of Jess at every step of the plot. I also think the male characters were varied and interesting enough to keep the plot moving; some were sympathetic to Jess while others were stuffy and opposed to women in the business world. But while there was some mild sexism, Leigh didn’t overdo it, so I never felt I was reading something that was trying to be edgy. Another thing I appreciated was that Leigh inserted people of color in various roles; while some were in domestic service, others were engineers who owned a small business and others were investors. It was a nice touch, and because Leigh didn’t make a big deal out of it, it felt natural.

Romance: Jess and Noel’s relationship is interesting to read about because it’s initially built on deception. Jess introduces herself as a titled widow and doesn’t reveal her true purpose of being at the Bazaar, so there was some underlying tension to the whole affair. However, Jess never lies to Noel about anything else, nor does she specifically target him for his money; other than her title, Jess is open and honest, and her scheme involves convincing all attendees, not just the most powerful ones, that her family’s business is worth investing in. Thus, it felt like Jess and Noel developed true feelings for one another, with Noel falling for Jess based on her real qualities.

I also really liked that one of Noel’s hang-ups is the aversion he has to being used. He very much dislikes false flattery and hates that most people see him as a “ladder” (his words) - an object to use in order to climb higher in society. Because this is one of his major hang-ups, Jess’s betrayal feels rather pointed, and it’s something that both partners have to work through. It led to some really interesting conversations and reflections, and I enjoyed the drama that unfolded because of it.

There was one element, however, that was both intriguing and felt a little odd. Noel discovers that he enjoys being submissive when he’s physically intimate with Jess; it’s not as intense or as kinky as your typical BDSM romance, but it’s definitely there, and characters remark upon it. While I could see the thematic reason for giving Noel a submission kink, it made for some strange declarations, like Noel only being submissive with one woman (Jess). I still don’t know how I feel about painting Jess as special in this way, but I can’t complain too much because I recognize the thematic reason for doing so.

TL;DR: Would I Lie to the Duke is a pleasing, well-paced romance with a smart, confident heroine and a hero with admirable qualities. The stakes felt sufficiently high without delving into melodrama or trauma-porn, and Leigh’s commitment to writing romances with complexity was refreshing.

[quazartranslates]

Welcome to the Nightmare Game II - CH9

**This is an edited machine translation. For more information, please [click here]**

[<<< Previous Chapter | Table of Contents | Next Chapter >>>]

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Chapter 9: Resurrection Overture (IX)

{cw: threats of rape via beastiality (I’ve marked the worst of the content in question with  ↓ ↓ at the beginning and  ↑ ↑ at the end of those sections), brief transmisogyny}

This lesson caught him off guard, and Qi Leren was stunned for a while after the file was read before waking up as if from a trance.

Qi Leren, like many others, could easily let down his guard against his surroundings after the danger had passed, and such negligence was extremely fatal in terrible tasks.

"I’ve taken note," Qi Leren said gratefully.

Chen Baiqi snorted lightly and lit a cigarette: "Then let’s move on to the next item to test your physical fitness."

"How do we test it? Running?" With the last lesson of being blindfolded while avoiding throwing knives, Qi Leren’s heart was filled with worry.

Chen Baiqi blew out a smoke ring and sneered: "How can simply running force a person's limit?"

"..." Qi Leren felt that he was finished.

He saw Chen Baiqi insert a skill card into the card slot, and a heavy book appeared in her hand. She carelessly looked at the book as the pages turned automatically, suddenly brightened, and muttered to herself: "This is good, just right!"

As soon as the words “just right” sounded, a three-headed hellhound half the height of a person appeared at Chen Baiqi's feet. The three ferocious heads roared together and its thick canine teeth and dripping tongue made its fearsomeness soar.

↓ ↓

This strong figure, this fierce expression, and that thing under its crotch... Qi Leren swallowed saliva, his face went white, and his legs were weak.　

"This child was caught when I was practicing near Purgatory. He’s still in heat, full of energy, and has a strong desire to mate, and he doesn't mind whether what he’s mating with has two legs or four. He really is a warm and good boy." Chen Baiqi touched its ears and the three-headed hellhound excitedly reared up and looked at Qi Leren eagerly.

Chen Baiqi touched her chin again: "When I first entered this world, there was a very popular saying on the Internet... Oh, ‘it'll chase you, and if it catches you, it will 'hehehe' with you’.”*

*{E/N: A joke by Fei Yu-ching. The general gist of goes something like this: This person wants to go to a shop that specifically helps you lose weight. The cashier offers some packages of different prices. He picks one, enters a room where a lady is waiting in a bikini. She offers, "Chase after me. If you catch me, I'll let you 'hehehe' me". Thank you to Miko for this explanation.}

Although Qi Leren wanted very much to spit on her, this sentence had been out of date for many years and only middle-aged and old people would make such an old joke. However, Chen Baiqi had smacked the three-headed hellhound on the ass and under, her command, the dog growled and rushed crazily toward Qi Leren. Its enthusiasm was like an old bachelor who had been single for forty years and had met his new wife. Qi Leren screamed and started to run. He swore he’d never run so fast in his life!

But even if he had run a new personal record, the three-headed hellhound was still slightly faster than him. Even if he didn't look back, Qi Leren could feel the monster behind him getting closer and closer! He could almost feel its stinking hot breath spraying on his back, causing his chrysanthemum to tighten!

No way! If you continue like this, it’ll soon catch up to you! You can't just run!

I don't want to be knocked up by a dog!

Qi Leren, who was extremely nervous, mechanically pumped his legs and ran hard, and his brain that was struggling to consume oxygen didn’t have enough to think properly. A skill card? Primary Fighting couldn't make him run faster. Devil Etiquette... Stop it, becoming a succubus could only add fuel to the fire right now—he had specifically learned about succubus' data. This demon type with such an exaggerated sexuality would only make a field day for a stick. It was the most unscrupulous creature in the demon world, and the three-headed hellhound would only be more excited to see a succubus. After all, it was also a creature that didn't care whether the mating target had two legs or four, or even if it had legs at all!

↑ ↑

It was coming! Qi Leren felt the wind behind him, but he had already reached the wall of this huge basement. His mind went blank and he instinctively made a sharp turn to the right to continue running. But the three-headed dog behind him was not as agile as he was. Without time to break, it collided with the wall, causing the strong wall to shake.

Qi Leren, who was still desperate to escape, had a flash of inspiration in his mind: Yes, the three-headed hellhound wasn’t as agile as he was when turning, so he could take advantage of this...

Qi Leren looked back. The three-headed hellhound’s middle head had fainted, but the left and right heads were still giving orders to the body. It got up from the ground and continued to chase after him.

Qi Leren, with this train of thought, was much calmer this time. He didn't run around the room like a headless fly. Whenever he felt that the distance between them was close to a certain range, he made a sharp turn, and each time he managed to gain seven or eight meters from his pursuer. Wait until the next turn, when he was about to be caught up with, then repeat this old trick.

The three-headed hellhound, who didn’t have a high IQ, failed to see through his tricks and ran after him blindly. One man and one dog competed for endurance in this bitter mutual torture. Qi Leren’s legs that had surpassed their potential were almost numb. He was afraid the three-headed dog wasn’t much better. When he looked back several times, the three-headed hellhound had its three tongues lolling from its mouths, panting.

This was completely a competition of willpower. It seemed that Qi Leren’s determination to protect his virginity was better than the three-headed hellhound’s determination to mate. When Chen Baiqi finished smoking a whole pack of cigarettes, she’d finally seen enough: "Okay, let's end it there."

One man and one dog fell to the ground, four heads and six legs going on strike together.

↓ ↓

Qi Leren couldn't help thinking that if he was tortured like this every day, maybe one day he would have the terrible idea of "giving up resistance and lying down to accept it", and he really didn't want to do it again.

The three-headed hellhound was summoned back into the book by Chen Baiqi. Qi Leren looked at where it had just been enviously. It could rest, but he still had to be tortured by the head demon here. Yes, Chen Baiqi has risen to be a terrible demon coach in his mind, and he was just like the protagonists in comics who were spurred on, spending each day drowning in their own sweat.

"It's a pity, I thought I could look at 'man and nature'," Chen Baiqi said with regret.

Once again, Qi Leren felt his chrysanthemum tighten.

↑ ↑

"Intuition is okay, reaction and adaptability are barely strong, and physical fitness is still poor. You will report to me every morning at my store’s entrance, run to the steel bridge to fetch me two breakfast servings, and then run back. I’ll give you a watch. If you’re late, you’ll be punished by having to take my dog for a walk outside," Chen Baiqi smiled, speaking demonic words with ease and pleasure.

The dying Qi Leren couldn't help feeling sad, looking at Chen Baiqi with eyes full of bitterness.

"Get up, you can go home and report on time tomorrow," Chen Baiqi said with a smile.

"Surely I’ll be too sore to move tomorrow... No, I can't move now," Qi Leren said breathlessly.

"Oh, really?" Chen Baiqi said. Blowing out a smokey sigh, she walked beside him and raised her foot—the slender high-heeled shoe stamped between Qi Leren’s legs while he was off guard!　

Qi Leren screamed "AH" and rolled, narrowly dodging the foot that would have made him childless. The crisp high-heeled blow behind him scared him into a cold sweat.　

"You missed an opportunity to be a cute girl," Chen Baiqi said regretfully.

Qi Leren struggled to get up from the ground: "Thank you, this opportunity is not needed."

Chen Baiqi raised her slender eyebrows and smiled charmingly: "You’ll regret it."

On the way home, Qi Leren had been stubbornly thinking about Chen Baiqi's smile. He’d almost forgotten to ask her about buying a confidentiality contract. Chen Baiqi raised her eyebrows and didn't ask anything. He readily paid the money for his goods.

As he walked into a roadside public toilet, Qi Leren thought of cherishing his little brother affectionately. He had paid a painful price to keep it.

Unexpectedly, when he pushed open the bathroom door, he was greeted by a beautiful acquaintance. Her long curly hair was draped over her exposed shoulders, her gorgeous red lips were slightly opened, and her eyes were blurred as she swept towards Qi Leren at the door. It was the Illusionist Qi Leren had seen in Chen Baiqi's shop before!

"Sorry, wrong one!" Qi Leren subconsciously flung himself out the door.

The moment the door closed, he suddenly remembered... That thing in front of the Illusionist ... Wasn’t it a urinal from the men's room?

And the Illusionist herself, standing in front of the urinal at that time, had naturally lifted a heavy skirt and put her hand into the skirt to release its inventory.

Qi Leren felt his worldview collapse.

-----

Editor’s Notes:

I’ve honestly been dreading reaching this and the next chapter ε-(~д~”)

I want to give some forewarning that the there does start to be some notable transmisogyny in the series starting with this chapter, primarily in the form of misgendering. I haven’t read Part 3 yet and thus can’t speak for it (I will mention it in an E/N once I have and likely edit this one as well), but in Part 2 it doesn’t come up tremendously often as the character it’s in relation to, the Illusionist, is relatively minor. 

However, the next chapter in particular is unfortunately entirely comprised of an extended joke centered on transmisogyny and sexual harassment. Nothing plot-significant happens in it and the chapter is entirely skippable if you do not want to read that.

As I stated before, as someone who is only working on a translation, I don’t feel that it’s my place to knowingly change or omit content. I do apologize for this. I will be providing the same sorts of warnings and skip-markers as I have previously in order to allow readers the best experience I can give under the circumstances.

As always, I encourage you to message me if you have any further questions or concerns about this or anything else.

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[unforth]

Hello unforth! Thank you for your wonderful blog, and the the untamed art blog!! I followed you years ago for destiel, and you were one of the people that got me into the untamed. I watched it last summer and have been binging various cdramas ever since!! I had a question for you about reading. After watching the untamed I read the novel, and didn’t enjoy it as much as I thought I would. I think you’re someone who prefers the show, but if not, sorry if I’m remembering wrong… hoping you understand. I want to try reading other novels but I found the romance in mdzs to be kinda off. I guess I’m wondering if you have a recommendation for the best novel you’ve read so far? It would be great if it’s one with fanfic but if not I’m still curious to try! I hope this didn’t come off as rude about the untamed, it’s just a personal preference. Thanks in advance, and thanks again for all your work in fandom!

Howdy! *waves*

You have not misremembered, I definitely prefer the Untamed to the novel of MDZS (and I'm with you, no shade on people with different preferences, of course!). I also didn't enjoy the novel of MDZS as much as I thought I would, though I think some of that was because I read the Exiled Rebels Scanalations translation which - again, no shade, translating that was a HUGE job and kudos to them - but I do here from native speakers that some questionable translation choices were made, which can detract from some people's enjoyment of the novel (and can enhance other people's, it just depends how those translation choices relate to each person's personal likes and dislikes).

Now, I can tell you what I've read and what I've thought of each one, happily - I don't know what turned you off about MDZS specifically, beyond an aspect of the relationship dynamic, so it'll be hard for me to say which of these might appeal to you more? But, here's a list of which danmei novels I've read, and my opinion. The list is shorter than you'd think - danmei novels are long and I read slow, lol.

Note that all of these end happy, for various definitions of "happy," and the main ship is canon in all of them. Also note that I tried to avoid spoilers, but sometimes it's hard to even talk about the ship dynamic without some mild spoilers.

These are (roughly) in the order I've read them; I just finished the last a few days ago. All art is by the official artists, but I'm not always sure what their names are, sorry - I've tried to figure them out for my art blogs but it's REALLY hard.

1. Mo Dao Zu Shi, by MXTX.

(since I'm writing this post for you, and you're already familiar with it, I'm not putting in TW and plot)

My take: I figure knowing my opinion of MDZS will help you assess all this? There are things I loved about MDZS, including the book, but MDZS is still obviously trying to figure out pacing. Whereas in SVSSS, the storyline doesn't always flow that smoothly and the ending is rushed, in MDZS in my opinion the biggest issue is that she clearly didn't plan some things ahead. For example, Miangmian and Wen Ning are both introduced within a few pages of when they'll be needed to Do Shit. It shows that she hadn't quite worked everything out as she was going, and every once in a while was like, "shit shit I need a character for this thing" and hastily added them. The plot itself is better paced, though, though I could have wished for a less talky denouement. When it was the only one I read, I also often thought, "this author doesn't understand consent," and, "this author has kinks I don't share." Now that I've read all three of her books, I completely retract the first one. MXTX absolutely understands consent, and was intentionally playing with it in MDZS. Not sure if the evidence of that got lost in translation, or what, but...yeah.

Relationship Dynamic: ...the second of those opinions, I still kinda feel. The consensual non-con is just not really my thing, like I'm okay with it in small doses? And I don't love some aspects of Lan Wangji's domineering attitudes and Wei Wuxian's act of bare tolerating it. And don't get me wrong, now that I'm more familiar with her work, I think it was an intentional writing choice and I also think they're both largely roleplaying it a lot of the time...but I still don't personally enjoy it much.

2. Scum Villain Self-Saving System, by MXTX.

Genre: modern transmigration into a fantasy xianxia world.

Where to find it: English translation by BC Novels | donghua season 1

Trigger warnings for: graphic descriptions of suffering, non-con of the "fuck or die" variety, and body horror...I can't think of anything else rn?)

Plot: SVSSS is MXTX's first novel, and is a satire of classic stag harem novels. Shen Yuan, the protagonist and half the main ship, is reading a serialized web novel by "Airplane Shooting Towards the Sky" about a demon named Luo Binghe who has a harem of over 3,000 women and has done all kinds of ghastly awful things. He hates this novel but has read all, like, 3 million words of it or something, and trolls every chapter...until one gets him so angry that he dies...and then he wakes up in the book right around when the book starts, in the body of one of the early antagonists, a cultivator named Shen Qingqiu who abuses a young, innocent Luo Binghe physically and emotionally and, ultimately, is horribly tortured to death. Shen Yuan, in Shen Qingqiu's body, thus sets out to not be horribly tortured to death by Luo Binghe. Hijinks ensue.

My Take: In terms of my opinion of it...SVSSS secured for me that MXTX is a much more brilliant author than I thought when I'd only read MDZS. She understands tropes and subverts them brilliantly throughout the story, and from a writing standpoint, I was impressed with her. However, from a plot standpoint...she's got all the ideas but hasn't, imo, yet figured out how exactly to bring them all together. The pacing is off at times, and the ending felt abrupt to me. It's also the only danmei I've read where I ship a side ship more than the primary one (which is, of course, Shen Yuan (as Shen Qingqiu)/Luo Binghe. (also, oops...I read SVSSS after TGCF and just put them in the wrong order, oh well, not gonna change it now.)

Relationship Dynamic: In terms of relationship weirdness...it's hard to sort in that regard, because, like, it's supposed to be weird? I think it's a really interest book but I'm not sure I'd recommend it in your situation. Bingqiu's main dynamic is...uh...tolerance and obsession? They're kinda hard to describe. Shen Yuan often seems like he's just kinda putting up with Luo Binghe, whereas Luo Binghe is...god. So hard to describe, lmao. He's a big clumsy ox in a museum full of porcelain dishes and he really, really loves his Shizun. (also note that Shen Qingqiu is Luo Binghe's teacher. They don't get together until after they're not master/student, but if that's not your thing, another reason to avoid.)

3. Tian Guan Ci Fu, by MXTX.

(art is by Starember)

Genre: historical China (loosely), xianxia (note that I'm still figuring out exactly how stuff gets classified so sorry if I get one wrong, but I think I kinda get it???)

Where to Access It: English Translation by the astonishing yummysuika | manhua (this is an official translation by Bilibili! It's a few chapters behind the actual release, but still...) | donghua season 1 is on Netflix | a live action adaptation is juuuuust getting started on script reading and filing

Trigger warnings for: MCD, temporary MCD, body horror, graphic violence, epic levels of mind fuckery, uh...genocide?...again, racism/colorism, probably other stuff, sorry, I can't take as long as I'd like to for this post so I'm not being as thorough as I oughta be.

Plot: TGCF is about Xie Lian, an 800 year old man, and it commences at the moment when, unexpectedly, he ascends to godhood...for the third time. Unfortunately, when he ascends, he accidentally does some damage in Heaven, and he has to repay that, so he gets sent back to earth to deal with a ghost who's been causing some problems. Hijinks ensue...and then fucktons of angst ensue...then more hijinks...then more angst...and basically it broke my heart like four times and I am grateful for it every day? The main ship is Xie Lian and a ghost named Hua Cheng, but it's hard to even talk about without some spoilers because of some identity shenanigans. (they're VERY mildly identity shenanigans, but still).

My Take: So, you asked what my favorite of the danmei novels I've read is? It's TGCF. TGCF is one of my favorite novels ever, and it has a growing fandom, a donghua that's on Netflix, and a live action that's just starting to film. TGCF is the culmination of the skills MXTX developed through her first two works, imo. She clearly plotted it out all from the start, and while Book 1 especially often seems kind of random - lots of elements are introduced and then kinda...apparently...forgotten? And never explained? But she actually DOES bring it ALL together and it's flat-out masterful. I'm a big fan, obviously.

Relationship Dynamic: it again depends on your preferences and what you didn't like about MDZS, and there's no way to talk about it without spoilers, so consider yourselves warned. Xie Lian ascended to godhood first at the age of 17, and right around then he also saved the life of a 10 year old boy...and that boy is Hua Cheng. Hua Cheng is a follower of Xie Lian's, in that Xie Lian is literally a god, and Hua Cheng is literally one of his followers. However, they're separated for almost 800 years, so the age difference is largely irrelevant, and while some people complain about Hua Cheng's behavior being stalkery and obsessive, I honestly think they're dead wrong. It's more like when you read a celebrity/fan AU, and it starts weird, and then they really genuinely fall in love. Like, the fan may have been in love the whole time, and how they felt about the celebrity before they really met might feel slightly ooky, but it's how they act AFTER they meet their idol that matters more, and...yeah, Hua Cheng is great, they're both great, antis fight me. Xie Lian is easily one of my favorite characters EVER, he is all my favorite tropes in one horribly, wonderfully fucked up martyristic idealistic sweet kind laid back package. I would kill for him, lmao. In terms of their relationship dynamic...they love and respect each other? There's really nothing that weird about it other than the aspects of the "fan" Hua Cheng that get revealed over time - and he's always terrified that when Xie Lian realizes what a fanboy he was, Xie Lian will be upset or disgusted, but of course Xie Lian never is. They adore each other. It's glorious. Highly recommend. :D There's also no explicit content in TGCF (unlike MXTX's other two books).

4. The Husky and His White Cat Shizun (aka 2ha) by Meatbun Doesn't Eat Meat.

Genre: original world, xianxia, time travel, dimension hopping, it's so many things, 2ha is so hard to describe lmao

Where to Access it: English Translation by the amazing yummysuika (things are complicated, though, and it's not finished) | a manhua is in the works and should be out this year | a live action called "Hao Yixing" or "Immortality" is already filmed and could theoretically air literally any time cause it's completely ready, but when will it actually come? Who knows!

Trigger warnings: all of them. Literally. MCD, temporary MCD, murder, suicide, suicidal ideation, suicide attempt, rape/non-con, abuse, manipulation, gas lighting, torture, graphic violence, body horror, literal graphic onscreen horrible blood murder of a small child (I had to skip that chapter), teacher/student relationship sort of but not exactly, probably other stuff, this book is dark as fuck, and a lot of these tags apply to behavior of one half of the main ship toward the other, but...it's complicated, and there are reasons things happen, and those reasons aren't "well they're just a bad person."

Plot: This is another one that's hard to describe because there's sooooo much mind fuckery going on, but I'll try. 2ha is about Mo Ran, who rises to be the Emperor of the World, Taxian Jun, but slaughtering all who oppose him...and who is so miserable that he commits suicide, only to wake up in his 16 year old body. This is pretty much perfect from Mo Ran's point of view, because he's gone back so far that the love of his life, his fellow disciple Shi Mei, is still alive. He has a chance to fix everything that went wrong, starting with preventing his awful evil Shizun, Chu Wanning, from letting Shi Mei die.

Spoilers: the main ship in this book is Mo Ran/Chu Wanning.

Hijinks do NOT ensue. There are no hijinks in 2ha. It is all pain all the time (but I swear it ends happy).

My Take: ...well, from a structural standpoint there are some pacing issues. The book is incredibly long (over 300 chapters, over 1 million words) and there are definitely some chunks that could just be excised and it'd still be fine. However, other than that, it's pretty amazing and absolutely masterful how it's plotted. As a reader you'll spend 100+ chapters thinking you know what's going on, and who the good guys are, and who the bad guys are, and how they relate to each other...and then Meatbun starts in on revealing what's ACTUALLY going on and she then spends 200 chapters repeatedly punching you in the face! Like, I went in knowing a LOT of spoilers, because the tags were so dark that I felt that for my mental health it was important I have a general idea what was going on, and I STILL ended up sobbing my eyes out (and I am NOT an easy crier and don't usually cry at books) over something I knew was coming.

Relationship Dynamic: That's about the only thing that the title accurately conveys about this book. "The Husky and His White Cat Shizun," sounds so soft and fluffy, right? That's how they get you, ha. But, Mo Ran is absolutely a big dumb husky who wants to do the right thing (well, sometimes he does) but just completely fails depressingly often. When he sees someone he likes come in the front door he WILL jump all over them and bark in their face as his way of trying to communicate affection. And Chu Wanning is equally absolutely a cat. He is emotionally constipated, poor at expressing himself, uptight, touch starved, desperate for affection, and so lonely my chest hurts when I think about him. And for how they relate to each other...well, picture that big dog greeting a loved one at the door...except that loved one is the most hide-bound proud white cat you can imagine.

That's their dynamic.

(However, also...there are multiple timelines at play, and Taxian Jun does some truly awful things to "his" Chu Wanning in the original timeline, and many of these things are graphically described, and while it's ultimately all explained, it still all HAPPENS, so if you're going to have trouble reading fucktons of abuse between the main ship, I would not recommend this book)

5. Thousand Autumns (Qianqiu) by Meng Xi Shi.

Genre: historical China (like, references actual people, as far as I can tell), xianxia

Where to Access it: ...reading Thousand Autumns is HARD, it's split over like four websites/translators. This Carrd can kinda help? I can get you the rest if you want | donghua season 1 | I heard there's a live action in the works? But I don't know more than that.

Trigger warnings: graphic violence, mentions/threats of sexual violence (but it's all stopped before things really go wrong), starvation, description of child death (from starvation), near-death, emotional/mental abuse, major semi-permanent character injury, god, minor character death, they're major characters depending on your pov, I can't actually think of others, after writing about 2ha it feels positively fluffy). Note that there's not really any explicit content, just implications of smut, and not til basically the very end and extras.

Plot: Yan Wushi, sect leader of a demonic sect, has just come out of an extended seclusion to improve his cultivation when he and one of his disciples come across a man who is wounded to the point of near death. This turns out to be Shen Qiao, the sect leader of Mount Xuandu. When Shen Qiao awakens from his wounds, he's lost his memory, AND he's blind, and Yan Wushi decides it would be great fun and an excellent use of his time to fuck with Shen Qiao by trying to turn him evil - because Yan Wushi is certain that ALL people are inherently evil, and shattering Shen Qiao's veneer of righteousness will just help prove that.

Spoilers: it's not a veneer.

Not spoilers: Not many hijinks ensue, but there are a few hijinks, and even when it's not hijinxed, it's still not that painful...usually.

My Take: despite that synopsis, a lot of the plot of Thousand Autumns is actually political, and I like political plots, so I liked that aspect of it. However, it has some serious pacing issues imo, and it's also hard to read in English atm because it's not fully translated; it's close, now, much closer than when I read it a few months ago, so it'll be easier to read soon. Or maybe I shouldn't say it's pacing problems, but rather, it's more of a sequence of multiple major plots, strung together, with the growing relationship between Yan Wushi and Shen Qiao playing out in the background. I think if I'd known there was no "one big plot" that would have actually helped me, because it kept feeling like, "Oh, THIS is the main thing," but it never was. Things would feel climactic...except then there'd be more. So it's probably better to actually think of it as more...episodic? And the episodes/stories build, and interrelate, and do have a culmination, but not all of them directly tie in, and not all the threads end up coming together/getting resolved.

Relationship Dynamic: early on, Yan Wushi is definitely abusive and manipulative, intentionally so, and I would argue that, imo, Shen Qiao falls for it. However, mid-way through, there's some big reveals, and after that when they're reunited Shen Qiao no longer takes any shit and Yan Wushi continues to act like he doesn't care even when he clearly does. They're not a typical ship in ANY WAY, and I'd say their relationship is more founded on mutual respect than on love. Indeed, in the author's notes at one point MXS actually says they doesn't see them as the kind of couple to ever exchange love declarations, and I thought that was really interesting and it really helped me to understand how they worked together because I'll own I struggled with at times. Yan Wushi is self-interested, often cruel, and ethically and morally dubious. Shen Qiao, on the other hand, could probably ascend to Daoist godhood, he's so pure. Yet...they DO work. I'd say "opposites attract" but that's ALSO not their main trope, not exactly. They're a VERY hard ship to explain, and I know some people who've read the whole book and still don't really...get them...and I've had to really think about them to wrap my head around them...but the more I've thought about them, the more I like them.

6. Those Years in Quest of Honor Mine by Man Man He Qi Duo.

Genre: historical fiction set in either actual China or make-believe China, I'm not sure if this is directly incorporated any real people

Where to Access It: English Translation by Perpetual Daydreams | manhua (untranslated, I'm not sure if there's anyone translating it into English) | I think there's a live action in the works? Not sure beyond that though.

Trigger Warnings: suicide attempts, suicidal ideation, drug addiction, drug abuse, chronic illness (different character than the drugs), manipulation, abusive, awful parents and parental figures (not all, but definitely some), some homophobia (but way less than there could have been), probably other stuff

Plot: After 7 years away, Zhong Wan returns to the capital of the Empire with the three children of his benefactor, the seven-years-dead Prince Ning. Prince Ning was executed for treason against the previous Emperor, and Zhong Wan has done all he can to protect and raise the three kids, but he's got a lot of worries about returning to the capital and what could happen to his charges if they get pulled into the politics surrounded the Emperor. But, even worse, he's got even more worries about being reunited with Yu She, nephew of the Emperor, with whom he has more than a little history...and about whom he has been lying for the past 7 years, claiming that he is Yu She's lover, in a bid to help use Yu She's reputation to protect Prince Ning's children.

Hijinks ensue.

And so does a political nightmare.

My Take: TYQHM was a hard book to get into because there are just so many characters and it's all about politics - this is NOT a xianxia or wuxia novel, and these characters are NOT cultivators. There's basically nothing supernatural in the whole book; instead, it's about Zhong Wan and Yu She figuring out their own histories, and accepting each other, while trying to survive in a political world that increasingly wants both of them dead. However, I adore political plots, and when all was said and done I really enjoyed it, and I'm trying tooth and nail to claw other people into the fandom with me, so far with basically no success. It only has like 15 works in English on AO3. And so not only does it not fit that requirement of yours...

Relationship Dynamic: ...I think you would also probably not like the relationship dynamic? Zhong Wan is a bit like Wei Wuxian-as-Mo Xuanyu, except more...genuinely? Like, it's his actual personality, not an act, in quite the same way. I don't mean the "flamboyantly gay" part...usually...he definitely has his moments...but he's just...like, he's been through so much that he'll basically say anything, and drag himself entirely through the mud, to distract people who might hurt the three kids (they're like 16, 13, 13, now I think? It was never THAT clear to me, tbh...certainly, all are at least 10...) and, later, Yu She. He has zero face, and doesn't mind having negative face when he feels the situation demands it...and Yu She, on the other hand, has MAJOR depression issues, is sure he deserves nothing, and mostly wants to destroy everyone around him and then kill himself, at least until Zhong Wan starts giving him a reason to live again. But, more than that...Zhong Wan is like the fucking epitome of a bratty subby bottom. He wants to get fucked SO bad. And Yu She is an incredibly reluctant dom, hilariously so at times, uncomfortably/manipulative so at others. When all was said and done, I was pretty fond of them both, but there were definitely moments that made me grimace, and given what you say of how you felt about MDZS, I think this one is less likely to be to your taste?

Bonus 7: Guardian by Priest. I never finished the novel version of Guardian because the translation had some issues that caused me not to enjoy it, so I won't get into it too much, but again, Guardian is a very different book than any of the others, because it's modern fantasy(ish, like, it's still deeply embedded in Daoist-related tropes but it's more "magic spells" and less "cultivation." Like, in terms of what it's like, it felt more like Japanese modern Onmyoji style stories, to me, than it felt like the ancient Chinese wuxia/xianxia cultivation stories.). I'm not gonna get into lots of details, because I read part of the book more than a year ago, and have seen the show (which is VERY different) like three times, so I can hardly even remember what they're like in the novel. There was definitely some weirdness, though? If you're potentially interested, I'd suggest starting with the drama instead. The plot for that is...

Plot: Zhao Yunlan heads a Special Investigation Unit in the human world tasked with maintaining a treaty between humans and the dixigren ("undergrounders") who are (in the show) aliens (in the book...it's the world of the dead). While doing this job, he keeps running into this professor, Shen Wei, who definitely knows more than he oughta.

Hijinks ensue.

And then it murders you with feels.

The live action streams from YouTube - here.

(Warning: uh, I don't want to give spoilers, but my "guaranteed happy ending" does NOT apply to the Guardian TV show...but it does apply to the book, as I understand it.)

*

Anyway, this was a terrible use of my time but it was definitely more fun than what I should be doing, and it's probably way more information than you wanted or needed, but since I wasn't sure what exactly you had in mind, I figured...might as well be thorough?

(Today's hyper-focus fail: this post, ha...)

[laughriot]

Reading Roundup - March 2021

The Ask and The Answer by Patrick Ness (4/5)

I really enjoyed this book! I thought it was a very good sequel and set up the final book in the trilogy very well. It was darker than I expected (and I expected it to be rough) but found it very interesting and was definitely immersed in the story very quickly. Despite liking the characters less as people in this one (the worst of everyone is brought our during war and tyranny), I had so much more respect for the way Ness had written them and how human and real they were. I'm really looking forward to reading the final book as I was not expecting parts of this one's ending!

The Boys in The Band by Mart Crowley (4/5)

I love this play. I love the play itself, I love it's history, I love the film adaptations. all of it. It's just such an interesting, funny play with the most fascinating moments of tension. It's a product of anger and desperation and paints such a fascinating picture of what happens to people who are stepped on by the world and who can only be themselves, darkness and all, in front of the people being oppressed with them. The copy of the play I got comes with an introduction by Tony Kushner (writer of Angels in America) which was absolutely wonderful and insightful.

Patti Lupone: A Memoir (5/5)

Who wouldn't love hearing the story of Patti Lupone's life, straight from the women herself? This book was frank, funny and absolutely fascinating. I really enjoyed the way the book was formatted, I liked that she included pictures and I really loved that there was not a single page where I doubted it was Patti who had written this book. Patti Lupone is just a legend and moments from here career are theatre legends, and it was super interesting to hear them from the primary source. Also, if I didn't already despise Andrew Lloyd Webber, I certainly do now.

Get Well Soon by Julie Halpern (2/5)

I was really excited about the concept of this book because it's vey rare that inpatient units aren't demonised in media but I felt really let down by this book in almost every way. There was so much internalised misogyny, fatphobia, promotion of disordered eating etc and it was just very uncomfortable. There was a lot of use of the word "ghetto" by white characters which was unnecessary. The ward was still described as this horrible place and the characters all felt extremely 2D. It's a no from me.

How It All Blew Up - Arvin Ahmadi (5/5)

This book was just a really good, fun queer novel. It had a clear conflict but it wasn't overwhelmingly tense or dark. I enjoyed the characters, and the way the author really seemed to understood the setting instead of just having the characters interact in very famous tourist spots. The protagonist was likeable and relatable and I was truly rooting for him. I also really enjoyed the format of this novel and the opportunity this format gave us to really get to know and understand the Amir and his family.

What if It's Us by Becky Albertalli and Adam Silvera (4/5)

Again, this was just a really nice queer YA romance novel. I think it perfectly portrayed the overdramatic nature of teen relationships, and how everything feels like the biggest thing ever without actually being over-the-top. I really liked the main characters (I have a proper soft spot for ben though). I was originally worried it would be really obvious it was written by two authors and there'd be some sort of disconnect but I didn't really notice when the authors changed which was good. I really enjoyed this book, and it was a lovely way to enjoy Adam Silvera's writing without the heartbreak that usually comes along with it.

Boy Erased by Garrard Conley (5/5)

This memoir is heart-breaking and uncomfortable to read but so important. Conley writes with such honesty and frankness - which was probably my favourite part of this memoir. I would push everyone to read this. Trigger warning for descriptions and discussion of rape though, please stay safe.

The Perks of Being a Wallflower by Stephen Chbosky (3/5)

I really thought that I would LOVE this book, but I just didn't. I did really like Charlie, and I enjoyed the style of the writing that really makes it feel like you're going through the journey with him. But it this novel just felt disjointed and overstuffed sometimes and i found myself getting bored. I think this might be the only case were i prefer a movie adaption to the book.

[tlbodine]

The End of 1960s Horror...

After a few delays, we’re back on track with our jaunt through the horror decades. Last night’s films were two favorites and genuine classics. 

First up, Rosemary’s Baby (1968)

The film, directed by Roman Polanski, is an adaptation of a novel by the same name by Ira Levin (the guy who wrote The Stepford Wives). I’d never read the book, and @comicreliefmorlock​ had read it but never seen the film, so that made for some interesting compare/contrast. 

The big takeaway? The movie is so much sleazier and, well, rapey-er, despite being an extremely faithful adaptation (even down to exact dialogue lines being replicated). 

This may have been influenced by the director. It’s hard to watch Rosemary’s Baby now without the film being clouded by knowing that Polanski was charged in 1977 with drugging and raping a 13-year-old (a charge which caused him to flee the country, allowing him to continue making critically acclaimed movies without suffering any particular consequences for his crime). You can read more about that here: https://en.wikipedia.org/wiki/Roman_Polanski_sexual_abuse_case

It’s also interesting to note that, a year after Rosemary’s Baby came out, Polanski’s pregnant wife and four friends were among the victims of the Manson family murders. 

There’s a lot to unpack there. 

But let’s get back to the movie. Rosemary’s Baby tells a pretty straightforward story: A pair of newlyweds move into an apartment and develop a relationship with the eccentric elderly couple next door. The husband is a struggling actor who serendipitously gets his big break shortly after meeting the old folks. The wife, raised Catholic and from a large family, is eager to start having children of her own. She succeeds in getting pregnant, but it’s a difficult pregnancy, and through a series of odd events, she becomes convinced that everyone in her life is part of a satanic coven of witches intent to sacrifice her baby. 

Ira Levin has always impressed me with his skill at writing about women -- not just writing female characters well (which he does) but deeply understanding the fears and anxieties of womanhood in a way that is frankly surprising from a male writer in the 1960s. That shines through clearly in the film, and I can’t say for certain how much of that was influenced by Polanski -- not having seen any of his other movies, I’m not sure how he handles other source material. 

Anxieties explored head-on by the film include: 

Spousal rape 

Gaslighting (and “hysteria” perhaps) 

The loss of bodily autonomy inherent in pregnancy

Woman-as-vessel-for-baby as opposed to “whole individual person” 

I could write whole essays about this movie, and I probably will at some point. The primary plot fails to shock or frighten me anymore, of course, but there are still some lingering fridge horrors that are deeply unsettling in the vein of “oh my god can you IMAGINE how it would feel to be her right now.” 

Next up, and our final film for the decade, Night of the Living Dead (1968)

Written and directed by George Romero, Night of the Living Dead was a groundbreaking work for the zombie genre. Drawing clear inspiration from Richard Matheson’s story “I Am Legend,” Living Dead was an original tale that pulled together disparate strands of mythos to create many of the tropes that remain staples of zombie media. 

The story centers on an event of possible cosmic origins, with radiation leading the recently deceased to rise and go on a murderous, flesh-eating rampage. Well-dressed corpses shamble about and kill. A group of strangers are stuck defending a house together, one of them is secretly infected, the group tears itself apart with infighting -- you name the zombie apocalypse trope, it’s all here. 

One of the really interesting and groundbreaking things of Night of the Living Dead is that it features a black male protagonist. Now, I can’t say for certain that this is the first time in history someone made a movie about a heroic black man, but it’s certainly the earliest in our chronology that we’ve seen. And Ben (played by Duane Jones, an accomplished stage actor) is truly a great character -- resourceful, kind, brave, sometimes sassy and never afraid to stand up for himself. 

The role wasn’t written for a black character -- Romero said Jones just gave the best audition -- and the film is all the better for it because it avoids all of the troubling stereotypes that would haunt black people in horror for several more decades. 

In my opinion, the movie deserves a spot in history for that reason alone, but even aside from this historically significant casting choice, it’s just a good movie. A bit slow by modern standards, but with plenty of good action and some clever storytelling. Large chunks of it play out almost like a silent film, with the score and visuals doing most of the heavy lifting. The choice to film it in black and white helps to make it seem almost timeless (and likely helped to assuage the concerns of the viewing public, who were still squeamish about gore). A lot of the story is also told through snippets of radio broadcast and second-hand accounts, which adds to the claustrophobia of the main storyline while hinting at a much larger and more devastating event. 

And the ending! 

I remember watching Night of the Living Dead for the first time when I was in 8th grade. It was on TCM, I think, and I gleefully watched it alone in the dark and was totally blown away by the ending. I won’t ruin it in case you’ve never seen it, somehow, but man I didn’t see it coming, and cynical-preteen me thought it was the coolest shit. I still think it’s a very daring ending. 

Incidentally, WOW, the post-Hayes era of filmmaking took off with a bang. A few films ago we could hardly show a married couple kissing, and now we’ve got full nudity (including an appearance from Mia Farrow’s nipples in Rosemary’s Baby), on-screen graphic violence, and “morally corrupt” endings where the bad guys win. 

It must have been a wild time, growing up on the films of the 40s and 50s, and then coming of age in the 60s to see how WILDLY DIFFERENT they became in a few short years. 

The 1970s are coming, and I am stoked, because we’re entering the era of movies I adore (and which the Morlock has never seen) and I’m so excited to revisit them. 

[ellynneversweet]

Ok, so I’ve finished Normal People and I have ... thoughts. Mostly about whether it succeeds or fails as a text, and what the relative metrics are by which success should be judged (it’s succeeded in getting me to think about it, for sure). This got long and a bit ranty, and does discuss the mental illness aspects of the book, so I’ve put it below the cut. Spoilers etc.

I haven’t watched the show or read any of Sally Rooney’s other books (book?) or reviews yet, because I wanted to get down what I took away from the book by itself, rather than what other people thought about it. I did see the headline of like, one review that seemed to think it was all about capitalism, which struck me as a significant stretch as a primary theme, but hey. My take was that it was primarily concerned with (many and various) degrees of mental illness and unwellness experienced by various characters, the causes and effects thereof, etc etc, and it’s really because of that that I don’t know whether or not I actually liked the book.

Ultimately I think my ambivalence comes comes down to how the narration is structured, and the way Rooney doesn’t at any point step in explicitly prompt the audience in one direction or another.

So what took me a hot minute to realise was that the book’s written in a very close third person narration, alternating between Connell and Marianne’s perspectives.The thing is, however, that this close third person isn’t immediately obvious, because Rooney subverts the whole ‘show don’t tell’ advice. There’s a lot of phrasing given as ‘she felt good’ ‘he felt anxious’ ‘then they had sex’ etc.  The most personal aspects of the plot are constantly elided with this flat, clinical, definitive language that sounds almost like a witness statement in a criminal case. That’s especially the case with Marianne, who disassociates a lot, and slightly less so with Connell, who’s anxious, but the flat description is pretty present throughout. There are moments when the narrative dips into describing sensation, but that seems to occur only with regards to things that are irrelevant and impersonal, like drinking a glass of (insert carbonated beverage here), or feeling the breeze from an air conditioner. The book is all about this very intimate, arguably co-dependant and unhealthy relationship between these two intermittently sexually involved characters, so the aforementioned flatness struck me as an odd choice initially.

However. There’s two things that this does. The first, and IMO more significant, is that is creates an illusion of the narrative voice as omniscient and impartial, rather than biased and unreliable as it actually is. The seeming authority of the definitive statements in the narrative is emphasised by the stock filler phrases that the each of the dual protagonists uses in direct dialogue, and which inevitably mean the opposite of what’s actually said — in the case of Marianne we get ‘okay’ (I disagree but I want this conversation to end) and ‘I don’t know’ (i believe this to be profoundly true but it makes me unhappy), and in the case of Connell we get ‘obviously’ (I’m not sure at all, what do you think?). So the upshot of this is that especially in the earlier parts of the novel the audience is led into thinking the description of a particular plot point is what objectively happened, rather than the biased viewpoint of one of two people who keep talking past each other (I’m thinking particularly of the part in which Connell moves home because he can’t make rent, and each of them was waiting for the other to propose his moving into her flat instead).

So it is really interesting on that level of language structure. I do feel that the section headings (‘two weeks later,’ ‘six months later,’ ‘five minutes later’) were a bit of a red herring — especially towards the climax of the book, when things became violent, I was frankly expecting it to take a schlocky turn towards one or both of the main characters being maimed or killed in a domestic violence and/or drunk driving accident, à la Jodi Piccoult.

It didn’t, which was a relief, but I didn’t subsequently find the ending satisfying, and I think that’s because the way that it ended — a breakup that’s not really a breakup, just a breather — felt like something that had occurred at least three or four times already in the text. It’s always tricky to write a satisfying ending when all the main characters are alive and young and (presumably) going to continue their lives. Why stop the narrative here, rather than there? I think for that sort of ending to work, a story does need to feel like it’s shifting into a different stage of the characters’ lives, one that can be inferred, however dimly, but is distinct enough from the part described in the text to form a natural break. This didn’t feel like a break from what had gone before. It felt like a groove in an emotional cycle that had already been repeated, that had been shown as being repeated, that gave every sign of being repeated again and again, forever and ever amen.

This leads into the part where I talk about what I didn’t like, fyi, and fair warning, mostly what I didn’t like was the characterisation of Marianne. Sorry if she’s your fave.

So Marianne gets the last word of the narrative, in which she thinks about how ‘they’ve [Marianne and Connell] been so good for each other’. And i would argue two things, which is that 1) unreliable narrator or not, this being the last part of the text gives weight to this being read as a true statement 2) this is, uh, pretty clearly not the case. Marianne’s still fundamentally the same, teetering on the edge of self-destruction, and Connell is still anxious (and being made more so by Marianne’s reaction to his small successes).

Now, neither character is perfect. They’re also not bad people -- but they are struggling people who use maladaptive coping strategies and don’t ever really appear to move past those.

At first glance, on a scale of quantifying unhappiness, Marianne gets the raw end of the stick. She’s a character who’s sympathetic and pitiable, because she starts out as the smart, bullied kid who turns out to have an abusive home life and who is brutally dumped by her first boyfriend. So far, so sad. Connell, by contrast, is much less upfront about the things that cause him trouble (although they’re very much there) and has the initial upper hand. Connell also comes off as much more self-aware than Marianne — the part where he’s lying on the floor in a post-shower depression slump reminds me of that piece that goes around tumblr occasionally, about lying on the floor sobbing about the state of the world, and simultaneously noticing that the last time you painted, you didn’t do a good job with the brushwork in the corner you’re looking at, and thinking about how you should re-do it once you finish crying.

But the thing I can’t get my head around with Marianne is how Rooney feels about her, and it boils down to this: what level of awareness and intentionality is Rooney operating at when writing about Marianne’s mental health arc? Does Rooney agree with Marianne’s self-assessment of herself as ‘better’ and ‘normal’ (ie still acting in more or less the same way as she did throughout the text, but no longer a subject of gossip) at the end of the book, or does she not?

As I mentioned, I haven’t seen the adaptation, but I’ve seen a gif or two, and what struck me as I was reading was that the way that Marianne is described as looking (and styled in the show) is reminiscent of the pop-culture caricature of Sylvia Plath — increasingly thin, indie-fashionista, bangs, statement lipstick, weird but precociously brilliant, magnetic, male muse and male victim, mentally ill in a way that is complex but always sexy and sexualised (of course she developed a cute, posh eating disorder that involved eating half an expensive sugary pastry and a sugarless black coffee every day. Of course she did).

Basically, what I want to know is, is Marianne someone Rooney wrote based on that image of Plath, or is Marianne someone cosplaying as that image of Plath, whom Rooney is consciously deconstructing?

See, I think writing Marianne as someone (possibly unintentionally) cosplaying Plath is interesting. The myth of the hot, damaged girl is pretty pervasive (Harley Quinn, the suicide girls, etc etc) and writing Marianne as a character who has legitimate issues that she has trouble facing, who then instead focuses her self-awareness into this trope of ‘acceptably damaged’ has potential. I feel like there’s an opportunity there to examine the line between struggling with a mental illness vs self-consciously performing that struggle in a way that’s socially acceptable, which is a topic that suits the period when the novel’s set.

Unfortunately though, I think Rooney is probably buying into that myth rather than  examining it, because the fact that no-one, in a book that starts in 2011 ever sits Marianne down and goes, ‘yes, I get that people have told you you’re mentally unwell as a tactic to bully you, and that was shitty, but you pretty clearly have a raging case of ptsd which is NOT YOUR FAULT, please accept some help’ — that is frankly hard to believe. Not Connell who seeks out therapy and takes some dubiously successful medication? Not Joanna, who is by all accounts well adjusted and who makes a point of caring in a friendship where she’s doing a lot the heavy lifting? Not Lorraine, parent of the decade? Not some random teacher or professor, looking out for an obviously promising student?  Really, no one?

Marianne is supposedly brilliant and a tireless researcher, but she apparently never becomes aware of the possibility that there might be ways to process her past experiences in a way that would allow her some measure of peace. Never wants it, even in the worst of times. Never ceases to wallow in her own unhappiness. And it’s relevant, I think, that in the period of the novel where Marianne is (kind of) happy, when she’s making a success of things at uni, the focus of the book is on how she’s making Connell jealous by dating an abusive man. The closes she comes to self-awareness is recognising her proclivity to seek out unhealthy relationships and decide to lean into that, in what is consistently the least unhealthy romantic relationship she has. That feels like a cop-out.

Like, I’m not suggesting that every story that features mental illness as a theme needs to show recovery. That’s, unfortunately, not always the case. Some people never get better. Some people can’t bring themselves to believe in the possibility of getting better. It’s not even the case that recovery is a straight line, when it happens. I know that. I’ve seen people I care about it struggle with a whole range of problems, I’ve struggled myself. But this felt like 13 Reasons Why for adults, like depression-porn, and I just...am a bit angry, I think, that I can’t tell if that was the intention, it that wasn’t the intention but was the outcome, or if that’s just my take and I’ve misread the thing entirely.

Obviously people can write whatever they want in fiction, but I do think that when you’re dealing with a topic that has impacted a lot of people, that’s been poorly handed in fiction in the past, you do have a responsibility to treat it sensitive and thoughtfully, and not glamorise something that is ultimately destructive under the guise of ‘this is interesting and cool, and a good way to treat yourself and others, actually.’ And I don’t know if that’s the case here.

[chouetteffraie]

About BSD S3

Alternative title: Kenna talks about stuff literally nobody asked her to <3

So now that s3 is over and I’ve had a few days to breathe, I think I wanna say a thing or two about the season overall. Now, I’m not a meta writer, I’m not a person who can go in over analyzing everything perfectly- quite simply, I don’t have the brainpower to do that for too long. So rather than this being an analysis of everything and an objective evaluation of the quality of the season, this is largely an emotional response where I just talk about my experience with it. I’m not a critic- I don’t think I have that in my blood. I watch to enjoy, then reflect on what I did and didn’t enjoy, taking snippets and twisting them into something that might become deep and meaningful occasionally if it suits my writing. There’s nothing wrong with being a critical analyzer! We need you all in the fandom for all these fabulous metas and such <3 I just don’t think I’m the right gal for the job.

“So, Kenna, what is it you have to say?” Well, in the simplest of terms,

I really liked season 3.

“...wow. Groundbreaking.”

Now, let me explain myself. There are problems with season 3, as there are with most seasons, but I feel, overall, there were enough things that I liked about season 3 to keep the season in my favor.

I think my biggest criticism would have to be with pacing. The pacing  in this season was so off for me and can be described as sporadic at best. From backstories to character introductions to character re-introductions, there was so much that went by in a blur and so much that seemed to go on forever. My biggest complaint probably has to do with (yup, you guessed it) the adaptation of Fifteen.

Let me explain.

First of all, I think the complaints that Bones used Soukoku as ship bait have a sturdy foundation, and I’m not here to dispute that. As a Dazatsu main myself, I’m not gonna complain about loving scenes with your favorite ship in them- I would absolutely die if next season (hopefully there is a next season!) we got a three-episode plot revolving around Dazai and Atsushi. However, I just don’t think it fit in nicely with the rest of the series.

After all, it’s kind of unfortunate that we got 3 episodes of Soukoku’s backstory, and yet our protagonist only got 1/3 of an episode.

Maybe Fifteen would’ve stood better as an OVA, or maybe if it could’ve been shaved down to two episodes. Maybe if BSD had been given three more episodes for genuine content, things would’ve been better. I don’t know how possible any of these things would’ve been, but they’re ideas. Don’t get me wrong, I enjoyed Fifteen overall. But I remember thinking that it seemed so out of place when I knew the chaotic arc that was coming. 

I’m not an avid manga reader, but I know enough to be able to say that the BSD manga has a lot of content, a lot of nuance, and a lot of personality. The manga is the source material and what got people so invested in the story. If there wasn’t an interest in the manga, would there even have been an anime adaptation? What I’m saying here is that staying true to the manga is a good rule of thumb, and while of course you won’t be able to translate everything into animation, it’s probably best to try and be as similar as possible with a story like BSD.

Manga readers ate up the story of BSD without being interrupted by Fifteen, because as far as I’m aware, Fifteen is fairly new? (Didn’t it come out around Dead Apple time? I’m not entirely sure, but it might’ve been.) And, unlike The Dark Era, the events of Fifteen didn’t have nearly as much of an impact on Dazai (that would later impact our protagonist- after all, how could he mentor Atsu if he never quit the mafia?). Fifteen was more Chuuya-centric in terms of future impact, which brings me to my next point.

Chuuya is a side character. I love him, honestly, and think he’s a great character, but he isn’t our main focus. This seems to be a problem that Bones has a lot: “forgetting” who their protagonist is. 

I can defend The Dark Era because of how it explains Dazai’s connection with the mafia and why he switched sides. Dazai is easier to get away with focusing on because he is a primary character, although not the protagonist, and probably has some of the most influence on our true protagonist out of all the characters we know. Chuuya....doesn’t. At least, not yet. His backstory, while interesting and fun to see, is inconsequential to where our protagonist is at right now in the story. In fact, I’m not even sure if Atsushi and Chuuya have interacted in the anime aside from that standoff in the hospital hallway- and even then, that was an illusion. While Fifteen gave us a glimpse to Dazai’s life in the mafia, it didn’t give us anything we didn’t already know other than how he met Chuuya, and how he met Chuuya didn’t impact his relationship much with him or explain why he hates him so much- they just kind of always did. (what would you call that? Anti-chemistry?) That means it also didn’t really impact the major decisions Dazai had to make to get to where he was when he found Atsushi- which is when he began to matter, because that’s when he started influencing the world of the protagonist who is supposed to drive our experience through the narrative.

Please note, this isn’t a hate on Soukoku, and if you like Fifteen, or thought it fit, or just liked it because it gave you such good SKK content, I’m happy for you! This is just a personal grudge I have with the series.

This is why Fifteen would’ve stood better as an OVA- it doesn’t have anything to do with the protagonist. A core purpose of the protagonist in any story is to make the narrative relevant. The events of a story are connected because they pertain to the protagonist. Let’s take the Hunger Games as an example. The events of the actual game don’t relate at all to the death of the Everdeen father, or the fact that Primrose Everdeen was selected, or the fact that a certain Everdeen was given a pin of a mockingjay. These are all important because they relate to our protagonist, Katniss. Her father dying made her have to step up inthe household and feel responsible for her mother and sister’s safety, which helped prompt her to volunteer as tribute. Her pin later became the symbol of a revolution, but only because it was hers. If our protagonist had been Peeta, Katniss’ backstory with her father and mother and sister wouldn’t matter to us because it wouldn’t be our protagonist’s concern.

So, why, then, did we get 3 episodes of Chuuya’s backstory and 10 minutes (not even) of Atsushi’s? Hell, we got more of Kyouka’s backstory than Atsushi’s, or at least a better buildup to it. We even got more content of Randou, a character they completely screwed up (and also didn’t really affect Atsushi). I know events are tied together and connected, but when trying to fit an arc like Cannibalism into 12 30-minute episodes, you’ve gotta decide what’s important and what’s not.

Bones, I feel, didn’t choose what was most important.

“Alright, Kenna, all you’ve done is complain. I thought you said you liked season 3?”

That’s the thing, though- I did.

I like the time they spent with Lucy and Kyouka’s hostile interactions. I liked the background they gave to certain characters (Gin, Kyouka, Atsu [even though we got so little], Katai [-ish]) plus we got more Fyodor content. Fitzgerald’s episode was really good, too! I’m a newly-fledged, softcore Fitzgerald stan. I think the last three episodes were pretty well put together, and I ADORED the final scene (no, not just for the Dazatsu content- although thank you for the food, Bones uwu).

Now, these are all little things, yeah, but I feel together they make up enough for Fifteen on my end. See, I’ve always thought BSD had pacing issues from season 1. It’s no news to me that they had trouble squeezing all the content in the episodes they were given, to be honest. If I separate Fifteen from the rest of the season, to me, it’s cardinal sin is pacing, and only pacing. The issues of Fifteen are plentiful, but it doesn’t seem fair to me (and for me, it’s more than ok if you disagree) to pile that all on to the rest of the episodes. Yeah, it was disappointing that we didn’t get as much Fyodor time, or Atsu backstory time, or whatever else we wanted. But to me, that’s okay. We still got the point of what’s going on- the city is in trouble, the worst is yet to come, and Atsushi and Akutagawa have a deal now.

Bungo Stray Dogs has always appealed to me because of its characters more than its story, I connected with the people, not the narrative. I still thoroughly enjoy the story, but I’m more interested in how the characters interact in general and how they operate as a team or in stressful situations. For that purpose, Bones provided. At least they did in my book, even if we didn’t get enough of who we wanted to see.

I have hope for next season, if there is one. I have hope that Bones will right their wrongs. I have hopes that they’ll fix their pacing a little bit. The manga has so much content to portray, though, that a certain pacing issue can be forgiven (like the ones I saw in s1 and s2.) And, because I love the characters, I’m willing to hold out for another potential season and see if they can fix it.

If you’re upset, you have every reason to be. But, though I have my complaints, I can’t say I’m too terribly disappointed. Maybe a little, but I still look forward to future content. I hope we get it soon, if at all.

(And, believe it or not, this is the shortened version of all my thoughts. Haha!)

[ogradyfilm]

Recently Viewed: SHAZAM!

Armchair pop culture analysts drone on and on about “superhero fatigue,” but the current abundance of material isn’t the primary cause of that (largely exaggerated) issue; the real root of the problem lies in studios' over-reliance on soulless mimicry. Every time a comic book adaptation earns widespread critical acclaim and/or smashes box office records, corporate bigwigs race to replicate the secret recipe that will allow them to print money (see: The Dark Knight, The Avengers)—and, more often than not, end up face-planting at the starting line. DC’s SHAZAM! succeeds where the likes of Suicide Squad and Justice League fell short because it actually understands why audiences responded so favorably to its trailblazing predecessors: innovation always trumps shallow imitation.

(For even more compelling evidence, look no further than the Marvel Cinematic Universe, which—contrary to what its detractors would argue—constantly experiments with different tones, styles, and sub-genres.)

SHAZAM! isn’t only special because of the inherent novelty of its premise (the protagonist is a young boy capable of literally transforming into a Herculean demigod—the ultimate evolution of the adolescent power fantasy upon which the industry was built); it is further distinguished by its emphasis on characterization and theme over mere spectacle. Billy Batson is a fourteen-year-old orphan that refuses to play by the rules of the foster care system—after all, why should he settle for a “pretend family” when he knows that his birth mother is still somewhere in Philadelphia, just waiting to be found? When he is suddenly chosen by the ancient wizard Shazam to act as his champion in the war against the personifications of the Seven Deadly Sins, however, our hopelessly overwhelmed protagonist turns to his nerdy new brother (an unabashed Superman fanatic) for aid in mastering such fantastic abilities as the lightning of Zeus, the speed of Mercury, and the stamina of Atlas.

Predictably, they behave with the level of responsibility and maturity you’d expect from a pair of teenagers, abusing Billy’s magical gifts in the pursuit of fame, fortune, and beer. But after their foolish antics (which they diligently record and post on YouTube, naturally) attract the attention of the nefarious Doctor Thaddeus Sivana—a previous candidate for the mantle of Shazam that was ultimately rejected for lacking a pure heart—the newly-christened Captain Marvel (I don’t give a damn what the lawyers say, that’s his name) must learn the true meaning of heroism in order to protect the ragtag bunch of misfits he now considers his siblings. And along the way, he discovers that “home” was never quite as far away as he thought.

Despite the seemingly monumental stakes (demons, mysticism, and metaphysical horror), the conflict remains charmingly small-scale—heck, the climactic battle takes place not in some bizarre alternate dimension or on the surface of a remote alien planet, but smack-dab in the middle of a Christmas carnival. This is due in large part to the relatively modest budget, but director David F. Sandberg turns this potential disadvantage into his greatest asset, devoting the vast majority of the 132-minute running time to developing the characters and the relationships between them, thus ensuring that viewers are totally invested in the action (and, consequently, making them more inclined to suspend their disbelief and forgive the less-than-stellar visual effects).

All that being said, I sincerely hope that there’s no misguided attempt to distill this film’s triumphs down to a simple formula. SHAZAM! soars because its originality makes it feel fresh, exciting, and surprising; trying to cannibalize the qualities that make it work (particularly its self-deprecating sense of humor and lighthearted atmosphere) without comprehending its underlying strengths would only end in disaster.

(Let’s be honest, though: if we interpret the plot as a metaphor for the DC Extended Universe itself, then Sivana symbolizes Warner Bros. Entertainment—always trying to exploit shortcuts in its endless quest to seize greatness, rather than acknowledging its limitations and learning to stand on its own merits.)

And now, if you’ll permit me to geek out for a moment, here is a list of my favorite of the movie’s many winks, references, and Easter eggs (SPOILERS below, obviously):

Billy and his siblings attend a school called Fawcett Central. The original Captain Marvel Adventures comic books were released under the banner of Fawcett Publications before DC acquired the rights to the character.

A flashback shows Billy begging his mother to buy him a stuffed tiger. Mister Tawky Tawny, a talking anthropomorphic tiger, was a frequent recurring character in the source material.

When Sivana initially arrives at the Rock of Eternity, the camera lingers on an unassuming caterpillar in a jar; fans will immediately recognize this as Mister Mind, a classic Captain Marvel villain. When Billy drops by later, the glass prison is shattered, and the fiend is nowhere to be seen. I expected that to be the full extent of his little cameo; imagine my delight when he returned for the mid-credits scene—and with several lines of dialogue, to boot!

[nellygwyn]

What movies/shows set in the Restoration do you like?

This list is going to be so short, mostly because..........nobody makes anything about the English Restoration. And if they do, they get it wrong. BUT

Charles II: The Power and the Passion, which is ultimately one of the best historical dramas ever and definitely the only media about Charles II TRULY worth consuming. 

The First Churchills, which is about Sarah Churchill (yes, THE Sarah Churchill, from The Favourite) and her husband and it follows their lives from their youth in the court of Charles II to their eventual disgrace in the reign of Queen Anne. They do cover Sarah as Anne’s favourite, and Abigail Masham is in it, but don’t expect any hint of Anne being anything other than aggressively heterosexual because it was made in 1969 for dinner time British TV viewing....unforch. But it is good. 

Stage Beauty is fun, though entirely inaccurate in almost every single aspect, except Rupert Everett portraying Charles II is genuinely probably like....raw footage of Charles himself, gonna be real with ya. Also, Billy Cruddup ruined his marriage on the set of that film because he had an affair with Claire Danes but asjoidjdsadj anyway

England, My England, is a biopic about Henry Purcell, or at least...I thought it would be when I went into it. Simon Callow and Lucy Speed portray an actor and his girlfriend in the modern day, both starring in a play about Charles II and Nell Gwynn, but also trying to write a play about Henry Purcell together at the same time. This storyline runs alongside the story of Henry Purcell and his experiences at the court of the real Charles II (played by Simon Callow still). Lucy Speed also still plays Nell Gwynn in the biopic part of the film, and the relationship between her and Charles is adorable. My only issue is like....it has this weird anti-Britain-being-a-part-of-Europe-in-any-capacity sentiment at the end and Simon Callow’s actor character makes this whole speech about ‘England, MY England!’ and I’m like ‘What does this have to do with Purcell or Charles II?’ but yeah lol prior to this......I love the film because it’s so weird, it’s like a play within a movie 

The Children of the New Forest, and I mean the newer BBC version of it. I remember watching this in primary school during a really rainy week when we couldn’t go out and play, but it was so worth it. The children of a high ranking Cavalier have their house destroyed and whole family murdered so go and live in the forest with a gamekeeper who disguises them as his own children. All the while, they have to hide from the Roundheads and then try and help young Charles II escape to France eventually. It’s based on a children’s book so it is technically for children but it’s good. And has an actual Rromani character in it! And his characterisation isn’t gross!!!

By the Sword Divided, which is technically set during the English Civil War, but like The Children of the New Forest, I’m pretty sure Charles II is in it in some capacity??? Anyway, yeah, it’s about two families during the ECW, one Cavalier, and one Roundhead. 

The Fortune and Misfortunes of Moll Flanders, and I’m referring to the 1990s BBC adaptation of Defoe’s novel here. Andrew Davies gets a lot of rightful hate on Tumblr but Moll Flanders is one of his earlier adaptations and it’s actually good and it begins in the Interregnum period but Moll’s stories reaches its height during the Restoration. It’s good and Daniel Craig has never been sexy to me, but he is in this, with his periwig and his highwayman antics. 

The Lady and the Highwayman, which is based on a Barbara Cartland novel so it is Really That Kind of Bodice Ripper. But it stars Hugh Grant in one of his earliest performances! And it’s not just a romance, it’s about a rivalry between the protagonist, Lady Panthea Vyne and Charles II’s mistress, Barbara Villiers. 

I’d put The Favourite on this but I don’t count it as technically Restoration (this is the same for The Draughtman’s Contract, which is a film I love but is technically set in the reign of William III). Restoration to me is like....the reign of Charles II, or anything involving him in some capacity. Also, there are lots of thing set in other countries during the late 17th century, a lot of which I adore, but yeah. OH ALSO, I love Jessica Swale’s Nell Gwynn but that’s a play...if you ever get the chance to see it, do go! 

Shows/movies to avoid at all costs (like, they’re not even cheesy or bad or boring, they are just flat out offensive): New Worlds (though the portrayal of Monmouth is so good in this....but the rest is awful and Charles II is like a pantomime villain and they do my girl Nelly dirty in the most sexist way possible and there’s a horrible portrayal of Native American people too....bad. Roundhead garbage!) and The Libertine (Rochester wasn’t like that so Es My Dee) 

[hellzyeahthewebwieldingavenger]

Spider-Man: Into the Spider-Verse (semi-stream of consciousness) Thoughts Part 2: A Superior Spider-Miles

Lets talk about how this movie handled its primary protagonist, Miles Morales. SPOILERS ahead.

Look I could just go on for ages listing off specific examples of how this movie is hilarious, action packed, emotional and so on, but I think you can take that as a given. It’s all round great okay, so let’s maybe talk in more specifics.

Miles Morales is of course the primary character in this movie.

As I began to get at in the last part of my thoughts on this film, there is a distinction to be made between the primary protagonist and the sole or main protagonist.

In Spider-Man movies of the past there has been one main character, one protagonist, one lead character, Peter Parker of course.

This movie doesn’t simply switch that focus to Miles because that would mean the other characters who get play are supporting players in Miles’ story and that is not the case.

This is an ensemble/team story with Miles as the central focus of that team.

I suppose the most apt comparison would be that in Lord of the Rings Frodo might be the primary character but Sam, Merry, Pippin, Aragorn, Legolas, Gandalf and Gimli are more than merely supporting players in the story, they are vital and integral protagonists along with Frodo, even if the story belongs more to Frodo than to them.

So Miles in this movie = Frodo, even right down to having his mentor die and his uncle be semi-nasty.

As such most of the characters featured in the movie are filtered through the lens of serving the story wherein Miles is the heart and soul of the piece.

We will discuss the other characters a bit more in a future instalment, but broadly speaking their roles in relation to Miles is to serve as a barometer of how far he has to come to truly become a Spider-Hero among their ranks. This is after all his origin story and unlike the Maguire or Garfield Spider-Men he lacks the benefit of a montage sequence or time skip to herald in his experience.

The film follows his origin very linearly across the space of what at best is a few weeks thus we truly see Miles clear progression from unable to control even his wall-crawling to fully fledged Spider-Hero. Albeit one who still has much to learn and stumbles from time to time.

It is a beautifully executed arc that allows Miles to far more earnestly earn the mantle of Spider-Man compared to his comic book counterpart.

Indeed this version of Miles and his origin is for the most part grossly superior to how Bendis did it in the Ultimate Universe.

The singular drawback of the film’s take on Miles’ origin is that it is comparatively less grounded than Miles’ in the comics due to the presence of parallel universes, global/universal stakes and things of that nature.

However the film perfectly justifies this as a more faithful rendition of Miles origin simply would never have worked.

I’ve said countless times before in defiance of those foolishly insisting that Miles Morales should have been the Spider-Man of the MCU that this was utterly impractical.

And one the biggest reasons for this is the fact that Miles simply doesn’t have enough source material upon which to base a trilogy of movies.

This is owed to his being created as recently as 2011, his adventures being frequently derailed by crossovers and tie-ins with other characters (thus defeating the purpose of stories focussed upon him) and his stories playing out under the ‘written for the trade’ format. This means that whilst there were around 24 stories about Peter Parker in the first 28 issues of ASM’s publication (excluding annuals, but including his entire high school career) there was in truth just 7 in Miles’ first 28 issues. And not all 7 of those would have been useable in a film adaptation.

In fact if we consider just the first two (and most critically acclaimed) live action Spider-Man movies we can see that they combined elements from across Spider-Man’s then 40+ year history.

Spider-Man one combined elements of Spider-Man’s origin, the retelling of said origin from Ultimate Spider-Man, The Death of Gwen Stacy, ASM Annual #39, ASM Annual #9 and multiple other smaller elements from Spider-Man’s wider history, such as his job at the Bugle, his relationship with Mary Jane, etc.

Spider-Man 2, whilst chiefly based upon Spider-Man No More (ASM #50), also combined elements from ASM Annual #1, the broader concept of Doctor Octopus from his decades of history, ASM volume 2 #38 and other things I’m sure I am forgetting.

Again, not every Spider-Man story unto itself was particularly friendly towards being adapted into film but such a rich history made cherry picking workable elements to form a movie possible.

Miles possessing a shorter, more linear and decompressed history makes this much harder. Compounding the problem was that in order to introduce Miles to wider audiences necessitated doing an origin movie for him.

In 2018 superhero origin movies are something of a touchy subject in the wake of in excess of two decades worth of them, and for there to have been a less that 20 years a THIRD film presenting a story about a scientifically gifted NYC dwelling teenager to be bitten by a spider, gain super powers that he does not immediately use altruistically, thus generating guilt that propels him to wear web spandex and become a hero was never ever going to fly.

Unfortunately Miles’ origin is one of his relatively few reliably ‘filmic’ storylines. In fact this movie combines his origin story with elements from the second Miles story arc featuring his uncle the Prowler as well as the Spider-Men mini-series and the crossover between him and Spider-Gwen.

Oh and the Spider-Verse crossover (though in truth I think the movie owes more to the grand finale of the 1994 Spidey cartoon).

Oh and technically elements from every individual Spider-Hero they adapt into the movie, so Spider-Man: Noir, Spider-Gwen’s SP//dr’s origins from Edge of Spider-Verse (which were both anthology one shots) and Marvel Tails (Spider-Ham’s origin). And let’s not forget tiny elements from Peter’s history, including his marriage to Mary Jane, the Death of Spider-Man arc from Ultimate, etc.

There is after all a reason this movie isn’t called ‘Spider-Man: Miles Morales’ or something like that and rather ‘Spider-Man: Into the Spider-Verse’.

Sony Animation wisely realized they had to /out of necessity had to overlay Miles’ origin with a whole other story and then emebellish both by cherry picking from the wider Spider-Man franchise.

Because Miles on his own, especially if you just did his origin, wasn’t going to be enough.

What is to be praised though is how organically the film makers weave (no pun intended) the different storylines together and improve upon the source material.

Much like Captain America: Civil War and Spider-Man PS4 before them, they recognized certain weaknesses in said source material (Miles’ origin and the Spider-Verse crossover) and turned the subpar lemons they got into delicious lemonade.

In this movie Miles has only recently begun attending the Brooklyn Visions Academy and the film first and foremost focuses upon his home life and as a consequence this mitigates Miles attendance to a school the likes of which most teens do not attend, making him more relatable.

Also appreciated is the de-emphasis upon his being ‘just a good kid’ and science skills.

In the comics these are aspects that respectively undermine the idea of him as a flawed hero and make him too similar to Peter Parker.

Peter Parker was founded upon the basis of being both a hero with problems and an imperfect person. When Miles uses his powers to risk his life and save people from a burning building within a few days of getting them, it makes him come across as a good, nice and admirable person for sure. But that’s not exactly the right philosophical approach to Spider-Man. Peter Parker was selfish and irresponsible with his abilities and nursed pent up frustration when he got his powers. He was a good person but far from immediately altruistic.

Miles in this movie has an artistic side and employs that to make stylized stickers he slaps around the city and at times engaging in graffiti. He also finds studying an incredible burden and purposefully tries to fail his classes in order to get kicked out of the school he feels is elitist and doesn’t fit in at.

Miles is a million miles away from a criminal or a vandal of course, but these minor bits of misbehaviour do much to sell the idea of Miles as more well rounded and flawed like Peter was, but in a very different way. Similarly his artistic side gives him a unique interest distinct from Peter’s passion for science, whilst the movie still sells him as intelligent (but not the science whiz Peter is). His artistic side is also used beautifully in the third act of the movie where he uses spray cans to customize one of Spider-Man’s classic red and blue costumes and turn it into his black and red comic book costume, or at least a version close enough to it.

As far as making Miles a legacy character is concerned this is perhaps an absolute stroke of genius.

The symbolism of it is just delicious isn’t it?

Miles the inheritor of Peter’s legacy literally wears Peter’s suit then uses his own special skills to make it his own. He does however leave the fingers of the gloves unchanged thus the costume incorporates a clear visual signifier that beneath it lies the original costume, thus the original Spider-Man will always be beneath Miles helping to be the basis of who he is as a hero.

The transformation is made all the more compelling when we consider that there is a clear visual progression for Miles throughout the movie.

In the first third or so of the movie he is simply in his regular clothes. Then in the second third when he adopts a cheap high street Spider-Man costume. Then in the last act he adopts his comic book suit covered up by street clothes as the posters for the movie make clear, before shedding the clothes and unveiling the finished costume.

Its one of those things you just feel frustrated wasn’t in the original comics version of the story

Miles goes from a normal person, to someone trying and failing to be Spider-Man, to being someone ready to take the leap and become Spider-Man (symbolized by his wearing his costume under normal clothes, in other words infusing Spider-Man as part of his normal life) to finally BEING his own Spider-Man.

This new approach to the costume isn’t just superior to how the comics handled it, it highlights part of the problem with how Miles adopted his suit in the comics. There Miles was simply handed his costume courtesy of Nick Fury. This again undermined Miles as a successor Spider-Man because it meant Miles, unlike Peter didn’t make his own suit (or at least stylize it himself, like Ultimate Peter did) and thus undermined his sense of independence.

In this version of the story Miles might not have literally sewn together his costume but he also wasn’t just handed the suit. He actively seeks it out and is permitted to have it by Aunt May before taking it and literally making it his own. This accentuates the idea of Miles as his own man as much as it does him being a legacy to Peter.

Speaking of which the movie also alters Miles relation to Peter’s death. In the original story Miles saves a family from a burning building then resolves to never use his powers again. Awhile after he learns Spider-Man has been shot as part of his final battle with the Green Goblin and heads over to the battlefield just in time to witness Peter’s death. He blames himself for not using his abilities thinking that if he had this would have led to him befriending Peter and being in the loop, allowing him to help him when the time came. His BFF Ganke dissuades him of this notion. Whilst Miles can still be interpreted to hold guilt over Peter’s death his role in it is far more tenuous than Peter’s role in Uncle Ben’s death and the personal pain Miles feels is somewhat questionable.

But in the movie, Miles is present for the final battle as it happens, he interacts with Spider-Man. First by him saving Miles, then promising to train him and finally imploring him to destroy the Kingpin’s machine to ensure the city’s safety. Miles considers helping Spider-Man but is too scared to do so, he witnesses Kingpin murdering him and fails to destroy the machine as he promised. Then he goes home somewhat traumatized and very clearly deeply upset by Spider-Man’s death.

This makes Peter’s death cut much, much deeper for Miles than in the comics, adds a layer of guilt to him and drive to become Spider-Man and truly save the city so he can live up to the promise he made to a dying hero. So again, like a perfect legacy character, the movie renders Miles similar yet different to the original hero.

Other improvements made to Miles himself includes the way the movie handled his powers. Rather than having Miles easily have access to all his abilities the film unveils them gradually and doesn’t give him particular control over them.

Whilst by the end of the movie Miles is mostly fighting and web-swinging like a pro, he spends most of the movie bumbling around. Usually I hate this in Spider-Man media but here it works. Unlike in Homecoming where we are expected to believe Spider-Man after nearly a year is still a jackass, Miles has literally only had his powers for maybe a few weeks at the absolute most has had little chance to practice or refine them (even comic book Peter did a little bit via his show business career). Moreover whilst most versions of Peter make him relatively competent very quickly (presumably a biproduct of his scientific acumen) having Miles NOT be like that again works for his character.

Having Miles be less competent than Peter was off the bat again makes him more distinct than Peter and frankly is a better way to handle most legacy characters. When a legacy character is actively removed so as to allow for a replacement to fill their role one of the worst things you can do is have the replacement measure up to the skill of their predecessor particularly quickly. You want them to earn that role and begin with a major skill gap that they gradually improve upon. Case in point in the excellent Batman Beyond TV show, Terry McGinnis did not in his first season have anywhere near the competency of Bruce Wayne in his prime. He had talent but it grew over time.

In the comics whilst one could argue Miles either wasn’t truly as skilled as Peter was in the same amount of time (or if he was then it was sufficiently justified) a lot of that went out the window when you factor in his invisibility and venom blast powers.

These particular abilities opened up two problems with Miles character. They both over powered him or alternatively made him look foolish.

With the Venom Blast alone Miles could deliver extremely potent finishing moves to various opponents, even electrically powered ones with there being for the most part little limit on the effectiveness of the power. Similarly his invisibility doesn’t seem in my experience to be a power with many drawbacks meaning that between those two abilities alone (let alone his other powers) Miles could simply sneak up on and zap any opponent into submission, even immensely powerful foes like Blackheart.

This creates a Superman problem for Miles where there is either no drama because he could easily end most conflicts or else there is false drama because the stories must wilfully ignore his ability to easily end most conflicts.

The movie side steps these problems by simply making Miles incapable of using these abilities (or his wall crawling) on command until the third act climax, thus Miles isn’t over powered and his mastery of these abilities exists in tandem with his acceptance and transformation into Spider-Man. This is beautifully illustrated by him taking a literal leap of faith from atop a high building and demonstrating he is now fully capable of engaging his wall crawling powers (perhaps Spidey’s most iconic ability) at will.

Whether his invisibility and venom blast powers will be problematic going forward remains to be seen but within the context of this self contained movie, relegating mastery of them to the climax mitigates the problem of potential false drama.

The last bit of improvement this movie made was in his relationship with his ‘Uncle Ben analogues’.

Of course Peter Parker is to Miles what Uncle Ben was to Peter. But Miles also has a literal uncle, Aaron Davis a.k.a. the Prowler.

I already spoke of how the movie greatly improves Miles relationship to Peter’s death, but the movie’s nature as being about parallel universes allows it to have it’s cake and eat it.

Because of course there is another Peter Parker who can function as Miles’ mentor. It is by the way very, very telling that the most acclaimed and beloved versions of Miles (both of whom have come out in 2018) both have Peter Parker as a mentor baked into their origin stories, as the PS4 game did the same thing in a very different way.

Whilst PS4 Peter and Miles are akin to an older and younger brother, movie Peter and Miles are more like father and son or uncle and nephew or perhaps yet more appropriately Peter is the Mr Miyagi/Phil from Disney’s Hercules to Miles’ Daniel LaRusso/Hercules.

Pretty much EVERY Miles fan and a large number of Peter fans love this dynamic. They LOVE seeing Peter as a mentor and Miles as his student.

Even those, like me, who feel that comic book Miles should exist in his own universe independent of Peter Parker, acknowledge there is fertile ground from that dynamic that should be cultivated.

And yet frustratingly in spite of crossovers when they lived in different dimensions and guest appearances when they lived in the same one, this well of potential has remained untapped. As much as the comics pay lip service to Peter as Miles’ mentor the truth is it is simply not a thing in the comic books, Peter Parker has never truly trained Miles.

This movie gives us some training scenes but more poignantly interpersonal bonding scenes where both characters grow and improve via their relationship with one another.

Then you get to Uncle Aaron. In the Ultimate comics Aaron was a super villain thief who sought to use his nephew for his own gain, was willing to kill him and then presumably died. Then crazy shit happened because of Secret Wars but that isn’t important.

In the movie though, Uncle Aaron starts off as the cool uncle and rogue to Miles as in the comics, and is changed from merely a thief to also hired (and very deadly) muscle. However unlike the comic he never uses Miles and his attempts to kill him only occur when he does not know who he is. Arguably the most dramatic and engaging scene in the movie is when he finally learns who Miles is and we see him make a fateful choice...to protect his nephew. And immediately die at the hands of Kingpin for it.

Instantly Aaron is transformed into a more compelling, nuanced and realistic character. Frankly the vast majority of uncles really WOULD protect their nieces or nephews rather than harm them, and this juxtaposed with his role in Spider-Man’s death makes Aaron a more grey and sympathetic character than his comic counterpart.

His death is arguably overly derivative of Miles but this is offset by the presence of Miles’ still very much alive parents. After all there is a critical difference between being motivated by a fallen hero and/or your uncle vs. your father figure as Uncle Ben was to Peter. The scene is then touchingly used as a springboard to showcase how each of the Spider-Heroes has lost someone and been driven by this and for the arguably OTHER most compelling scene in the movie. Jefferson and Miles’ conversation through the door, which then leads into Miles final transformation into Spider-Man.

Finally the conceit of the parallel universe idea allows for the movie to once again have it’s cake and eat it in regards to Miles’ role as Spider-Man within his universe.

Miles gets to transform into Spider-Man due to the direct involvement of Spider-Man, but he also gets to be the Spider-Man who picked up a fallen hero’s mantle and become THE Spider-Man of his world, meaning he isn’t over shadowed by the presence of another Spider-Man simultaneously. Plus he has access to all of Peter’s villains most of whom are unique to their more mainstream counter parts, with special attention going to Olivia Octopus.

However you slice it, Sony punched up Miles’ source material and just leaves me abjectly miffed that this version of Miles  isn’t the one we got in the comics.

[headlesssamurai]

Have you seen Altered Carbon? If so, what do to think of it?

Alright, I finally bucked up enough courage to do another honest, non-sarcastic, write-up for a piece of media. Just been somewhat bitterly reluctant to voice my true opinions on fiction, or anything else really, since it seems like lots of folks are quite intensely engaged in violent uproars of one kind or another. No need to add more noise to the feedback loop, if you know what I mean.

But you’re, like, one of a dozen or so dudes who asked me about this series. So I reckoned I’d write it up for you, it being such a popular subject and all. I’d also like to thank you for your curiosity. It’s pretty damn humbling to know anybody cares enough about what I think to even ask after my thoughts. I’ll make sure to offer a notary warning before I spill any spoilers.

I became acquainted with Richard K. Morgan’s Kovacs-verse a few years back, but accidentally read one of the protagonist’s later adventures before backtracking to the original novel. I found it to be a respectably well-written futuristic detective story in the grand tradition of vintage writers like Robert B. Parker, even if including the predictably pornographic sex scenes in the grand tradition of modern urban sci-fi/fantasy writers like Laurell K. Hamilton (maybe the ‘K’ middle initial is a code for graphic sex content). In preparation for watching the new Netflix series, I re-read Morgan’s Altered Carbon to refresh my knowledge of the future he created.

Now, I’d like to say I’m a prolific reader of novelized fiction and other books, but I’m not one of those “hardcore” purists who always cries “the book was better” while pounding my fist on the podium. Thus in my effort to avoid any such farcical nonsense, I’m going to sort of examine both the book and the Netflix series of Altered Carbon at once, and write about what I enjoy and dislike about both versions, instead of directly comparing them.

I’ve grown so cynical with modern film and TV, I tend to unintentionally generate lists of what I think they’ll change about a book’s story once they adapt it, and what they’ll add and leave out. Usually, these lists are fairly accurate. Game of Thrones, for instance: how depressing it is to be absolutely correct some times. Not that the books were much better, but a pinecone up the ass doesn’t make a kick in the nuts feel any better.

A lot of people would describe Altered Carbon as having cyberpunk vibes, and this is true, but I believe it fits more comfortably into the realm of biopunk than anything else. If you’re not familiar with the concepts herein, Altered Carbon involves a distant future in which humanity has colonized the stars over many generations using sleeper ships, and with a little help from recovered alien star-maps, but has not achieved faster-than-light interstellar travel. The central technology in this universe is the cortical stack, a type of neural backup which allows a person’s consciousness to be digitally stored in a “disc” and uploaded into a new body if they die.

The new bodies are referred to as sleeves, and the filthy rich clone themselves so their sleeves are all identical and genetically enhanced, but most common folk have to accept whatever body is available or is covered by their insurance, or even a synthetic sleeve (which in the novel is a cheap and distasteful thing, but in the series synthetics seem to have superpowers). People can only travel quickly to other star systems in the settled worlds (known as the Protectorate) by transmitting their stored consciousness into another cortical stack on their planet of destination and uploading into a new sleeve there (a process called needlecasting), but physically transporting anything still takes a really long time for ships to travel across the vast distance of space.

Straight out of the gate, this concept does not appeal to me at all. If there’s anything that drains your story of tension and thrills, it’s got to be the idea that everyone lives forever. The way the universe is constructed however, it ends up making the story far more interesting than what I had anticipated. Not everyone can afford to live forever, first of all, since re-sleeving can be an extremely expensive undertaking, and even those who have the money rarely feel the desire to live more than two lifetimes. Additionally there are complications which can arise, such as personality fragging, a type of insanity which occurs when a person is sleeved in one too many different bodies throughout their life.

Certain religious groups also vehemently resist re-sleeving, and for law enforcement various lengthy sentences of storage without the possibility to re-sleeve are the primary means of punishment for most crimes. There are even interesting concepts like criminals who copy their consciousness into several cortical stacks at once, making them difficult to apprehend once and for all. Other criminals and intelligence operatives also utilize virtuality to torture people in a digital environment, allowing them to subject victims to days or even months of agony which equates to only a few hours in real-time. Real death can also still occur, if the individual’s cortical stack is badly damaged or destroyed.

The actual plot involves a former soldier named Takeshi Kovacs, who is paroled early from a criminal sentence and re-sleeved by a rich tycoon who offers to exonerate Kovacs of his crimes if he can solve a murder. While reluctant to work for some rich asshole, Kovacs is almost instantly attacked by mercenaries which makes him curious enough to take the case. Kovacs then works to investigate the purported crime while getting himself into a bit of trouble with the locals, and trying to deal with extreme trauma from his combat experiences.

It’s surprising that in the case of Altered Carbon I was entirely incorrect in everything I thought the producers might add/change/amputate from the original story. I also could not have predicted what they decided to add and how they decided to change certain elements from the story of Morgan’s novel. I believe the series they crafted from his story is competently scripted, very well cast, doesn’t waste too much time with any silly subplots, and is generally a well-paced, adult-themed sci-fi story. Altered Carbon really wants to take itself seriously, in the same vein as things like SyFy’s praiseworthy diamond The Expanse, but its unique setting gets a little too bogged down in conventional tropes for my liking. Gratuitous T&A (as well as other, less commonly exploited extremities) and generous helpings of the fuck-words do not an edgy and intense sci-fi experience make. Good but not great, would be my general assessment of the series.

Don’t get me wrong here, Altered Carbon is plenty intense, even thrilling at certain points, but a somewhat bland smattering of writers and directors, thrown into the recipe with a few others who are brilliant geniuses, create a mixed bag of stylistic choices which don’t always fit together very well. So you’re often left with an unusually faithful adaptation of a badass novel, wonderfully enhanced in certain aspects, but grotesquely mutated in others, and some of the conflicting storytelling elements feel hurriedly stitched together. A Patchwork Man of a story, rather than prime quality tank flesh. None of Altered Carbon’s flaws are crippling however, and all-told I’d say the series is eminently watchable and very worth your while if you enjoy futuristic sci-fi stories.

WARNING: Spoilers ahead.

First the good news. This series stars an extremely talented cast of performers who own their roles with wonderful conviction, and very convincing poise.

Joel Kinnaman has been on my good side since he appeared in The Killing, and even his unfortunate role in the Robocop reboot didn’t water down my appreciation for him. I feel like his role as the newly sleeved Takeshi Kovacs was perfectly cast. Martha Higareda is just a little too cute to be such a badass, but she winds up playing Detective Ortega to that strong female archetype in a far less sensational and much more casual way than what you might expect from the modern trends of scripting for such characters. Though quite the opposite of Higareda in terms of the role she plays, Renée Elise Goldsberry brims with charisma as Quellcrist Falconer, a sort of futuristic Che Guevara if he had also practiced Zen and gong fu, and was a woman. Chris Collins is also incredibly memorable as Kovacs’ A.I. hotel manager Poe.

Ato Essandoh as Vernon Elliott became one of my favorite characters as the series goes on, and though I wasn’t totally sold on the arc of her character Hayley Law as Elliott’s daughter Lizzie completed a very nice trifecta of beautiful lead women who just happen to be racially diverse. The third of these ladies, of course, is Dichen Lachman who I’ve got to say delivers probably the most convincing and most nuanced performance in the entire series, having to run a wild labyrinth of different emotional expressions which all feel very genuine. As was the case with Sylvia Hoeks as Luv in Blade Runner: 2049, Dichen Lachman as Rei hooked me instantly and woudn’t let go. Maybe I just got a thing for sociopathic women or something.

There are also a few minor roles worth mentioning, Marlene Forte does a great job as the overbearing mother of detective Ortega, which again felt very genuine and not forced, Tamara Taylor as ambitious sleazy attorney Oumou Prescott gave me chills with her smug smile (again perfect casting), Kristin Lehman and James Purefoy seem a perfectly matched pair of megalomaniacs, Byron Mann and Will Yun Lee kick ass portraying Kovacs at very different stages of his troubled life, and there is some terrifically believable acting on the parts of child actors Morgan Gao and Riley Lai Nelet.

All that being said, not everything the actors are given to do is particularly well-written, in my humble opinion.

Takeshi Kovacs is something called an Envoy, a type of specially trained soldier who is mentally conditioned to be hyper-aware at all times, integrate and adapt to new environments and circumstances, and even manipulate his own bodily chemistry, allowing him to eliminate the pain threshold, instantly recover from debilitating drugs, and avoid lingering trauma from torture. The Envoys were created to help the Protectorate put-down political dissidents and rebels, which were running rampant throughout the settled worlds at the time of the Envoy Program’s inception. Many of these rebels often followed the outlawed “Quellist” writings of an infamously respected revolutionary leader called Quellcrist Falconer who fought, and lost, against the Protectorate hundreds of years before the time of the novel (and long before Kovacs was born). When she was born, Quellcrist Falconer, like Kovacs, also happened to be from Harlan’s World. In the novel, this reputation causes Harlan’s World to be viewed as a backwater source of rogues and misfits by citizens of more civilized worlds (which is fair, since it’s described by Kovacs as being overrun by crime syndicates and swamp gangs). But even compared to Harlan’s World, Earth is considered a polluted over-populated shit hole.

In the novel he was trained by the somewhat fascist forces of the Protectorate, and the Envoy Corps was an elite black ops group who could be transmitted to any planet and topple the regime in less time than it would take a massive army to win a single battle. In the series, Kovacs is just a random soldier burn during the time of the Quellist revolution, but Envoys were created and trained by revolutionary leader Quellcrist Falconer to combat the very fascist forces of the Protectorate, whom were too used to conventional warfare to properly adapt to Quell’s asymmetrical tactics.

The problem for me, with this particular change in the writing, is that much of the details have been glossed over. I never got a sense of how Quell was able to so efficiently condition her soldiers into such a formidable force, nor did her portrayal emphasize her military acumen in this manner very convincingly. Quell’s character is certainly charismatic and sympathetic to the audience, but I find it much easier to accept that Envoys are the product of sociopathic, strict, and brutal military conditioning than to grasp the concept that a fairly undisciplined group of freedom fighters were able to develop such a sophisticated method of training. If Quell’s rebels were portrayed differently, it might be easier to accept, but in the series they seem more like hippies with guns than hardened elite warriors.

This is one of my only major gripes with the series as a whole, and it wouldn’t even be that big of a deal to me if it didn’t play such a large role in the plot and arc of Kovacs as a character. I didn’t like the way it changed his backstory either.

See, in the novel Kovacs is a former Envoy turned career criminal since Envoys are generally feared by everyone despite their having fought for the Protectorate, so they don’t have a lot of options and their skillset is only useful in a limited context. He’s haunted by his combat experiences, regrets his role in assisting the government in putting down various rebels, and has a cultural misunderstanding of Earth because he’s from Harlan’s World. His criminal ventures could be seen as his own personal revolution, and Kovacs has spent about a century in and out of storage since leaving the military, but has only been consciously alive for about forty years. He isn’t portrayed as a morally centered person, but he has his own system of honor, and he selfishly accepts Laurens Bancroft’s offer because it’s a way out of a lengthy sentence. This gives him a nice arc, because he slowly becomes more morally invested in what he’s doing as certain things come to light, and ultimately risks it all toward the end basically to avenge the death of a prostitute and save a single life, which is a nice shift in contrast from the Kovacs we see leave storage at the start of the book.

In the series Kovacs is a lovesick puppy dog, who misses his one true love. He’s a former Quell revolutionary who also became a career criminal, but the moment he got caught they put him in storage indefinitely, because he’s the last of the Envoys, the rest of which were mercilessly butchered by stormtroopers from the evil Protectorate which has no redeeming qualities whatsoever. When the series begins, he awakens 250 years after he was captured and he finds that the galaxy has become what he always feared, a one-percenter’s paradise ruled by the rich, where the poor are exploited and marginalized and everyone with even the slightest sense of prominence is an irredeemable asshole. Politics aside, this change makes his character arc far less interesting to me, because he doesn’t want to help Bancroft but his reluctance comes from a very different place than the book, and ultimately Kovacs accepts the offer not out of selfishness but because the ghost of his dead girlfriend tells him to.

This also deeply conflicts with the first time we’re introduced to Kovacs, in his usual East Asian sleeve on Harlan’s World where he speaks of caring only for “getting paid” and seems like a typical devil-may-care bad boy. Then when he’s talking to Bancroft, he tells the tycoon “Some things can’t be bought. Like me.” So which is it? Do you only care about getting paid, or can you not be bought? This makes for a somewhat confusing characterization of Kovacs, who one minute is murderously avenging himself upon psychotic bio-smugglers and claiming he cares for no one, only to turn around and behave like a typical romantic the next. It isn’t entirely jarring, but for me it hurt the dark tone and mature themes to discover the central core of the series is a centuries-old fairytale love story.

Sorry. I like fairytale love stories. But I also like darkly thematic dystopian science fiction, and in my opinion the two mix about as well as apple liqueur and olive oil.

This is all, however, as I said one off my only major gripes about the series. And even the sum of its parts aren’t badly executed. Like I said, Quell is charismatic, Kovacs is haunted, and all three actors (Kinnaman, Goldsberry, and Kim as Kovacs in his original sleeve) deliver convincing performances as well as share a great sense of chemistry, so the love story is believable at least. Visual effects and set design are also wonderful, and for such a high concept sci-fi setting it all feels very seamless. Dialogue is well-scripted as well, and most of Poe’s interactions with other characters are some of the best scenes. It’s also nice to see a series that exploits the naked female form to a fault, yet also makes a point to ensure you get just as much if not far more male nudity to surprisingly counterpoint its shamelessness. I haven’t seen this many swinging dicks since the last time I read YouTube comments. Just makes you feel better when the characters finally ride the stuffed unicorn, know what I mean?

Many of the minor roles from the novel are also modified to make certain characters more important, and some of their roles have been altered so that they are completely different people. Some of these changes work better than others. Rei, as Tak’s sister rather than just some asshole crime boss he once knew, was a change in the story that had the reverse effect of how I felt about the altered Kovacs/Envoy backstory. It makes Reileen a more interesting character than just the Big Bad you might expect in such a story, and causes her motivations, maniacal as they remain, to be far more empathic and invested in the events of the plot. In that light, they made the villain stand out as memorable among the bland villains we often get in movies and TV shows now, thanks to the K-Mart quality antagonists so popularized by the Marvel movies.

While certainly not perfect, Altered Carbon still manages to offer fans of science fiction a fascinating world populated by characters who are easy to give a damn about, and a galaxy spanning story of heartbreak, betrayal, and retribution. I personally wasn’t that big a fan of the romantic warrior monk stuff in this particular story, but that doesn’t mean it won’t appeal to others. There’s enough mystery here to keep you guessing, and enough solid dramatic force to keep us wanting more on its own merits, not by virtue of any stupid cliffhangers. Much of the visual style and action sequences are just icing on the cake, really. Though, I confess, I almost jizzed my pants when I got to see the Phillips Squeeze Gun in action. And there’s nothing quite like one of those sci-fi stories where someone picks up a samurai sword, let alone during the finale.

All told, I’d watch Altered Carbon again, and you should too. Regardless of whatever I say, or my own personal preferences, it deserves your attention. Because it may be adapted from a novel, but a least it’s trying to be something different than most of what’s out there right now, even if its poetic love story doesn’t want it to be. So, ignore cynical bastards like me, watch the damn show and decide for yourself.

                    侍    headless                   

[magalarajoonideprohvetid]

blackouts [transgressive anthropology]

«Wow! I thought the lights went out!» (sudden exclamation by prof. Carlo Cubero at Debates in Anthropology lecture on the 15th of March 2018)

This moment is embedded in my memory, an ultimate manifestation of honesty, said out loud with no restraints, the peak of the lecture, the peak of the whole course – a sudden darkness. I do not know about you but I have on several occasions felt a sudden blackout, like the blink of an eye and I am not sure – did I just blink, did the lights go out for a micro-second, did my brain shutdown for a second, did I have a stroke, did only I (not) see it? Usually I have had others around me to calm me down, «Yes, we saw it also, I think the electricity flickered for a moment.» Is it you, Niko, sending us inter-dimensional messages through your most known invention, chthonic news through alternative current? If there would not be electricity in our households, would I even be writing about this phenomena, is momentary blackout a ‘thing’ without the light bulb? Or am I writing about something completely different, the blackout our unconsciousness creates when our consciousness is not ready for the incoming message?

writing culture

If there are any dogmas in anthropology, it is the inclusion of fieldwork into the methodological frame - for it to count as anthropology, a researcher needs to step out of academia and come back with outsourced data. Yes, it is extremely valuable that there is something new added to the usual academics circular referencing, agency has been given to the unheard and original voices. But in the same time questions arises - what is and when is anthropology? Is it students reading the theories? Or is it anthropologist on the fieldsite? James Clifford analyzes the cover picture of Writing Culture, where Stephen Tyler is writing during his fieldwork:

«In this image the ethnographer hovers at the edge of the frame—faceless, almost extraterrestrial, a hand that writes. It is not the usual portrait of anthropological fieldwork. We are more accustomed to pictures of Margaret Mead exuberantly playing with children in Manus or questioning villagers in Bali. Participant observation, the classic formula for ethnographic work, leaves little room for texts.» (Clifford, 1)

This picture gives the impression than an anthropologist does everything in the field, he participates, observes and simultaneously writes. In reality the ‘real’ writing happens retrospectively, and that might be one of the biggest problems of anthropology – there is no anthropology of the present, the reproducible anthropology is classically done in the post-fieldwork stage. This is valid for both ethnographic writing and film, as both ‘texts’ are produced afterwards. Doing currently auto-fieldwork, being on ‘ramadan-mode’, I am deeply stressed as I cannot do much writing, my notes are scribbles bearing no great weight, I am too heavily influenced and too stuck in the actual experience to do any reflective writing. Vincent Crapanzano says similar things about Goethe’s experience of the carnival:

«A conventional Ash Wednesday meditation, perhaps, Goethe's conclusion marks are turn to contemplation, introspection, and concern for the meaning of what we do. His “return” parallels a return in the ceremony he describes. During the carnival there is no reflection, just play, masquerading, and, as we say nowadays, acting out. With Ash Wednesday begins a period of penitence, and, we must presume, a return to introspection, order, and individuality.» (Crapanzano, 68)

After the experience thou, the author becomes active and starts to describe the lived experiences; how the description is done, how it is reflected and to whom it is directed, that depends on the author. Crapanzano describes the ethnographic encounters of George Caitlin with the Mandan tribe in North America and their initiation rituals of O-Kee-Pa:

«Here Catlin moves from his (objectifying) metaphorical perspective to that of the tortured; despite this move, his intention is not phenomenological, but rhetorical: He does not describe either the Indian's or his own experience of the torture. The «imps and demons as they appear» (to whom? to Catlin? to the Mandan?) is stylistically equivalent to «there is no hope of escape from it.» They are directed to the reader, and it is the reader's reaction that will guarantee Catlin's perceptions.» (Crapanzano, 57)

So Caitlin’s intention was to captivate the reader, to tell the story in a way that it works specifically on the reader, it is not him nor Native Americans in the story he has written, it is the reader he is trying to drag into the story. In Caitlin’s case, the author is playing around with the reader’s morality and the reader’s possible endeavor toward morality. Crapanzano gives another example, where the author is more inclined to play on the ‘dirty’ thoughts of the reader by using contemporary puns:

«The title of Clifford Geertz’s essay «Deep Play: Notes on a Balinese Cockfight,» written about the time the film Deep Throat was all the rage, announces a series of erotic puns—puns, Geertz maintains, the Balinese themselves would understand—used throughout his essay. Puns are frequent in ethnography. They position the ethnographer between his world of primary orientation, his reader's world, and the world of those others, the people he has studied, whom at some level, I believe, he is also addressing (Crapanzano 1977a). Through the pun he appeals collusively to the members of one or the other world, usually the world of his readership, there by creating a hierarchical relationship between them. He himself, the punster, mediates between these worlds.» (Crapanzano, 68-69)

Crapanzano’s general theme for the article in Writing Culture is anthropologist/ethnographer as god Hermes, someone who is always bringing messages, someone who is a translator between ‘gods’ and ‘humans’, but whose messages might not contain the whole truth, they (singular!) might be lying for the sake of themself, the informants or for the sake of the readers, they needs to make a convincing case (Ibid, 52).

transgressive fiction

If I have to name three books from high school that really influenced me (both literally and literary), then these books were not and most probably will not be in the obligatory reading list. Two of them were loaned to me by friends, they had read them and suggested that I would be interested – Dead Babies by Amis Martin and The Beach by Alex Garland. Both stories travel in closed communities where sex and drug usage is common among the characters, where atrocities happen to them, and in general the environment of the book, its locus is a degenerate one. If one is to make charts, then Dead Babies is in my opinion a few grades more on the transgressive fiction side than The Beach. Now the third book was Check-out by Estonian author Kaur Kender, the first and last book in Estonia that has had «PARENTAL ADVISORY EXPLICIT CONTENT» sticker on it (only for advertisement reasons, there has not yet been such restrictions in the literary scene). The protagonist of this book is a filthy rich business-man, whose main efforts in life revolve around fornication and intoxication, both fueled by boredom and leading to the humiliation of others as he is capable to do whatever he wants with other people, it is self-destruction and liberation, mirroring society back at itself. Having grown up watching movies like Pulp Fiction and Dobermann, where protagonists are the ‘baddest’ on the conventional moral and ethical paradigm but in the same time there is something likable about them, they stand on the right side of life whilst doing bad things, Check-out did come as a shocker because there was nothing good about the main character, he was utterly bad, none of that misunderstood Robin Hood type of ‘badness’. For the first time I had been transgressed by the author, and I transgressed into the character. In retrospective Kender has said (heard it on a public event of the re-release of the Check-out in 2016), that the character was based on the stories he had witnessed and heard of local businessmen, and of his own alcohol and drug addictions (especially the ending of the book, where the protagonist starts using heroin). His book was based on participant observations and autoethnographical method.

Chuck Palahniuk is most known for his novel Fight Club, made famous by movie adaption and Brad Pitts’ six-packs’. I have not read that novel but I have read Haunted by Palahniuk (that one also has a PARENTAL ADVISORY sticker on the cover, Kender’s book was released almost a decade earlier). It tells the story of a group of people who apply for an experimental creative writing course and are then locked up in an abandoned art-house cinema. Every chapter consists of a poem about the main character of that chapter, a story of her/his origin, and a part of the main narrative with her/him as the leading character in it. The first chapter tells the story of a character named Saint Gut-Free, it consists of three different stories about ‘masturbation gone wrong’, onanism that might have killed the onanists. On page 17 of this 400 page modern horror story I have a blackout, the story becomes so disturbing, so real in my head, every word brings me closer to the conclusion of the story, and in my mind I already know where it is leading, Palahniuk has given enough hints, there is no happy ending, and every word brings it closer and my heart is rushing and I feel noxious… I blackout, I skip a paragraph (of course I read it later), I calm myself and continue reading. Palahniuk writes in the afterword a longer explanation how this story came to life, and how the reception has been so far. We tend to hope that the craziest stories are not the ones taken from real life, that these are made up, the fruit of fantasy. Palahniuk ruins the illusion the same way Kender did:

«No, this week, my writer friends just laughed, and I told them how the three-act story of ‘Guts’ was based on three true anecdotes. Two had happened to friends, and the last had happened to a man I’d met while attending sex addict support groups to research my fourth novel. They were three funny, gradually more upsetting true stories about experiments with masturbation gone wrong. Horribly wrong. Nightmarishly wrong.» (Palahniuk, 407)

Without mudding the water, I say out that in my opinion he was performing a participant observation, he, as many other writers, are ethnographers without the academia and without theory. Palahniuk’s emphasis is not on the credibility, it is on style and on affect:

«Reading ‘Guts’ takes a full head of steam. You don’t get many moments to look up from the page. But when I did, the faces in the front row looked a little gray. Beyond that were questions and answers. The book signing. The End.

It wasn’t until I’d signed the last book that a clerk said two people had fainted. Two young men. They’d both dropped to the concrete floor during ‘Guts’ but they were fine now, with no memory of anything between standing, listening, and waking up surrounded by people’s feet.» (Ibid, 408)

I could have been one of these two fainters, or at least fluctuating between consciousness and blackout. The main question for me is in the affect of the text, how something that is usually considered ‘unreal’ can make us feel physically sick?

transgressive ethnography

In a way, ethnographers have always written transgressive texts, most of the texts describe social norms and activities very different from the one of the audience of these texts. One of the dogmas for transgressive fiction is that the protagonist emerges through the violations of norms as a free(er) individual. One way of describing anthropologist is that they are like translators, who translate different cultures to an understandable format (as a colonialist discipline it used to be for the Europeans but things should have changed?). Another way of describing anthropologists is not so much as an interpreter but an inventor, s/he invents a culture, dogmatizes its principles into an ethnographic ‘holy book’, how this culture should be, has been, and will be, not understanding that it is not how it used to be, that is not how every single person inside that environment and/or space relates to that culture, and people do not have to spend their lives fulfilling the dogmas set in the ethnographer’s ‘holy scripture’ (most probably half a year later there will be a missionary there and everyone is wearing pants and singing songs of our Saviour Jesus). Vincent Crapanzano unites these two description into one:

«Like translation, ethnography is also a somewhat provisional way of coming to terms with the foreignness of languages – of cultures and societies. The ethnographer does not, however, translate texts the way translator does. He must first produce them.» (Crapanzano, 51)

Lets take for instance the infamous case of Margaret Mead and the Samoans. As we know by now, Margaret Mead went to do fieldwork with Samoan, came back and wrote an awesome ethnography on how Samoan teenage girls are sexually liberated. Derek Freeman waits a few years after Margaret Mead’s death, publishes a book on how she was wrong and that Samoans have actually very strict rules for sexual conduct. Now, there are several interpretations for this controversy, and explanations, some of them, like Paul Shankman’s The History of Samoan Sexual Conduct and the Mead-Freeman Controversy gives more ambivalent interpretation to the sexual norms and behaviors in Samoa (Shankman 1996). It could be possible that both Mead and Freeman just saw different sides of the same society, if there only would not be this moment when one of Mead’s informants tells a retrospective view of the incident:

«Yes she asked us what we did after dark. We girls would pinch each other and tell her that we were out with the boys. We were only joking but she took it seriously. As you know Samoan girls are terrific liars and love making fun of people but Margaret thought it was all true.» (Heimans 1988, 3:36)

So what did she do – ‘translate’ the culture in the wrong way, had wrong data, or maybe she was in a way creating something the readers wanted to hear? Looking at both Mead and Palahniuk I must come to the following conclusions: Samoans lied and we were happy, Palahniuk presumably told the truth and it is disgusting. We as readers, we like to read about ‘sexually liberated’ women, and Samoan girls played that role in Mead’s ethnography really well. In a way, Mead’s ethnography tells more about her own society and herself than about the Samoans, she was giving liberation to the Western world and to herself.

In a discussion about transgressive fiction, we cannot continue without talking about Untitled 12, a modern horror story by Kaur Kender, where the first person protagonist is a pedophile (and sadistic sexual pervert in general). I read the whole story on Nihilist.fm on the night it came out and it was a devastating experience, I skipped parts of it as I was not capable to read even the obviously exaggerated and absurd descriptions of sexual violence, I felt hollowed after that experience, and that was something he wished to accomplish (Kender 2015). What happened was that someone reported to the police, that it might be child pornography (Estonian laws include a very wide range of material from pictures and videos to written text as it might depict underage children in pornographic situations), and police went after it. It was taken to court and got media coverage even outside of Estonia (as it is not usual any longer in Western societies that known writers have been taken to court for these specific charges) (ERR 2017). In the end he was declared innocent by two levels of court, and has since then left Estonia with a promise to never write in Estonian again. But what was very interesting with this case was the possibilities for alternative situations and how would they have been perceived. For instance, if it would have been someone’s personal experiences, someone who had been raped as a child and if that someone writes about this experience with graphic details, could that be also considered child pornography? Or if someone describes their sexual experience as a minor (depending on the explanation of the Penal Code it could be either under 14 or 18 years old), could that be considered child pornography? As a reader, was I consuming unknowingly child pornography if Kender would have been found quilty? These may sound as hypothetical questions, but if one is active in literary world (both as producer and consumer) then these questions become rather substantial.

Untitled 12 is made up, it is fictional, and from this fictional world it became very realistic, I was in court during a few of the open hearings and those benches, the jury and the prosecutor, they were all very real. But how is this all connected to anthropology? In some cases anthropologist are not the good guys, friendly scientist, who participate with respect and observe with sincerity. For instance José Padilha’s documentary Secrets of the Tribe deals with several controversial incidents what different anthropologist researching Yanomami tribe had caused. One of these anthropologist was Jacques Lizot, who according to his victims had raped and sexually abused several young Yanomami boys (Padilha, 42:44-55:08). This was known by other anthropologist and researchers, but it was overlooked for many years and until today there has been no court cases nor other serious consequences for his real transgressions. He transgressed in real life, not in a fictional world, his victims are real human beings and not made up characters. His contribution to anthropology? Yanomami dictionary, with specific terms for sexual activities like masturbation etc.

Lizot case is a real pedophilia case, this kind of behavior is not accepted in the current Western society nor in Yanomami society, it is a taboo. Gilbert Herdt’s case is a little bit different, but the similarities reside in the transgression, in his case it is the witnessing and writing part what matters. Herdt has done fieldwork with the ‘Sambia’ tribe (pseudoneum he created for the tribe) in Papua New Guinea and has published several articles on them and a collection of these articles Sambia Sexual Culture: Essays From the Field (Herdt, 1999). The Sambia tribe used to have a rather controversial initiation rituals for young boys (current situation with these rituals is unknown for me) – they were taken from their mothers at age 9, put through painful purification ritual of bloodletting from the nose, and then forced to perform oral sex on older boys. Later on they become the boys who receive oral sex, and after that they become adult man who will marry a woman and presumably only participate in heterosexual activity. Reasoning behind the ritual is that the bloodletting will purify them from the attachment to their mother (and women in general), and that men are born without semen and to have semen one has to digest semen. Herdt seems to view these rituals from a less negative stance, as a form of bisexuality and gives agency to free sexual desires. James Giles, who has written a review of Herdt’s book, is less enthusiastic about it and clearly questions the rituals as in his opinion they are not connected to desire at all:

«… sexual behavior can be engaged in for numerous reasons, many of which have nothing to do with sexual desire (Giles, 2004). This fact is especially important to be aware of when one is studying the sexual desires of people from a sexually nonpermissive and prescriptive culture like that of the Sambia.» (Giles, 2004, 414)

Now my point is neither condemning of Sambian rituals nor Herdt’s presentation and analyze of them, my point lies much more in the product, in the ethnography. If an anthropologist writes on a similar topic, something that is in generally considered a taboo topic, that s/he describes with graphic details, then there is a chance, at least in Estonia, that someone might complain to the police, as was the case with Kender’s book. Police will then forward it to the “Porn-committee”, expert committee in Ministry of Culture, who will then decide if it is pornographic or not. We might say “But this is science and it is protected by the constitution”, but this was also the case with Kender – both are protected by the constitution:

«§ 38. Science and art and their teachings are free. Universities and research institutions are autonomous within the limits prescribed by the law.» (The Constitution of the Republic of Estonia)

What is problematic, is the Penal Code, definition of child pornography is rather broad and thus it can include different forms of it:

Ǥ 178. Manufacture of works involving child pornography or making child pornography available

(1) Manufacture, acquisition or storing, handing over, displaying or making available to another person in any other manner of pictures, writings or other works or reproductions of works depicting a person of less than eighteen years of age in a pornographic situation, or a person of less than fourteen years of age in a pornographic or erotic situation, is punishable by a pecuniary punishment or up to three years’ imprisonment.» (Penal Code)

I have been so far talking only in the context of written text, most probably the situation becomes more difficult if the text includes pictures, Allah forbid if it is not text but a film. In case it includes pictures, or if it is a film, then we have a serious ethical and moral problem, and that is not even connected to the child pornography laws. It is a question for us anthropologist, can we and should we show visual data to others, are we abusing the right for privacy, are we exploiting our informants? A great friend of mine had a self-made zine which he called National Pornographic, he had taken old National Geographic editions, cut out all pictures of naked ‘indigenous’ people and glued them together with added sensual texts. He did it purposely to show how Western society has sexualized the ‘natives’, how their breasts and nipples can be shown without censoring, as if the same rules do not apply to ‘them’ as do to ‘us’. National Geographic is a safe haven for monsters like Lizot.

[non]clusion

There are occasions when anthropologists truly transgress. And there are occasions when anthropologists write truly transgressive ethnographies. Unfortunately it usually happens after they themselves have been transgressed. Such is the case when reading Eva Moreno’s chapter Rape in the field in collection Taboo: Sex, Identity, and Erotic Subjectivity in Anthropological Fieldwork (Moreno 1995). First, and basically the foremost, she builds the story (ibid. 219-232), like the rapist built the assault on her, she builds it the same way as Palahniuk built his story, the reader is obviously hinted from the title that there will be rape but she is calmly leading the reader toward the rape, adding with the suspension until one fatal page she hits us with it. And I do blackout again, skipping paragraphs ashamed as I have a privilege to do it, she did not have a chance to skip it. The reflection part of the chapter (Ibid, 236-248) adds other layers, it elongates the rape but in a weird way calms the reader as you will see the surviving after the rape. I do not know her feelings about the chapter and writing it, but it does feel as if she has done something that is more on the positive side than on the negative one, that this text has been written with traumatic emancipation.

What seems to be essential in this inner discussion is the role of the author. These texts (both literary and audiovisual ones) would not exist without the author, people and culture and practices and incidents would abide in their own realm as they are, but these texts need the author. And as much as these texts need the author, so does the author need the texts, it is a validation of their experience. Having just finished Michael Muhammad Knight’s Osama Van Halen, sequel for his debut novel Taqwacores, I feel compelled to do something with the author. Knight’s take on the author was that he included himself as character into a fictional story, as Michael Muhammad Knight and as ‘the author’, he tossed himself around in the novel until he is beheaded by one of the main characters, by ‘burqa wearing riot grrrl’ Rabeya (Knight 2009, 207). Is the symbolical beheading of the discipline, the removal of the ‘mind’ and revival of the body, is that something that I am after as an author? Sometimes we need to blackout to flashin.

«Sun set a few hours ago, and moon is not around. Sky is striped with clouds, stratocumulus and stratus clouds, altocumulus and altostratus clouds, they are all there. Midnight prayer was already 2 hours ago and I look on horizon as the rays of dawn shine there. Smoke diffuses and the bud drops in the ashtray, I recede to lay on my bed and to watch the first season of Narcos. As the violence on screen escalates, I have doubts in my sanity, I think I am hallucinating as I continuously see flashes of lightning outside of my window. Delusions were happening already on the first week of Ramadan, I saw glimpses of movement, small swirls of energy in midair, flashes of something from the corner of my eye. Today there is lightning I see from the corner of my eye, moments of flash/ins instead of black/outs. It’s not raining and the clouds are not dark, air doesn’t feel as it has been electrified to that extent. Kristi is sleeping and I can’t get verification from anyone. After the first flash I think maybe it was some kind of trick my mind played on me, after second one I think maybe it was a reflection from TV, after the third one I assume it was an ambulance car light (I live next to a hospital). After the fourth and final flash I am afraid to look out from the window, instead I drink my last glass of water and pray dawn prayer. 17th day of Ramadan has a weird start. As I fall to sleep, I hear the rain arriving, it sooths my fears of going insane. I saw the lightning and heard the rain, but I didn’t hear the thunder nor see the drops.» (Fieldwork notes; 17th of Ramadan, 1439 / 2nd of June, 2018)

References

Clifford, James. 1986. Introduction: Partial Truths. In James Clifford & George E. Marcus (Eds.), Writing Culture: The Poetics and Politics of Ethnography ( 1 – 27 ). Berkeley, California and London, England: University of California Press.

The Constitution of the Republic of Estonia.

Retrieved June 5, 2018 from

https://www.riigiteataja.ee/en/eli/530102013003/consolide

Crapanzano, Vincent. 1986. Hermes’ Dilemma: The Masking of Subversion in Ethnographic Description. In James Clifford & George E. Marcus (Eds.), Writing Culture: The Poetics and Politics of Ethnography (pages of chapter). Berkeley, Los Angeles, London: University of California Press.

ERR. 2016. Finnish PEN club: Kender’s ‘U12’ is a ‘grotesque thriller’, not child porn. Eesti Rahvusringhääling (ERR). Retrieved June 5, 2018 from https://news.err.ee/118569/finnish-pen-club-kender-s-u12-is-a-grotesque-thriller-not-child-porn

Garland, Alex. 1999. Rand [The Beach] (Turu, Rein, Trans.). Tallinn, Estonia: Varrak.

Giles, James. 2004. Book Reviews: Sambia Sexual Culture: Essays From the Field. Archives of Sexual Behavior, 33(4), 413–417.

Heimans, Frank (Director). 1988. Margaret Mead and Samoa [Documentary]. Cremorne, New South Wales: Cinetel Productions. Retrieved June 5, 2018 from https://www.youtube.com/watch?v=S8puR-AaSrg

Herdt, Gilbert. 1999. Sambia Sexual Culture: Essays From the Field. Illinois: University of Chicago Press.

Kender, Kaur. 2001. Check out. Tallinn, Estonia: Pegasus.

Kender, Kaur. 2015, January 14. Mõned sõnad Untitled 12 kohta [Few words about Untitled 12] [Web log post]. Retrieved June 5, 2018 from http://nihilist.fm/moned-sonad-untitled-12-kohta/

Kender, Kaur. 2014. Untitled 12. Nihilist.Fm : ZA/UM

Knight, Michael Muhammad. 2009. Osama Van Halen. Brooklyn, New York: Soft Skull Press

Martin, Amis. 2000. Surnud lapsed [Dead Babies] (Metsaots, Kati, Trans.). Tallinn, Estonia: Olion.

Moreno, Eva. 1995. Rape in the field. In Don Kulick & Margaret Willson (Eds.), Taboo: Sex, identity, and erotic subjectivity in anthropological fieldwork. London, England: Routledge.

Padilha, José (Director). 2010. Secrets of the Tribe [Documentary]. Brazil: Avenue B Productions Zazen Produções. Retrieved June 5, 2018 from https://www.youtube.com/watch?v=zd7SXbsn0hU

Palahniuk, Chuck. 2006. Haunted. London, England: Vintage Books.

Penal Code of the Republic of Estonia. Retrieved June 5, 2018 from https://www.riigiteataja.ee/en/eli/522012015002/consolide

Shankman, Paul. 1996. The History of Samoan Sexual Conduct and the Mead-Freeman Controversy. American Anthropologist, 98(3), 555-567.

[theantisocialcritic]

Archive Project - December 17, 2013 - Hobbit: DoS Review

The Hobbit: The Desolation of Smaug, 2013 Peter Jackson 161 Minutes Watch the trailer here: http://www.youtube.com/watch?v=OPVWy1tFXuc —————————————————————————————————————————————————————————————————————————————————— The Hobbit is a very odd book, so i've been told. From what i've been told by others who have read it, J.R.R. Tolkien didn't write the book from a traditional standpoint in terms of plot or story structure. I haven't actually read it but i'm getting a sense from watching the movie adaptions how weird it was. Its been about a decade now since the Lord of the Rings Trilogy wrapped up, cementing itself into the public psyche as one of the most unique book adaptions and amazing epic trilogies of all time. For those who don't know, The Lord of the Rings: Fellowship of the Ring, The Two Towers and Return of the King are all film adaptions of books by previously mentioned writer J.R.R Tolkien. The films were hugely successful and are still talked about commonly a decade after their release. Naturally with a success like this, Warner Bros had to find a way to keep making movies for the series. The logical answer: an adaption of The Hobbit, in all it's weirdness. The problem with this logical answer being that The Hobbit is a totally different creature to The Lord of the Rings. The main trilogy is a fantasy epic, with each of it's books extending more than a thousand pages each in some prints. The Hobbit is a children's storybook, only around 300 pages. So Warner Bros logical solution: adaption the shortest book in the series into a epic fantasy trilogy like that of the Lord of the Rings…. apparently… The story of The Hobbit is rather easy to sum up. A group of dwarves, a wizard and a cowardly young Hobbit go on an adventure to slay a Dragon that destroyed the dwarves' kingdom long ago and take back the lonely mountain, home of the dwarves' treasures. In summary, not as epic as Froto's quest to deliver the Ring of Power to Mt. Mordor to stop the evil Lord Sauron from rising from the grave and taking over middle-earth, but hey, thats what you get with a kids story. Don't get me wrong though, the first two Hobbit movies have been really good. Not only do these films capture the wonderful aesthetic of the original trilogy but they manage to stand by themselves and genuinely fun action-adventure movies. The Desolation of Smaug goes a bit further than it's predecessor though by addressing some of the pacing issues rampant throughout the original. It also brings back major characters from the original trilogy, most notably Legolas, the wood elf, as well as introducing new characters like Tauriel. Whats interesting about Tauriel in particular is that she isn't in the original Hobbit. This is how the Hobbit Trilogy gets around it's lack of source material. Taking in bits of the Middle-Earth canon that aren't addressed in the book and introducing new characters fills the run-time for the trilogy in between plot points. Though it would seem like padding, it does help in some areas. In the book, Gandolf, the wizard, would sporadically abandon the party to address issues outside of the story. Desolation of Smaug addresses this detail by showing Gandolf's diversions and tying them back into the Lord of the Rings Trilogy in an awesome way. Fans of the book might, and have vocally, noted the "The Hobbit" technically isn't the main character in this chapter of the story. While Bilbo Baggins, the hobbit, was more central to the story in The Hobbit: And Unexpected Jouney, the role of primary protagonist falls to the dwarf king Thorin Oakenshield. If this sounds disappointing, don't worry. Thorin is an awesome character with strong motivations and a powerful backstory. You can complain all you want the The Hobbit's main character isn't "The Hobbit" but  shifting the focus to another character doesn't equate to bad as far as i'm concerned. Shifting over the the visual side of the film, the CGI used throughout the film is oddly on and off in it's quality. Many scenes, most notably ones with the Orcs, have really shabby visual effects that stick out. Unlike the original trilogy, Peter Jackson decided to use CGI on it's orcs instead of rubber costumes. This is most likely because of the limited release window for all three movies and he didn't want to have to go through the difficulty of costume work beyond what was necessary for the dwarves. That being said, visual effects don't define a movie. Effects can enhance a film, but merely having good or bad effects doesn't necessarily determine the quality of the film. Take films like Transformers or Avatar, both visually intense films that ultimately lack the substance under the flare to match it. Alternatively, look at a film like Starship Troopers. It has bad CGI, but it succeeds in it's goal of being cheesy while still conveying it's message. So while The Hobbit does have a lot of bad CGI effects, I cannot describe enough how much the film makes up for it in the end... One word….. Smaug! Smog, the dragon, is in all honesty one of the best computer generated effects I have ever seen put to film. This guy is so awesome he could give Alduin a run for his money. Voiced by Benedict Cumberbatch, Sma-ow-gah manages to be the most commanding character in the movie. His dialog scene with Bilbo, like the Golem scene in An Unexpected Journey, can easily be stated as the highlight of the movie. Every poorly done effect in the film can comfortably overlooked with the understanding that all the time and money that would have gone into the orcs went into making Sm-eo-geh as visually striking and impressive as he is. Trust me, if you thought that the trailers gave too much of him away, the didn't. In the long run of CGI effects, I think I can say that Smaug is probably among to most impressive technical achievements done since Golem was introduced in Lord of the Rings: The Two Towers. It does end of a bit of a sour note, pulling an infamous "Empire Strikes Back" to tease The Hobbit: There and Back Again but I don't personally feel that it detracts from the movie. More so it just makes me impatient for next December. Overall, its not a perfect movie. It pails in comparison to the Lord of the Rings (as does most of modern hollywood) but as far as awesome movies go, The Hobbit trilogy so far stands among the best films to be released in the past few years. Overlook the issues and what you get is an exciting ride through an awesome fantasy world that is well worth the price of admission. I am looking forward till next December to finally conclude the trilogy! It is worth noting that the film did get released in the new, hyped 48 frames per second version that has gained a lot of talk around hollywood. Honestly, don't bother with it. Go see this film in blissful 2D and don't worry about the frame-rate. —————————————————————————————————————————————————————————————————————————————————— The Hobbit: The Desolation of Smaug is now in theaters! Thank you for reading! Live long and prosper!