#it just feels like they’re teasing so much and not delivering which is my critique. it would be fine if they didn’t do kisses but also didnt

[butterflyeffectiooon]

Msp our skyy was so cute but they’re really like u get 1 (one) kiss from this whole series including the extended multiverse. also any other show with these particular kids in it. hope this helps

[river-bottom-nightmare]

Nightwing 79 Review

i said i would and i will. i did like this issue! not as striking and attention grabbing as 78, but i think this issue was meant to be a foundation one, laying out the groundwork for the future. overall, pretty good. also there wasn't enough bitewing. as promised, overly extensive metaphors and me reading too much into things under the cut

i know i've talked about this cover before, but this particular thing is oddly important to me, so i'll talk about it again

this is me, once again screaming about how artists put nightwing in traditionally feminine poses and how every time i see it i just get whiplash. i mean, true, the main reason why is because nightwing is a so often sexualized character, and putting him in these poses just increases the objectification, which is a goal that dc producers have. but there are very few popular male characters that do this. the only one i can think of off the top of my head is deadpool, but that was so obviously a critique and a way to make fun of the media industry. when they draw dick like this, they’re being serious. they’re putting him in appealing poses meant to show him off, and that’s something that’s traditionally only been done to women.

it's a very direct and very loud breaking of traditional gender roles in media, especially for a character as high-profile and historic as dick grayson. colour also plays a factor in this. the entire background is pink. i was absolutely shocked when i first saw it, when the teaser came out, because i cannot think of any comic book covers of male comic heroes this high-profile where pink is even just prevalent in the cover, let alone the majority of the cover. the pink does look beautiful: it offsets and highlights the black and blue of dick's suit gorgeously, but does it with more finesse than orange or red. but the fact that the stylistic choice was made to accent and draw this cover with aesthetic and beauty in mind, completely ignoring traditional hard-set gender rules in art, was a conscious choice and one i wholeheartedly support.

just another example of the sexualization i was talking about. i remember seeing harley quinn in this exact pose in suicide squad.

so far, taylor's been pretty dead-set on bringing alfred to the forefront of importance in this series. he wants people to know how much he loves alfred's character, and how much the butler meant to dick growing up. he was dick's father too. but what i adore is how taylor managed to stress alfred's importance in a way that didn't insult or belittle bruce.

this is one of the best bruce and dick interactions i've seen, and it's done in one simple interaction. in this, bruce is tough and harsh. he knocked dick down hard, but then he reached a hand down and helped pull dick back up. let me analyze their dialogue for a minute

on your feet: this is bruce telling dick to get up. he's trained dick, he knows what the younger boy is capable of, he knows his limits, and he knows what dick can do. this is bruce telling dick i know you're strong enough to get up, so get up and prove me right

are you just going to knock me down again?: surface-level, it looks like dick's complaining. he doesn't like bruce's rough training, and he's tired of bruce knocking him down. but look at his face in this. he's smiling up at bruce, knowledgeable and a little hopeful. he knows that bruce is doing this to help dick better himself, he's completely on board with the rough training, because they both know the rewards are incredible. also, he's teasing. he's bantering with bruce. there's an ease in that joking statement, one that belies affection and intimacy. they've only known each other for a little bit, but they're already slipping into a close familial relationship.

it depends on how fast you learn: this is bruce bantering back. this is bruce not being a stoic, unfeeling asshole. instead, he's shown with the dry humor that a good batman writer knows is a staple of the character. he's teasing dick, telling him he'll basically whoop his ass if dick doesn't learn fast enough. it's incentive for dick to train harder, while also being lighthearted enough to tell dick that believes in dick and doesn't want him to push himself too hard.

gosh i love the titans. also it looks like wally's staring at dick's ass.

this was cute. a prod at dick's silly and playful sense of humor, while not dumbing him down for the sake of a laugh. instead, he's joking about food, which is stuff everyone jokes about. this is the kind of stuff that'll actually make me laugh, instead of just making me vaguely uncomfortable.

bludhaven's almost always portrayed as a cesspool of a city. and to be honest, it really is. but this panel gives the city a meaningful history, while also giving us a reason for why dick moved there.

it talks of a time when people still thought they could beat the monsters. that if they fought hard enough, they could win the fight. it was a tentative hope that you could always overcome hardship.

dick's little "i like that it's still standing" shows how he still believes that, despite what the rest of the world thinks. despite everything that he's been through, dick is still tentatively an optimist, and believes he can fight the monsters of the world and win. it's a beautiful testament to his character, and i'm like that they added his signature element of hope back in. it used to be what he symbolized as robin, and despite his growth and character arc from robin to nightwing, this is one aspect of robin that i'm glad nightwing still has.

remember when i said "things that make me vaguely uncomfortable??" yeahhhh,,,,,,,,,,,,,,

Shooketh Dick: A Sequel

(the expressions in this series are just,,,,on point)

this was an incredibly sweet and kindhearted thing for dick to do, but i found it kind of,,,,,,,,desperate? maybe that's just me, but let me explain.

dick's suddenly a billionaire, and he has entirely too much money that he knows what to do with. it's also alfred's money, what the man left to him, so dick forever links it with alfred. in addition to that, he's back and bludhaven and looking at it with "fresh" eyes. (at least, from a different point of view since he got shot in the head. then mind controlled.) he's desperate to do something with the money and he's desperate to help the people around him that so obviously needs up, so he comes up with an on-the-fly solution that's a little impractical and a little crazy, but it still helps and still does some good.

to me, dick seems a little lost. he hasn't completely found his balance yet, and he's trying to do things that will. he tries charity, because that's what bruce did and it's what he knows, even though he admitted that he always thought bruce could have done more as bruce wayne than batman.

they have a family group chat guys yall were right.

also, do i think that dick would ever actually get his wallet stolen?? no way in hell, he’d notice someone getting ready to pickpocket him a mile away. but i suppose it’s important to the Plot. 

okay this is getting interesting. first blockbuster, now maroni (+ the weird heart stealer guy). i can officially say that i am intruiged

this particular artistic quirk is shown a lot in this issue, and from this art team in general, but i feel like this panel is one of the best examples of it. it was stunning enough to take up a full page, and it’s well deserved.

the way they show dick moving is absolutely brilliant. as a reader, i like seeing these smaller versions of dick getting clearer and in more detail as they come closer to the screen. not only do they show depth in the picture beyond what a simple 3 dimensional piece of art does, it also shows the passage of time.

in addition, it showcases dick’s skill. dick spots these mobsters running after a group of petty thieves. he then, and follow me here, leaps off the roof of one building feet first, springboards backwards off the side of the adjacent building with his feet, gracefully continues his backflip, rights himself, shoots a line with perfect timing: just in time to soften his landing but not slow him down, execute said landing on top of a moving bus, keep running on the moving bus without missing a beat, shoot his grapple, use the grapple to swing, use the swing to build up momentum, then use the momentum to deliver a powerful blow to the mobsters. and he did all that fast enough to catch up with the mobsters, even though he was a ROOFTOP OVER. 

d a m n  s o n

this panel, the very first in the issue, is also another example of that art style, but a little more distinctive. i love the way they showed dick’s different costumes through the ages, along with him simply growing up. it’s a little heartbreaking, but a lot uplifting to see how far he’s come. thank god he got rid of the red. now all we need is the fingerstripes, and we’ll be golden

discowing my beloved. also i can’t clearly see discowing’s hair but it definitely looks like it’s pulled back. it looks like he put it in a ponytail. guys. guys. dick had a ponytail omg. 

he’s having a Hero Moment

are you talking about the city, dick, or are you talking about you? the kgbeast, the court, the joker. dick fell to each one of them, no matter how hard he fought. he won in the end, eventually and with his family’s help. but i think he’s feeling a little low, a little defeated right now. it’s almost like he needs a win, he needs to feel victorious, he needs to feel like he helped someone (hence the food and the hotel room), just because he needs to remember what it feels like.

these lines were supposed to resonate with you, and goddamn they did.

i looked at it from two ways. first, it’s the girl asking, begging nightwing not to hurt them. bludhaven doesn’t know dick the way gotham does, they’re still a little frightened of him. this child was brave enough to step in front of all of the other hurt and homeless kids and ask, to a strange man in a mask, if he was going to hurt them like the other men had. it’s heartbreaking, but commendable, and an echo of the city itself that dick’s decided to protect. they’re bloody and broken and terrified, but still gritty and brave enough to stare what they fear in the eye and ask it not to hurt them.

second, it’s dick seeing the question reflected in himself. recently, he got shot in the head and lost all his memories. while i think that the way ric reacted was a perfectly valid and human response to the situation, i think dick still regrets how callously and rudely he treated his family. then, he was manipulated by the court of owls, then he was brainwashed with a magic crystal by the joker. dick does have a guilt complex. it’s not a big as bruce’s, but it’s there. and right now, with this girl begging her not to hurt them, dick is probably thinking about all the times he hurt people, in control of his own actions or not, bc he “didn’t have a heart.” 

little ambitious don’t you think, dick?

also just look at the sunset colours loOK at the they could not make this any more obvious oh my godddddddddddddddddddddddd

in conclusion, i need more of her

[brawltogethernow]

So on the whole, how useful would you say Death Note is for teaching someone how to write a convoluted plot between enemy chessmasters that's at least... 50% watertight?

General disclaimer that I haven’t touched the source material directly in many years, and all my dn posts are me feeling my feelings. But yeah, I can shake my 8-ball about this.

There are two components to dn’s approach to “a convoluted plot between enemy chessmasters”, and they’re only roughly stapled together. There’s the rivalry/characterization part, which is both compelling and silly, and is mostly about aesthetic. That never really concludes in a satisfying way. It’s not TRYING to, because the characters are pretty much there to hold up the thought experiment premise, which demands a lot of grit and unpoetic death and not solid foundations of character/relationship work. Like there’s stuff there but you’re really deep-mining for it and doing a lot of the work yourself, and that’s by design. All of the character arcs, which are pretty thin on the ground, trend in a negative/dismantling direction (because it’s a tragedy), and few of the relationships play out all the potential they have (because it’s not a tragedy about relationships).

The character aspect of the chessmaster stuff is heavily reliant on the conceit that once people are smart enough they will start reaching the same conclusions in the same way. Like there’s a single most ideal train of thought for every situation that even people who should have very different thought processes will reach with the assistance of enough little gray cells. This isn’t uncommon in smartboi stories, but dn went absolutely ham on it, if you want to make a study of that trope.

The biggest takeaway there is probably noting how the creative team seems to have been unaware that a lot of their audience was actually buying into that between the lead and their rival as a “meant to be enemies” kind of thing and didn’t realize that faction would be less interested once it became obvious that no, all geniuses in this world are taking turns using one brain. I’ll freely admit I deliberately misread this element to maximize my own investment.

Then there are the tricks and puzzles. The odd logical hole is inevitable, but overall they’re solid. They’re also just procedural plots delivered in a less formulaic story than that usually makes one think of. There’s nothing distinguishing them from the weekly puzzle of a House episode or a Detective Conan arc except for raw creativity and panache. There is rarely any characterization going on whatsoever. The twists require players, but you never get the sense that only whoever is being pulled to act could fill their part. They’re always stand-ins for perfectly generic individuals, putting their distinctive quirks and intense personal philosophies aside. This is that idea that there’s one way of thinking that everyone is accessing at staggered intelligence levels in play again. People are simplified until they can be pieces in contraptions no more complex than Light’s exploding desk drawer trap.

This is why the trick plots of dn don’t get pored over a lot by fans. They’re looped too loosely to the rest of the story to have an emotional impact that will make them memorable long-term. They’re deceptively simple, too. Kind of the opposite of a story twist that makes you rethink everything that came before it in a new light. You can’t dismantle dn and reassemble it like pentominoes very easily. A lot of it is grand set pieces, and if you tease out any of the puzzle plots they sort of lose structural integrity and flake away. This is why most canon divergence fic for dn is “diverging” by asking the question “what if Light were less of a shit”.

Ultimately, Death Note only gives the impression of being a complex engine made of moving parts. Its strong suit is its showmanship. It’s very good at carrying you along from twist to twist in a state of mild beffudlement that doesn’t quite escalate to belligerent and securing that “Oh wow! That was clever!” reaction. The mastermind-offs of are deceptively static, pretty much coming down to one party either failing or succeeding to thwart a plot laid out by another in advance without a lot of combating each others’ machinations in real time. Once resolved, twists vanish from the consciousness like disappearing gold. There’s no fiber to them, just flash.

This isn’t critique! Most elements of this story do what they’re deployed to do. (If the tricks needed workshopping, people would analyze them more, ironically.)

I’m myself shit at (de)constructing brain tingler twists and can’t really identify if dn’s are useful for instruction purposes. Not for people who don’t already have a natural talent for them, I guess! It might be interesting to identify why they’re not immediately identifiable as bloodless trick plots, except I suspect it might just be that the rest of dn is so insane and dissimilar from stories that usually contain those? Like I already compared it to two Holmes descendants, and it definitely has BBC Sherlock “let the asshole speak, genii are a protected species” vibes, and the criminal protagonist facing off with a detective premise is Arsene Lupin-y, yet I still feel weird identifying Death Note itself as in this broader genre because *gestures to all of it*.

It’s the least formula-reliant example of the breed I can think of right now, which is neat. (Annnnd also definitely feeds in to people being dissatisfied with it because they miscalled what it was trying to be. Dn is just generally pretty unique, and I imagine the team was making up a lot of its playbook from scratch as it went along, which leaves the audience in kind making up the experience of consuming it.)

All of the above is incidentally why dn is infamous for being very compelling in the moment but then having people revisit thinking about it and decide the he-knows-that-I-know-that-he-knows conceit is actually ridiculous and needs to be taken with a grain of salt.

So uh. This all SOUNDS like bad form, but that’s arguably me being a basic bitch who “likes when plot and character and aesthetic inform each other”, and that’s just fundamentally not what Death Note is. Also it’s kind of a lofty starting goal and writing is hard. Like! This approach worked! We are discussing a very successful property with many fans. (And a weirdly finite cultural impact for its popularity but this isn’t necessarily why.) I guess this is an acceptable playbook, and the takeaway is that you CAN successfully Frankenstein together different unconnected storytelling methods, and it will look dazzling and impressive and barely leave any of your readership feeling confused and hollow inside and likely to return and make fun of themselves for accidentally liking your work wrong.

Oh, also, dn as do’s and don’t’s of building a mastermind character. Do give headlining characters eye-catching, memetic traits. Don’t fail to trace those traits down so they actually represent something at your character’s core because you crossed over the line from “spinning characters out as foils and parallels who compare and contrast to each other in interesting ways” into “all of your smart characters are basically the same challenge-seeking misanthrope stamped with different surface features” -- except WHO ELSE IS GOING TO HAVE THAT PROBLEM? THAT’S NOT NORMAL.

So yeah you COULD study Death Note, or you could binge some crime dramas and then some X-Men issues that have battles in the center of the mind over the same weekend and get basically the same net effect.

[passionate-reply]

This week on Great Albums: Soft Cell’s 1981 debut, Non-Stop Erotic Cabaret! The first great gay synth-pop album, and the one that walked so that acts like Bronski Beat, Erasure, and the Pet Shop Boys could run. Yeah, “Tainted Love” is cool, but have you ever heard “Sex Dwarf”? Full transcript after the break!

Welcome to Passionate Reply, and welcome to Great Albums! Today’s video tackles Soft Cell’s 1981 debut, Non-Stop Erotic Cabaret. While “Non-Stop Erotic Cabaret” is not necessarily a household name, this album did produce one track that I can just about guarantee that you’ve already heard, assuming you have any familiarity with Western popular music.

Music: “Tainted Love”

“Tainted Love” is one of those classics that’s almost too big for its own good, with an enormous shadow in popular culture. Few compositions from the 1980s, from the general arena of synth-pop, or, indeed, in the popular music canon, have quite as much of a legacy. As an introduction to the significance of Non-Stop Erotic Cabaret, it’s not an awful start, but it does have a bit of an “obvious single choice” feel--not only for that huge hook, but also for how tame, even quaint, it starts to feel compared to the other stuff here. “Tainted Love” is a gay song, sure, but it’s only expressing that idea in an abstract manner--it is a cover, after all. What the remainder of the album lacks in “DUN DUN,” it makes up for in frankness and remarkably candid handling of sexuality, which still manages to be a bit shocking, even as this album reaches its 40th birthday. Could anyone but Soft Cell’s Marc Almond really have sold us the raw, lurid raunchiness of “Sex Dwarf”?

Music: “Sex Dwarf”

Beyond the outrageously explicit nature of “Sex Dwarf,” its most noteworthy characteristic is just how playfully, cartoonishly devilish it is. I’ve always read it as a work in the grand tradition of the queer community reclaiming the trope of the camp gay villain, seen so often in popular media. In its purest form, this gay villain archetype is the ultimate expression of chaos and disorder--their rejection of social norms of gender and sexuality and their threat to the status quo go hand in hand. While it’s reprehensible to simply equate queerness with evil, there’s a long tradition of reclaiming that same imagery, turning the lavish power of such transgressor figures into a badge of strength, and that’s how I tend to interpret “Sex Dwarf.” That said, for as much as tracks like these seem to almost force a specifically gay reading of the album, it also seems interested in themes of sexuality and sin, more broadly. Take the track “Seedy Films,” for example, a more playful number full of slinky clarinet, teasing rattles, and breathy, almost gasping female backing vocals, seemingly suggestive of a more heterosexual vantage point.

Music: “Seedy Films”

I like to think of each track on Non-Stop Erotic Cabaret as coming to us from the perspective of a different anti-hero, each as unreliable and capricious as the last. Another key track that complicates issues of perspective and identity is the album’s tense opener, “Frustration.” “Frustration” delivers on its title musically, with a stubborn refusal to ever resolve its constant melodic tension at any point during its runtime, making it legitimately fatiguing and stressful to listen to. Its lyrics might be interpreted as a critique of the boredom lurking behind mainstream society’s “ideal” life of suburban safety, and a send-up of the alleged appeal of fitting in and being normal. But we could interpret it equally well, as a song that’s less about being “straight” in the sense of “square,” and more about being heterosexual--perhaps as the lament of a closeted gay man, tormented by an incommunicable internal struggle, despite all the material comforts in the world.

Music: “Frustration”

Either way, “Frustration” can be compared to “Secret Life” on the flip side, which focuses on the idea of a divide between one’s external facade of a respectable and ordinary existence, and the darkness of one’s internal, deviant, carnal desires.

Music: “Secret Life”

Whether their narrators are parsed as gay or straight, their songs are certainly tense tales of repression and release. And they’re also mediated by the idea of being trapped in a tame, and particularly middle-aged existence. The clearest expression of the theme of getting older, and possibly more and more constrained by the need to put on airs of respectability, is, naturally, “Youth”:

Music: “Youth”

The stale, conservative lifestyles of the middle-aged certainly don’t seem like the most natural subject matter for a debut album by a pair of twenty-somethings, but I like to interpret this fixation as a bit of a memento mori. The urgency of enjoying life’s pleasures, now, is checked by the fear of a future in which that window of opportunity is closing. As I said earlier, all of these tracks are narrated by some character or construct, and in that sense, the real identities of Marc Almond and David Ball matter fairly little. In the world of Non-Stop Erotic Cabaret, nearly everything feels constructed or artificial--it’s all just an act, as much as “Secret Life”’s narrator puts on a respectable front. The superbly campy “Entertain Me,” which wouldn’t feel out of place in some cult musical, engages most clearly with the idea of performance, bringing in a giggling call-and-response choir and a chaotic clamour of percussion in its desperate attempt to, well, entertain us. Critically positioned at the top of the second side, it’s the perfect place for the album to second-guess itself as a work of art.

Music: “Entertain Me”

That track is certainly more “Rocky Horror Picture Show” than “Architecture & Morality,” isn’t it? While the synth-pop acts penetrating the mainstream before Soft Cell, like Gary Numan and OMD, had a bit of punk’s rough, low-budget, DIY ethos to them, Soft Cell were the first ones really crafting performative, self-aware post-disco synth-pop, that owed more to the swooning divahood of Donna Summer in “I Feel Love” than it did to the starched shirts and robo-rhythms of Kraftwerk. Much like disco, Non-Stop Erotic Cabaret is truly a production--dense, luxurious, tweaked to perfection in a studio, and featuring several traditional instruments that are uncommon in rock, such as “Frustration”’s saxophone and “Seedy Films”’s clarinet.

The most noticeable thing about the cover of the album is almost certainly its lurid blue and fuchsia lighting, gleaming harshly against Almond and Ball’s leather jackets. It immediately takes us to the sweaty, nocturnal, and of course, homoerotic world this music dwells in. The duo stare us down, with fairly cross or standoffish posturing, suitable for an album as in-your-face as this one. There’s a bit of a narrative hook here, with Almond either producing this mysterious, almost certainly illicit package, or perhaps tucking it away. Almond’s sunglasses are a small detail, but one that I think holds a lot of contextual significance. There’s a long history of erotic art aimed at the gay male audience utilizing devices like hat-brims and shades to create a “disrupted gaze”--a sort of lightly objectifying, or compartmentalizing, manner of sexualizing its subjects. I’d also be remiss if I didn’t mention Ball’s snakeskin necktie, which is another classically sexy touch. Note also the neon light motif used for the text, which contributes to that nightlife feel as strongly as anything else. With a name like “Non-Stop Erotic Cabaret,” it would’ve been truly sinful to write that out in anything besides this warping neon, and it’s the perfect title to accompany an album that’s as insistent and gleefully tawdry as they come.

Earlier, I had contrasted Soft Cell with other major players in synth-pop who came before them, and I think that context is vital to understanding why this album is so indispensably important. Non-Stop Erotic Cabaret is, quite simply, the first great gay synthesiser album. Growing up in America, the rock and roll heartland, it’s hard to escape the understanding that electronic music is inherently gay-coded. But that’s an impression you won’t get from that first generation of artists, who presented as unpretentiously butch, and were more interested in singing about factories, spaceships, and telephone lines than about sex or romance with anybody. The deep relationship between queer culture and the music synthesiser simply wouldn’t have blossomed the way it did without Soft Cell, and the unforgettable worldwide success they achieved with “Tainted Love.” Without that foot in the door, the rise of groups like Bronski Beat, Erasure, and the Pet Shop Boys later in the 80s would’ve been unthinkable. That alone makes Non-Stop Erotic Cabaret a piece of essential listening for anyone seeking to understand the history of electronic music.

While Non-Stop Erotic Cabaret remains Soft Cell’s great masterpiece, and they never reached the same heights of commercial success again, they went on to release two additional studio LPs before disbanding in the mid-1980s. Marc Almond went on to have a fairly successful career as a solo artist, bagging a few additional hit singles in the UK, and David Ball became half of the house duo The Grid. The pair did re-unite in 2002, to produce a rather serviceable LP called Cruelty Without Beauty, which explores many of the same themes of their earlier work, albeit through a lens of Information Age dread.

Music: “Caligula Syndrome”

In 2019, we were told to expect the true final report of Soft Cell, in the form of a grand farewell concert entitled “Say Hello, Wave Good-Bye”--a title pulled from one of the singles off Non-Stop Erotic Cabaret. But, for all of the hype, it looks like that really won’t be the end for them after all, as Soft Cell have announced yet another reunion in 2021, and another new studio album in the works. So we’ll have to see what else these two have in store!

Overall, my favourite track on Non-Stop Erotic Cabaret is the single “Bedsitter.” It’s all about questioning whether the life of hedonistic excess is really worth it in the end. It’s about those moments one spends between benders, binges, and flings, gripped by emptiness and self-doubt. Therefore, the presence of “Bedsitter” adds some nuance, and undercuts a lot of the easy, simple conclusions we’re tempted to make, from a surface-level reading of the album as a free-love bonanza. With languid and melancholy verses clashing with a disconcertingly anthemic refrain, it’s filled with tension from within, and despite its lack of external conflict, it comes across as one of the more unsettling tracks we have to choose from. That’s all for today. Thanks for listening!

Music: “Bedsitter”

[imagine-fight-write]

RANDOM - BANANA FISH REVIEW: VOL 1, PART 3 - MY FAVORITE SCENE in Vol. 1 ?

Welcome back to in-dept gushing about all the greatness of Banana Fish!

Whew, this took forever. Ah, but I love it so much! I hope you do too!

Today is extra lovely, because today we meet our main monstrous villain, Dino Golzine! 

He is a glorious villain, just you wait. Oh, how I hate this man. 

Yes I’m aware he’s a fictional character, but I can’t help but remember there are too many actual people like him in real life. No seriously. There are too many. I try not to think about this fact too much, & you shouldn’t either. Ah, but remember!

There’s hundreds, no thousands, billions more good people.

(here’s a few)

Or at least, people trying to be good. Sometimes they fail. Sometimes they don’t.

People who are fighting people like Dino Golzine.

You can join them. And they’re the ones who’re going to win in the end & have the last laugh & final joy.

Not people like Dino Golzine.

*Speaking of Dino Golzine, there are not a lot of useful gifs of him. Why?

I need them to make fascinating blog posts for you. Someone with the skills snap to it, thanks.

Before we begin, please note, if you haven’t read this scene yet, or the back summary of Volume 1, please do that 1st. Otherwise you’ll be spoiled.

Summary: So. Ash, a clever & skillful gang leader in New York City in the 1980′s, has arrived at Dino’s mansion, demanding answers for why 2 of his gang members were out murdering a dude on Dino’s orders. Marvin, of all people, delivers a deliciously chilling line I gushed about last time:

“I’ve never seen you in the sunshine before.”

And finally Ash is let inside the mansion.

It occurs to me I’m not exactly sure where Dino Golzine’s mansion is. Except it’s outside of New York - there’s trees & grass - & Ash mentions it’s a long way for him to come out for a talk. A suburb place?

Not sure why I’m musing about this. Let’s continue.

Wait! Is this also the same mansion where we have the infamous dinner & the grenade launcher line? Or does Dino have more than 1 mansion? (He probably has more than one.) But I’m going to guess they’re the same. Moving on.

So, starting pg. 36, Dino’s bodyguards have the best mustaches.

(Not as epic as Hercule Poirot. But up there in epicness.)

Also 1 of the fabulously  mustached bodyguards is named Angie. Angie. No, I am not making this up (read pg. 40.) This is priceless. Also very 80’s. Stay classy, Banana Fish. (Which was written in the 80’s, remember.)

*I can’t spelled mustache, much less mustached, by the way.

Oh, & I try to keep my blog clean (if sometimes grim, bloody, & funny) but I must point out the joke Ash makes to the bodyguards in the top panel of page 36. “Groupies” is a special word for me, because it was lovingly explained to me by a friend in high school. By which I mean I was laughing so hard it hurt, & couldn’t stop for several minutes. Great memories!

Ah, & I’m intrigued by Ash’s words to the fabulously mustached bodyguards, 

“Relax . . . I just came to talk. Not pick a fight.” 

(Can’t you just tell Ash’s a teenager, ragging on grown-ups every chance he gets? And they all deserve it, by the way.)

But anyway, I’m so intrigued! Has Ash come in before wanting to pick a fight, or caused a fight, and over what? Also, Ash likes to tease the bodyguards about being overprotective. And it’s funny & I understand why he does it (trying to pretend he doesn’t care & isn’t bothered by them & hey, maybe he isn’t). But I will point out, being “over protective” is how bodyguards should be. It’s their job. Because you never know.

Anyway, 1 of the guards, who I’m going to call Angie because I’m not sure who’s who, discreetly knocks, in the middle panel pg. 36, to the door of Dino’s - Dining room? Breakfast room? (Dino’s rich enough to have both). Anyway, Dino is eating breakfast. This is important & I’ll explain why in a moment. 1st, I do want to critique this panel, because I think the star shape indicating the knock should’ve been bigger & higher up - it gets dominated by the speech bubble. Then again, it is a discreet knock. Dino says “come in” in classic bad guy fashion, and before he lets Ash in, Angie gives him such a look. (I can’t describe it, it’s great.)

This is roughly my response.

Finally we get to see Dino Golzine!

I hate this man, so much.

Note how the first panel of him, bottom of pg. 36 is disturbing - because we actually don’t see his face until the next page. Naturally, since he’s the main bad, we should be disturbed. Also note how he’s surrounded by signs of wealth - a butler / footman, fine dining, French windows open to green countryside, potted plants and soft rugs, and a pair of lovely double doors.

Otaku, She Wrote has a great analysis of this in the anime: 

https://otakushewrote.wordpress.com/2018/07/07/banana-fish-1-a-perfect-day-for-bananafish/

I love double doors. You go through them & always feel grand. Oh yes, and Dino Golzine is dressed in a classic fancy robe / dressing gown. Typical mob boss. Now, although we don’t see his face yet, Dino does speak. Right away, it’s a power play. Dino makes it clear he knows Ash & is familiar with him, can guess his actions: “I thought you might come.” This is a statement reminding Ash Dino has power over him. Yes, he concedes Ash came earlier than expected. But he was still expecting him.

*Please note Angie’s fabulous mustache on the top of panel of pg. 37.

Ash doesn’t reply, so Dino offers breakfast (another sign of how early it is.)

There actually weren’t any pancakes (that I saw), but I included this because it looked fancy (and delicious.) There was actually an egg, & either bacon or sausage. So it was actually like this:

But fancy. That’s from Howl’s Moving Castle, by the way.

Back to Banana Fish.

I’m guessing Ash got maybe 6-7 hours of sleep. No wonder he takes a nap later. (It was almost 1 in the morning when he finds the poor dead guy, as a time stamp helpfully tells us.)

(Another Howl’s Moving Castle gif. I’m distracted.)

Back to Banana Fish.

Ash refuses the offer of breakfast (I wouldn’t accept it either.) Not that I think the food is drugged or something (though I wouldn’t be surprised OR if Dino had done such a thing before). (Shudders) But it’s the principle of the thing. Don’t accept food / eat at a table with monsters. By which I mean people who are terrible & evil & have no remorse for all the pain they inflict on others.

Food & eating together is a sign of community practically everywhere in the world. (I assume?)

And Dino Golzine is most definitely Ash’s enemy. Despite them currently having an agreement.

So of course, Ash refuses the offer of food. Just wait until their fight starts. It’s beautiful. There are conversations that are basically exchanges of epic threats & insults. I love it.

And now I’m wondering what Ash ate for breakfast. Probably not much? Food is important, especially breakfast! It’s basically the fuel you start the day with. (says the person who usually dashes off with toast & a granola bar & coffee.) What do you usually eat in the morning? I’m always curious.

OR What is your favorite breakfast?

(I’m going to fall on the Breakfast Hill, but I love the inclusion of sign language here in The Dragon Prince.)

Anyway, back to Banana Fish. Dino brags about how his food comes from a farm in Surry, wherever that is. 

I want to say Surry, England for some reason (probably because it sounds posh) but that can’t be right. Can it? So, after bragging, Dino asks if Ash is sure he doesn’t want to eat. Ash responds, “I didn’t come all the way out here to eat.”

And the bodyguard I’ll name Toussaint (what a name, I like it but it’s strange) Toussaint gives Angie such a look behind Ash’s back. You can practically hear the mental sigh, followed by “kids.” Or maybe “teenagers.” (sigh)

The poor bodyguards. Also, for shame, Dino does not finish his breakfast. He wastes food! After bragging about it and everything! There was still a whole egg on it! And bacon! (I think). Wasteful. (Eggs are really good for you & easy to make!) This man . . . Even in the small things, I can’t stand him . . .

Of course, I will admit it is uncomfortable eating when no one else is and they’re standing right there waiting for you to finish. Dino would lose power in that exchange. So that’s probably why he didn’t finish. But still. Oh yes, and please note, Dino is sitting at a table (whose legs I don’t trust, they look so delicate) while Ash is standing. This changes, and that’s important. Note their positions before Ash leaves at the end of their conversation. This whole scene, in fact, is fascinating. Especially when you compare it to other conversations Ash & Dino have later. Here, as you’ll soon realize, Dino is the one with the power. Ash goes to him demanding answers. Meaning, Dino is the one with knowledge & the power to give it or refuse. Yes, Ash quips and mouths off, but it’s clear he’s the one on defense.

Of course, given Ash’s smarts, one could argue his “powerlessness” here is at least partly an act & also how Ash survives. But not, I’d argue, entirely. Dino Golzine does hold a tremendous amount of power over Ash. Like it or not, it’s simply a fact.

Also of note is the parent-teenager vibes in the conversation. Which makes partial sense, as Ash is, or was (?) Dino’s heir (remember the synopsis on the back of the volume). Except remember, it also mentions Ash was Dino’s “sex toy.” (shudders)

Their relationship is all amounts of complex, confusing, & disturbing, is what I’m saying. (I’m so confused & disturbed). Now on to the actual conversation! (the dialog is great, by the way.)

At the bottom of pg.37 we finally see Dino’s face / ugly mug, & he makes a very resigned parent comment & expression, “I’ve told you before. Keep your hands out of your pockets when you talk to me.” Ash responds with classic teenage mulish silence, complete with glaring.

Dino orders his bodyguards to take it off him, but Ash is like fine, & gives this challenging statement (particularly bold given their history) “You can’t relax until you’ve completely stripped me.” (This is such a Femme Fatale statement.)

(I have yet to watch Double Indemnity yet, but oh, I really want to.)

Back to Banana Fish. Dino just laughs Ash’s comment off however, and moves the conversation to the den (another power play.)

Laughing at a challenging statement & ignoring it also demeans it.

(Both Hiei & Kurama are laughing at something Yusuke said in YuYuHakusho, which if you haven’t watched / read, please do. It’s hillarious & has a lot of heart.)

A lot like Banana Fish.

*Note: This is why, if someone kidnaps you, fight for your life if they try to take you to a different location. Because 9 times out of 10, it will not end well for you.

Also, as shown above, it’s actually extremely hard to shove somebody into a car / trunk, so you can sleep well tonight.

There’s 2 grown dudes trying to shove a teenager (probably underfed) into a car & they are having difficulties. I’m just waiting for red haired dude to get his eyes jabbed, & dark haired dude is going to get bit or a head butt in the face. ( I haven’t gotten to a part where anyone is trying to kidnap Ash yet, so you’re as spoiled &, I hope, intrigued as I am.)

But back to Volume 1.

In the den, Dino offers Ash a drink (another sign of friendship, like food, especially since it’s a alcoholic drink).

*It makes sense. After all, being drunk, or even tipsy is to also be vulnerable. Thus, if you’re wise, only drink with friends & family, or at least people who you trust.

Or drink alone. Nothing wrong with that either.

Ash refuses the offer, (as any decent person would) and mocks it, calling it “booze” (scoring a point in the power play) but Dino hands him the drink anyway. 

Dino also brags about, “my newest concoction.” Otaku, She Wrote mocks this in her review of the same scene in the anime, it’s great. (Dino deserves to be mocked. He deserves everything shameful & terrible. I really do despise him.)

(Not quite enough glare & disgust, but it’s the best gif I could find.)

Note how often even in this single scene Dino continually ignores or overrides Ash’s refusals or flat out “no’s”. It’s a clear sign of just how little respect he has for Ash (also creepy). An excellent touch done by the mangaka, Akimi Yoshida.

Note: fancy drinks will come up again in another conversation between them, in which Dino asks if Ash remembers training that Dino gave him. This man never stops with the reminders of power. Then again, he is a mob boss.

(I’m sure Dino would respond “yes” to this offer. Dino even pets a cat later too! I just wanted to point that out.) I’m sure his history is fascinating (and bloody).

Ash ignores the drink & gets down to business, demanding to know why Dino sent his / Ash’s gang members to kill the mysterious banana fish dude.

To be clear: A grown man sent teenagers to kill a man. For money.

Dino reminds Ash he calls the shots (literally, in this case): “. . . Any why I didn’t tell you? I wouldn’t think it necessary to trouble you with a matter so trivial.” This is a very condescending statement. Again, Dino speaks like a parent to a child. Or a man to a lady, “Don’t worry your pretty head about it.”

Except this “trivial” matter Dino speaks of is murdering a dude.

(Yes, he deserves a burned hand, & a lot more.) Ash calls him out on this & is upset, as any decent person would. He smacks the table (top of pg. 40). Great emphasis on the line work, except the drink sorta appears to merge with Ash’s hand. (Whoops.)

 Dino’s bodyguards burst in, as good bodyguards would, concerned by the shattering glass.

In yet another power display, Dino dismisses them, claiming it’s nothing and cooly tells Ash to calm down.

(Not exactly like this, but you get the gist. Also, I need to watch Koroko no Basket.) (Adds to never-ending list of anime & manga)

Dino does make a quick apology for upsetting Ash, but one without weight, saying he doesn’t take Ash’s position as a gang leader “lightly.” This sounds respectful, but I think it’s actually a subtle reminder Ash is where he is because of Dino. Ash’s reaction (top of pg.41) highlights this. He slumps back on the couch. 

(just look at Ash’s defeated pose. And Dino hasn’t done anything but talk.

He’s like the bad guy in the 1st book of the Sharing Knife series by Lois Bujold, which you should seriously check out, it’s great.)

Anyway, Ash sags at Dino’s words, because the point worked: he remembers how much power Dino has over him. 

He stops arguing, though still upset. Oh yeah, he keeps talking, fiercely, but you can hear the uselessness in his voice (or imagine it, if you’re reading the manga), “We had an agreement. You promised not to use my boys to kill!” On my re-read of this I was like, “Oh sweetie, you’re talking to a mob boss. What were you expecting?”

(the tea, or in this case, coffee, is always poisoned, by the way. Or drugged. And probably tastes bad too, because bad people have no taste. Or skill. Unless they’re the lead villain. In which case, at least you can enjoy your cup of poisoned tea or coffee before you die or are otherwise horribly inconvenienced.)

But, Ash does not accept the wine glass in this case, which has already been spilled & smashed, so lets continue.

“You promised not to use my boys to kill!” Ash to Dino This almost sounds remarkably naive compared to the smart, street-wise Ash later on. Except it also reflects comments later on in this volume, how the teenage gangs have an honor system (and consider themselves morally superior to the grown-ups. Ah, I love it.)

(this is so me. Also, Kuwabara’s cat is the cutest anime cat I can think of in a quick 5 seconds.)

*YuYu Hakusho is also a show where the heroes have to fight unfair, powerful, & dishonerable grown-ups. It’s also rip roaring funny. Yusuke & Ash would probably get along, while Eiji & Kurama would definitely be friends. Ash would be friends with Kurama too. I’m not sure how he’d respond to Hiei or Kuwabara though . . . I love both shows so much.

*Random Note: For some reason I’m reminded of deal Lando makes with Darth Vader in the Empire Strikes Back. There, it’s also clear that Vader has all the power. “Pray I do not alter it any further.”

Dino usurps Ash’s power again, negating the agreement by insisting “the circumstances were extraordinary” & the man “wasn’t a member of the syndicate” which I assume is part of their agreement, a.k.a., no asking members of Ash’s gang to take out people in the mob. I am now highly curious as to when they came to this agreement, & when & how, but alas, no details yet. Again, Dino trivializes the assignment, calling murdering a person:

“a very tiny mouse that wanted stepping.” Brrr.

*This is from Mrs. Frisby & the Rats of Nimh, which is also based on a great book. I always think fondly of mice because of this. Also due to Redwall.

Here, Dino is clearly trying to play it off as nothing (which to him it partly is, he has no qualms about murdering people) but also because he wants Ash to leave the matter alone. So he also expresses surprise Ash even bothered to learn about it. Note at this point Ash is sitting on a couch & Dino is pacing or standing near him. Like this: 

*I know I used this gif before, but like I said, the gifs are few.

The power dynamic is obvious. Again, props to the mangaka. It would’ve been easy to have them both sitting or standing, but here the power Dino has is obvious in their mere positions. After Ash mentions he noticed the 2 gang members were acting suspicious, Dino praises him for being smart. Again, like a parent praising a child. Dino continues, saying Ash is too smart to be a mere gang leader and makes this statement, while placing his hand on Ash’s shoulder, “I do wish you’d put that right hand of yours to work for me.”

The reader already knows Ash is dangerous with a gun (recall the scene with his 2 gang members earlier) & this echos that. 

Still, the double meaning of the statement is obvious, especially when you remember the synopsis on the back of the volume.

And if you don’t know what it means, I say it’s not important & disgusting. More power to you for not knowing.

I am curious as to how Ash escaped that & got free to have the more respectful role of gang leader. Note, it’s also clear from their talk Dino & Ash have had some falling out, or at least distancing (since Ash became a gang leader, maybe? I really want to know!)

Also, based on the rest of the conversation, you can tell Ash isn’t just one of the no doubt numerous gang leaders Dino knows, uses, & supports.

The synopsis on the back cover says Ash was brought up as “Dino’s heir” but it’s clear he rejected that path.I really want to know why & what caused him to change. And what happened. How did Dino notice him the first place? Was it pure chance, or did Ash do it on purpose, to survive?

Anyway, Dino asks if Ash “would put that right hand to work for him”.

Ash responds to Dino’s disgusting offer with a great quip, “Is that a joke, or have you actually gone senile?”

Reminding Dino of his age (who’s like 50? even Google isn’t sure) complete with a mocking grin too.

Score for Ash!

Except not when you remember Dino’s creepy vibes / words all through this conversation, especially at the end.

And I must remind you, dear reader, Ash is 17/18. Meaning, there’s at least a

30 year gap between their ages.

And there’s nothing wrong with age gaps in relationships, romantic or not.

I like the Sharing Knife series, for example. Sailor Moon & Tuxedo Mask, 

Tohru’s parents in Fruits Basket, etc. Those have age gaps, but they’re good.

What’s wrong here is Ash & Dino’s relationship is abuse, no matter how you slice it. Their’s is in no way, shape, or form one of mutual respect, care, or even basic agreement or attraction by both.

Ash & Dino’s relationship never was & never will be healthy or good for either one of them (unless something stunning happens that I haven’t gotten to yet. I mean, people do change, even monstrous ones.)

Still, even in this 1st scene, it’s clear their relationship is bad. Dino holds all the power & is determined to keep it. There‘s no mutual respect or care between them, no matter how Dino tries to convince himself otherwise. Only dominance, fighting quips, & words wielded like weapons. Dino doesn’t care about what Ash wants - Dino just wants to use him.

Ash, in turn, has only used what Dino has given & taught him in order to survive. He never wants or cares about Dino’s attention, & makes this very clear even in his littlest actions.

Remember. He didn’t come to Dino’s mansion because he wanted to. It was for information only, and quick as he can, he leaves.

Now, back to the conversation. Dino responds to the age zinger by reminding Ash he watched Ash grow up & helped train him, taught him all he knows, (I’m smarter & older than you).

He also reminds Ash of previous weakness, “You used to cry over every assignment I gave you.”

(I told you Dino’s play for power never stops.)

The reader can assume those assignments were also murdering people, just as Dino casually ordered Ash’s 2 gang members to do. Brrr. It also reminds Ash of the power Dino has over him, training him.

*Which means, since Ash is a badass fighter, Dino is too. I mean, he is a mob boss after all. And he’s not so old he can’t still be in good shape.

I bet you Dino’s good with a gun. Ash quips it off, “I’ve got a bad memory” but it’s a feeble jab & Dino doesn’t relent, “There’s something you must never forget . . . It was I who took you in.” Dino has the power here & he’s determined to make Ash remember it again. I took you in. Raised you. Trained you. Made you everything you are today. I own you. I know you. Brrr. It’s so creepy & controlling.

And it’s all done with words. Dino actually hasn’t done anything yet (apart from hinted history. Just you wait.) Poor Ash. Even without knowing the specifics of Ash’s & Dino’s relationship, it’s clear Dino has some twisted hold over Ash. Whew. I’m exhausted just reviewing this scene. And we’re not done yet. Dino is just so - overwhelming. As a good villain should be. Banana Fish. I love it.

So. After that chilling reminder of how much power he has over Ash, Dino lightens the mood a bit - note how often he directs the conversation.

He asks, jokingly, if Ash has a girlfriend - while also pointing out he keeps tabs on Ash’s spending & has noticed he’s been spending more lately. Yet another sign of his power (over Ash.) This man never stops, not even with jokes (no wonder he’s a mob boss.) Fight him, Ash!

And Ash does. He snaps, “None of your business!” I must note, I cannot lie, Ash looks cute & angry in this panel (middle of pg. 43.) Also Dino’s knowing look in the panel next to it is all sorts of creepy. Have I mentioned art in Banana Fish is good? Because it is. Dino puts his hand around Ash’s throat in a very intimate manner (your throat is very vulnerable, as I’m sure you’re all aware). I will note the art here makes the gesture look very odd. It looks less a tender gesture & more like also a choke, or the threat of one. But maybe that’s the point? Dino’s also standing while Ash is still sitting on the couch, by the way. Dino says, I imagine quite softly, “Don’t forget me. You know I love you, sweetheart.”

Now, taken out of context, this sounds like a line said to a lover. Or even a parent to a child. But it’s clearly not. First, Ash’s expression in the bottom panel has none of the delight or relaxation such a line should make. He looks - resigned? Uneasy? Distant?

This is why I (truly) love manga. Because expressions can be read in so many ways. Regardless, it’s clear Ash is not happy or pleased by this (supposedly) endearing statement. He looks like he’s remembering things he’d rather forget, and resigned to Dino touching him. Resigned, as in, I have no choice, I can’t brush him off. All the red flags & sirens should be wailing & waving in your mind.

They’re wailing in mine. Even if Dino meant that as a parent / mentor (mentor hah! I mean, teacher), it’s still messed up.

Because, as I hope I’ve made it clear while analyzing their conversation so far, it’s clear even if Dino himself believes these words (which he very well could) and yes, even if Ash believes Dino cares about him - It’s clearly not true. Dino’s actions make it obvious - he doesn’t respect Ash (much). He clearly, without doubt, doesn’t view Ash as an equal. Only someone to use, & discard at his leisure. And it’s hard, if not impossible to my mind, to care about or love someone who you don’t respect. Note: I don’t think Ash believes Dino’s words. And finally, the conversation is over. Whew, I need a cup of hot tea & some sunshine, that was awful & tiring. No wonder Ash takes a nap after this. The conversation is done, Ash is out, vest & all. He’s his mouthy teenage self again, quipping at the poor bodyguards, pg. 44, top panel.   “Thank you so much for your concern.” Ah, I love it. Most people would leave it there & move on, but I’m a suspicious individual with a dark imagination. Did the convo really end with Dino’s creepy “I love you, sweetheart” & Ash got up & left. OR was there more? After all, when Ash steps out, he’s wearing his vest again. Hands in his pockets, of course. A small defiance, but one nonetheless. Of course, he just grabbed it on his way out from the den to the - what do you call it? The breakfast room, let’s just call it that. The room where Dino wasted perfectly good food.

  I am not going to forget. Anyway, ignore my dark suspicions (I’m just concerned by Ash’s silence & his unease in that last panel.) Because Shorter is here!!! (pg.44)

*Shorter usually has purple hair, but I like this gif a lot. It’s shows how Shorter is great at talking over information with Ash.

His coat looks so comfy in the manga. Also I love the tiny heart next to his eye. Shorter is important - not the least because he shares one of the funniest scenes in Banana Fish with Ash later. I am so excited!

Also because next time will be some great stuff about teenage gangs (and how they’re better than the grown-ups) & we meet Skip!!! & Eiji!!! & Ibe!!!! Unless I gush too much 1st. Then it might the post after. There will be mystery, snark, & danger.

Until next time!

[jeanjauthor]

Another case of eloquence and truth in unexpected places.  This webcomic can get pretty gross and gory at times, and the humor is most decidedly noir/black humor/sardonic/sarcastic.  It is not for younger audience members...but sometimes its creator, R.K. Milholland, has some profound truths to share with others.

...

Descriptions & transcripts for the visually impaired:

Something * Positive, a four-panel webcomic dealing with noir humor, life, and weirdness.

The characters for today are PamJee, a young Asian girl with sarcastic/sardonic tendencies who was adopted by PeeJee, an Asian woman who runs an online telephone/video service for computer repairs and other things, and Jason, her blond husband who directs stage plays for small theater companies, among other things.

PeeJee and Jason have always raised their daughter with a mixture of genuine love and a blunt acknowledgement of the awful things in life, plus plenty of mock-teasing. “Uncle Davan” is the best friend of PeeJee and Jason who is an honorary uncle to PamJee, and is the main character of the webcomic most days.

Here is the comic for March 24th, 2020:

[First panel is the young character of PamJee, peeking through a doorway into her mother PeeJee’s at-home office.]

PamJee:  Ugh, why are you still here? Don’t you have an office?

PeeJee:  You know I’m working from home for the same reason you’re not in school.  We’ve gotta stay put during all this pandemic stuff.

[Next panel, still in the office; a tallish potted plant can be seen in the background.  PamJee is eyeing her mother in disgruntlement, while PeeJee has her attention more on the papers in her hand than on her daughter.]

PamJee:  Mom, nothing personal, but I’m tired of your face.

PeeJee:  That’s okay, I’m kinda sick of yours.

[Third panel, PamJee is holding up her hands, eyes wide in shock, while PeeJee rolls her eyes at her daughter.]

PamJee:  What the hell, Mom?! You’re not allowed to say that

PeeJee:  Sweetheart, I think you need to learn this now.  You can absolutely love someone with all your heart, and sometimes be kind of tired of their bullshit.

[Last panel, PamJee has gone to a different room in the house, a storage, laundry, or pantry room, to complain to her father Jason, who glances back over his shoulder to give his reply.]

PamJee:  Dad! Mom says she doesn’t like me!

Jason:  You go and tell her it’s my turn to not like you!

PamJee:  This must be that “building character” crap Uncle Davan talks about, ‘cuz it’s really pissing me off.

...

Now that most of us are doing our part to prevent the spread of COVID-19, it often means being stuck in quarantine, having to live with our housemates for longer than the hours before & after work, school, whatever.

In this case, this is a profound piece of wisdom which really strikes hard at the way we need to understand interpersonal relationships with family members, friends, spouses, and so forth.

PeeJee:  Sweetheart, I think you need to learn this now. 

This is a very polite way for PeeJee to call her daughter on her attitude.  Politeness, courtesy, patience, these are the watchwords for when you’re stuck in a situation that, for the good of many many others, you cannot change.  It is a life-lesson that many people don’t actually learn.  Not consciously. 

In this case, the comic shows how--yet again--PeeJee and Jason are raising their kid to be more consciously aware of what is going on in life, both within herself and in the greater world around her.  Sometimes these lessons are taught young, and sometimes they are self-taught. Sometimes they’re only subconsciously learned, but PamJee’s parents love her enough to give her straight talk about life lessons.

We are not being taught to think critically (as in critiquing, not criticizing) about our lives, by our society/culture.  But it is a valuable thing to learn how to be self-aware of certain things.  For instance, when I was going to college and having to wait up to an hour between busses to get there and back home again (if a class ran too late to catch the right one in the late afternoon), I eventually realized there was a difference between being patient, and being patient when you don’t want to be patient.

Why is this important?  Because these are different life skills.  Being patient when you want to be patient is, well, easy.  You know it’ll be worthwhile.  But being patient when you don’t want to be patient, that’s much more difficult.  I could not change the bus schedule.  I could not change how late the teacher would hold our classes.  I could not change how far away from the bus stop my last class of the day might be, that quarter.  I could not change anything when a bus driver coming early and choosing to leave early. 

And since this was an era (early 1990s) when smart phones were still nothing more than a scifi fantasy, aka the tablet PADD thingies carried around by the actors on Star Trek: The Next Generation (aka they did not exist in real life!)...I had to learn how to accept having to wait, whether or not I wanted to wait.  A lot of people subconsciously learn this lesson, but there was this one day that--I don’t know how or why--I woke to it consciously, and figured out that, being utterly bored, with nothing external to occupy my attention...I should entertain myself in my head by focusing on world-building and storytelling.

(This is the era in which the beginnings of the IaVerse got started, btw, so this little story is relevant to my author’s blog thing.)

PeeJee’s next speech-bubble in that scene, however, speaks to a subconscious side-effect of life in quarantine, trying to prevent the spread of COVID-19:

You can absolutely love someone with all your heart, and sometimes be kind of tired of their bullshit.

This is a truth.  We may have to put up with each other for far longer spans of time than usual while in quarantine, and we may subconsciously be aware of the need for practicing politeness, courtesy, common sense, and so forth...but frictions will arise.

And you know what? That’s okay.

You can still love someone, and be tired of their bullshit at the same time.

You are allowed to have complex emotions.

You don’t have to be happy all the time!

However...you are still responsible for how you react, based on those feelings.

And it’s okay for others (or you if you’re the target of their reaction) to refuse to let that bullshit slide uncommented upon.

In this case, PeeJee does tell her daughter the absolute truth.  Her daughter is giving her a rude comment, spurred by the restlessness of extra exposure to her parents due to quarantine, rather than having the respite of being at school away from them for several hours out of the day.  So PeeJee gives right back to PamJee what PamJee gave her.

When PamJee is shocked by this...yes, parents aren’t normally supposed to say things like that to their kids.  But there does come a point where this particular lesson does have to be learned.

Life is complex.  Emotions are complex.  Bullshit can only be tolerated so much before it must be called out for what it is:  Bull.  Shit.

And when PamJee goes to her father to complain, Jason is delivering a punchline, yes, and it may seem cruel, yes...but it also in a back-handed-compliment way implies that they take turns being Good Loving Parent-Cop and Bad Sarcastic Parent-Cop.  It implies that both of them are always there to support her, even if they “take turns” while one or the other is calling her out on her growing-pains bullshit.

...Is it a normal family dynamic?  No.  But it is remarkably healthy all the same, in a similar vein to the Addams Family’s values.  Because even while PamJee calls out her daughter’s rudeness, she reassures PamJee that she is absolutely loved.

“Unconditionally loved” in this case doesn’t mean “we’re going to ignore every bad thing you do around us.”

I’ll let you in on the secret as to why:  Hatred (or even just calling someone out on their bullshit) isn’t the opposite of Love, folks.  Apathy is the opposite.  If her parents didn’t love her this much, they wouldn’t want to teach her to be conscious of having to remember to treat her family & friends with better courtesy, etc.  Of having to be polite even when you don’t want to be polite, due to the irritation-raising frictions of having to spend excessive, extra amounts of time together.

Anyway, that’s it for the webcomic page analysis!

Stay as safe as you can, be as compassionate as you can, and try to be consciously courteous, folks!  It’s a skill that most of us aren’t used to utilizing in such large amounts, but as in everything, it’ll get easier with practice.

[christinealtomare]

Cody Simpson as Dmitry

DISCLAIMER: I went into this audio knowing that Cody is not a Broadway performer, nor has he been professionally trained to act. I did not expect a replica of Derek Klena and tbh... I wasn’t disappointed. I enjoyed his Dmitry. There is potential here for sure, but if you don’t want to come out disappointed then I recommend keeping in mind that Cody wasn’t hired for his talent. He was hired to bring this show money and help them recoup. With that being said:

Omg I genuinely did not recognize Cody’s voice with that American accent!

He definitely sounds a little robotic throughout. He also sounds nervous during “A Rumour in St. Petersburg” but like he’s definitely trying and doesn’t sound unpleasant?

He seems to grow a lot more comfortable once John (and later Christy!) joins him onstage and his interactions with Vlad feel very natural!

He sounds very mischievous and boyish when describing the con to Vlad and like, it seems like he’s definitely playing Dmitry as younger? 

While I don’t love Dmitry being played as younger, I’m glad Cody is doing it. It seems like a smart decision on his part because he is visibly younger and I feel like it would have definitely sounded more forced if he had tried to play Dmitry’s age up and convince us that he’s almost thirty lol.

LMAO Cody’s Dmitry sounds so unimpressed with Marfa’s acting at first but he’s not mean about it?? Just more like “girl wtf /was/ that??”

He’s literally like "wtf is this vlad i asked for ACTRESSES. AN ANASTASIA. NOT GRANDMAMA, ITS ME ANASTASIA"

Also, Maria Briggs remains perfect as ever.

He’s so done by the end of the audition like literally rushes them out of there and not even trying to hide how unimpressed he is haha he says “Out!” twice but then it sounds like he’s about to say “Get—“ which I don’t believe I’ve heard another Dmitry do tbh?

Cody’s Dmitry overall just sounds so much more wistful throughout? Like he’s very much a dreamer who’s slowly becoming more cynical overtime with how much bs has been thrown his way. He’s also much softer and boyish overall.

His Dmitry also has a softer relationship with Vlad. Vlad feels more fatherly with him and their teasing is reminiscent of that. 

Especially in the scene where they’re talking about their past like they’re just softly teasing each other rather than joking.

Omg okay so when Anya comes in, there’s this really long pause before he finally says, “I’m Dmitry” and like I wonder…? if he did something acting-wise there because 1) the pause is not usually that big and 2) the audience laughs.

The father/son dynamic makes a comeback when Dmitry is like “this isn’t a soup kitchen, Vlad!” and honestly just seems like an exasperated child lol

Not a ton of chemistry with Anya by this point.

He honestly sounds more excited when asking Anya if she’s ready to become Anastasia rather than manipulative.

His “Learn to Do It” was honestly super interesting, a really good highlight, and one of the moments where his Dmitry really shines! 

Cody sounds very fond while singing “a palace by the sea,” as if he’s remembering the little girl he saw at the parade rather than trying to make Anya learn a fact. Even with “charming child’?? It honestly feels like a number where his Dmitry is thinking about 8 year old Anastasia throughout. He’s very present throughout this number, like even though they’re teaching Anya how to be “Anastasia”, he sounds like he’s remembering the real girl behind the facts.

“Like a sinking boat” feels like more of a teasing comment than a critique and it’s cute, ngl.

Also, there was a line flub! He accidentally said “pull yourself together and you’ll pull through it” instead of “something in you knows it” haha <3

When Vlad pulls them together to dance, he just starts like sputtering, “Wha-“

He sounds super impressed and mildly scared after Anya beats up the guys LMAO

When she asks if he wants to see what else she can do, he’s like, “Oh, no!”

“My Petersburg” was the weakest point singing-wise. That being said, it doesn’t sound any worse than expected? He sounds very boyish in it and it seems like he’s trying to have fun with it. That being said, I think the key-change is most jarring in this song because I’m so used to Derek’s belt-heavy version of it.

Also, I think the roboticness + nerves up until this point were because of this song. Because after this number, wow his portrayal smoothens out, he’s more comfortable onstage, his acting is better, and the chemistry with Christy finally comes out!

He genuinely sounds so fond and endearing when talking about Dmitry’s parents. I feel like he must have rehearsed that particular scene a lot, because it actually flowed really nicely! Very wistful.

The chemistry with Christy isn’t the smoothest, but it’s also not a non-existent abomination and I expect they’ll grow into it.

Again, Cody also seems a lot more comfortable post-My Petersburg and the acting, line delivery, and everything feels less robotic.

I think his Dmitry is the most-concerned sounding I’ve heard prior to “Once Upon a December”. He’s very worried about her when she becomes unresponsive.

They literally bicker over getting to Paris! Like he’s not yelling at her at all, they’re legitimately arguing like children and he sounds like he’s trying to calm her down the louder she gets lol

From this point onwards it’s very much a super endearing, best friends-type dynamic!

Omg he doesn’t yell at her at all when she reveals the diamond. He’s just super calm and when she’s like “yA i’ve had it all this time what are you going to do about it???” he’s literally just like. “ok wtf why?”

Before he picks her up to hug her he literally just goes “If you weren’t a girl, I’d— ugh.” AND SPINS HER

He sounds SO excited about the hotel and bathtub LMAO

Also CODY AND CHRISTY CAN HARMONIZE HOLY SHIT

They sound BEAUTIFUL together in “Stay, I Pray You.” Which he also sounds totally destroyed in btw. The whole song is a very good vocal moment for him.

Lol he sounds so exasperated with Vlad’s first class complaining haha

He sounds low-key scared after the gunshots but still tries to comfort Anya really softly :(

He definitely had a stronger portrayal by Act 2. Nerves must have worn off.

HE’S SO SOFT WITH HER DURING AND AFTER HER NIGHTMARE?

COT SOUNDS SO GOOD?

HE’S NOT TRYING TO OUTSING HER AT ALL THEY SOUND GOOD

ITS SO NICE HAVING A DIMYA THAT CAN HARMONIZE AGAIN HOLY SHIT

The Quartet was one of the weaker points but again, he harmonized nicely with everybody.

Omg you can tell he likes “Everything to Win” and he did a great job singing it! Probably his best song acting and singing-wise!

The confrontation with the Dowager Empress was underwhelming tbh, especially because Judy is such a stern Maria and Cody is such a soft Dmitry.

He’s such a melodramatic boi when he tells her to never wave or smile at her again gnfdkls;a

Overall, I felt as if Cody delivered a lot better than I was expecting. He doesn’t have the strongest portrayal but for an untrained actor?? That was good. He also doesn’t try to riff or anything during any of the songs -- he’s singing them properly, really trying, and has a decent grasp on what he wants to do with the character. I’m excited to hear an audio from later this month and others from later in his run because I expect he’ll grow into the role. He’s definitely no Derek but it also wasn’t the dumpster-fire everybody expected and I liked him.

[undulated-raptor]

Blade Runner 2049 Non-Spoiler Review

Let me begin by saying that I absolutely love Blade Runner. It is one of the few movies, with The Godfather and Lord of the Rings: The Two Towers, where no matter how many times I watch it, I remain practically silent. I grew up seeing Blade Runner on random lists of “Greatest Sci-Fi Movies of All Time”, etc. Needless to say, I was practically indoctrinated into loving the movie, before I ever even saw it. When I finally did, I bought the special Blu-Ray 30th Anniversary Collector’s Edition, with the The Final Cut, both the Original Theatrical and International Theatrical Cuts, and the 1991 Director’s Cut. I watched them all. Back to back to back to back. Personally, my favorite is the Original Theatrical, but I see why people prefer different ones. Again, the most important thing to remember about film is that film is subjective. While there are some objective rules about what is good or bad, most of critique is subjective.

So, this brings me about to watching Blade Runner 2049 last night. Again, I had been ridiculously excited about this movie since it was first announced, and my excitement only built when following announcements came, like Denis Villeneuve being named as Director, Ryan Gosling taking the main role, Harrison Ford’s return as Deckard, and especially Roger Deakins as Cinematographer. With each trailer that came out, just more and more excitement, to where I could hardly contain myself. My sister and her family came to visit over the weekend, so I didn’t take the chance to watch it until Sunday night. Now, Blade Runner 2049 officially has a 2 hour and 44 minute run time, according to IMDB.com, which from what I’ve read, seems quite a daunting task to most movie-watchers. It definitely, to me at least, did not feel anywhere nearly that long. I’ve read several other reviews and listened to several podcasts that have already talked about it, and it seems to be the general consensus that it felt too long and bloated, that Villeneuve was able to just pack in as much as he wanted without restraint, making a too long, boring, movie. I completely disagree. Not only did the time fly by for me, but I was fully wrapped into the movie from practically the first shot (the opening of an eye, a brilliant callback to the original film) to the very end.

Another major complaint that I’ve read online is several writers criticizing Blade Runner 2049 for having a “woman problem”. Now, a lot of what I’m about to say could probably be discounted by most people holding up that argument, seeing that I am a straight white male, but I think that that doesn’t provide nearly the bias that others claim. For me, there were some problems with female representation, but not necessarily the complaints they’re referencing. (The article in question is titled “Blade Runner 2049 Has a Woman Problem”, read from http://movieweb.com/blade-runner-2049-woman-problem/). The first claim this article makes is that Blade Runner 2049 fails the infamous Bechdel Test. For those that don’t immediately recall, the Bechdel Test is commonly used “standard” for testing to see whether movies have deep female characters, based off of three criteria: (1) the movie has at least two women in it, (2) who talk to each other, (3) about something besides a man. If we use this test, I will admit. Blade Runner 2049 does have multiple female characters, and some do converse with each other, the third part is never fulfilled. However, despite the article’s claims that the women in the film fall into male fetish archetypes, I disagree. Robin Wright, as Lieutenant Joshi, shows actual empathy toward Ryan Gosling’s K, while retaining a toughened exterior. Within the world of the story, this makes sense, seeing that she is a Lieutenant within the Los Angeles Police Department, a position which demands a certain amount of toughness. Also, yes, she does drink whisky several times throughout the movie. As did M. Emmet Walsh’s Bryant in the original film, who has a very similar relationship with Deckard as Joshi does K. (Note: If I remember correctly, Bryant doesn’t actually drink in the movie. It is, however, heavily implied that when he pours the two drinks in his office, both drinks were not meant for Deckard.) The article also mentions that Joshi sexualizes K, which I see not as a fault of Joshi’s character, but rather a well-made choice that highlights more complexity, not only of the relationship between Joshi and K, but of the world of 2049 Los Angeles altogether.

The article also briefly discusses the other three main women of the film, Sylvia Hoeks’s Luv, Ana de Armas’s, Joi, and Mackenzie Davis’s Mariette. Luv is described as “a tough-as-nails femme fatale in heels, coldly flirtatious, deadly murderous”, which she is. Believably so. Having seen the original as many times as I have, Luv reminds me an awful lot of a more advanced version of Daryl Hannah’s Pris, a cold, calculating killer. It is also mentioned that Hoeks kisses Gosling’s K in the climax, which the article calls “laughably improbable and out-of-nowhere ...straight out of an S&M dungeon.” Again, I have to disagree with the writer. The kiss, which is delivered at a pivotal moment of the climax, has, to me, a sense of the departing embrace between respectful enemies. (I can explain more, but I want to stay as far away from spoilers as I can for this writing. My next one will most likely go more in depth). Switching to Ana de Armas’s Joi, the article refers to her as “a purchasable housewife style AI program whose greater yearnings all revolve around her devotion” to K. However, I think this claim misses the most important point of Joi, in that she is supposed to be nothing more than a caricature. Joi is an AI program, one early in the eventual evolution of holographic entities. Thinking within the world of the film, the complaint that she is not more fleshed out would be similar to complaining that a Nexus-1 or Nexus-2 Replicant was not fleshed out. They aren’t because they are the early stages. This is even addressed within the movie, as Mackenzie Davis’s Mariette tells her “...inside you, and there’s not as much there as you think.” Speaking of Mackenzie Davis, I actually agree with the article in that the movie “criminally underuses… [her] as a “hooker with a heart of gold,” a movie trope so tiresome and old school it’s almost nostalgic.” Again, I actually agree with this sentiment, and I think it’s one of the very few actual problems I had with the movie.

The next main problem that the article discusses is that Harrison Ford was brought back, while his co-star from the original Sean Young was left behind. Her character, Rachael, is in the movie, though off-screen. It is established rather early in the film that her character died seemingly shortly after the events of the first movie, during childbirth. This revelation is the driving force for the rest of the movie, as K is trying to find the child, due to personal curiosity, while Jared Leto’s Niander Wallace sends Sylvia Hoeks’s Luv to tail K, then bring the child back to him, feeling the need to make Replicants that can produce their own offspring. Rachael’s presence is felt throughout the movie, and even through CGI de-aging, she does make an important surprise cameo in the movie.

So, I’ve realized that I started this as a conversation/review of Blade Runner 2049, and have spent most of my time rebutting an article that I only somewhat disagree with. This may have not been the way I wanted to go about doing this, but it also let me get out some of my first and heaviest thoughts about the film. Now, we go on to my just rambling about a film I absolutely loved, but do have some issues with. First, something I wasn’t overly fond of. I know Villeneuve is a brilliant director, and very few people can tell a story like him and Roger Deakins. That being said, I was left a bit confused by the amount of nudity within the film. I’m not sure necessarily that it was gratuitous, and I’ll feel more certain about that after a second or third rewatch, but it was a bit overwhelming at times. (Particularly a giant holographic nude Joi, though I see why that scene in particular is important.) However, in dealing with nudity, this movie has one of the craziest and most interesting love scenes that I have ever seen. *Mild Spoilers Ahead, But Only Kind Of* There is a scene where K brings home Davis’s Mariette so that he and Joi can be together, physically. In doing so, de Armas’s holographic Joi “syncs” with Mariette, but the sync is slightly off. As such, while they are beginning to kiss and undress, Mariette and Joi seem to phase back and forth, as well as their hands are slightly differently placed on K. Like I said, it was crazy to watch, but definitely interesting. (Also note: very minimal nudity during that scene, almost as if Villeneuve is careful to point out the purity or innocence of this, compared to the lewdness of the streets.)

Overall, I absolutely loved Blade Runner 2049. For those of you looking for an answer as to whether Deckard is a Replicant or not, don’t worry. You don’t get an answer. For those of wondering if K is a Replicant, don’t worry. They tell you he is almost immediately. For those of you that may be worried that the studio made Gosling do a voiceover narration throughout the film, don’t worry. They didn’t. (I love the Original Theatrical Cut of the first movie, with Ford’s narration, but I  definitely think it was for the best that it was not done for this movie). Also, this movie plays out a bit more of just a regular Detective Story rather than more of the classic Film Noir that the original did, but it pays tribute to the original perfectly, without drowning itself in nostalgia or sequel teases. To sum up, I think that if you enjoyed the original, or if you just want a movie that’s different from most things you see, definitely give Blade Runner 2049 a shot. Hopefully you’ll have a better movie-going experience than I did. Side Note: there were two 15-16 year old girls that sat directly in front of me, there only because “Oh my god! Ryan Gosling is so hot!”, who were on their phones almost the entire time, and I still absolutely loved this movie.

P.S. - I feel I can’t talk too much about the main cast without ruining potential spoilers, so expect a much more in-depth spoiler-filled review coming later this week. I might even go watch it again, to reply and possibly counter some of my own arguments I made here, who knows?).