#it seems like he would rather be writing something else that's less mainstream

[notesofarichlycolorednight]

this anime is so dumb i actually hate it

[forevercloudnine]

How smart is Bruce Wayne?

I was re-watching The Batman (2022) on HBO and thinking about the ways that Battinson compares and contrasts from Bruce-the-comic-character, and one of the things that jumped out to me was that Bruce seems to be less... observant? Like, for one thing, I can’t imagine comics Bruce seeing Riddler’s pictures of Mayor Hill and not think to check the angle of the photos to see if the photographer left any evidence behind in their roost.

And this is absolutely NOT a criticism of the movie, by the way-- I think Edward might have actually expected Batman to think about the photo angles, given that he thought his plan would end with Batman dragging Falcone into position for Edward to shoot from his window. Bruce not thinking about the photographer’s POV is emblematic of his larger flaw of being unable to see the world through anything but his own perspective, something that the movie addresses through his eventual character development when he realizes how blind he’s been to Gotham’s corruption and the effect of his obsession with vengeance. The fact that no one else thinks about the photographer’s POV just reinforces Edward’s point that he and his followers are “nobodies” who the city has ignored and forgotten. Fun thematic writing, 10/10, etc.

...But this whole thought process DID remind me of a really annoying poll DC put out in 2021.

So there is a VERY POPULAR idea in the “mainstream” DC fandom that Bruce is the smartest character in DC comics, period. The comment section of this poll was pretty much the same “Batman could plan for them ahead of time and beat them, thus he’s objectively smarter” repeated ad nauseam. Bruce being the “perfect” strategist obviously has a long legacy in his comic portrayals, but probably only reached its current memetic status as a result of Mark Waid’s JLA: Tower of Babel storyline back in 2000, where it was revealed that Bruce had created contingency plans to take down every member of the Justice League.

But notably, even in this storyline, Bruce isn’t an unbeatable genius-- the only reason it even comes up that he has contingency plans is because Talia al Ghul figured out how to steal them from him. And I think it’s relevant that unlike characters that are considered in-canon to be The Smartest, like Lex and Mr. Terrific, Bruce is not inventing the weapons he plans to use on his teammates. He’s stealing them from other characters, like how his plan for Aquaman is to utilize Scarecrow’s fear toxin.

[”The Scarecrow has already done a substantial amount of work on customized fear responses” is a good quote here: Bruce’s methodology in general tends to be finding the path of least resistance, something that Riddler complains about constantly in comics because of how often Batman “cheats” rather than properly solve his puzzles.]

Bruce is canonically a very good detective and skilled at reverse engineering other people’s inventions, but I would argue that he’s not... “creatively” intelligent, the way that actual genius characters are in DC. He can competently analyze Poison Ivy’s newest pheromone cocktail, and may even have the chemistry knowledge to adapt it for his own purposes, but he’s never going to be able to MAKE anything like that independently. It’s a lot easier to break down and reuse other people’s ideas than it is to come up with your own. Not to AGREE with the Riddler of all people, but he summarizes it pretty well in his issue of Year of the Villain:

Bruce’s real claim to fame (outside of his more obvious wealth) is probably his impressive memory, and his ability to predict people’s future actions based on close (read: stalkerish) observation of their behavior. But even this isn’t something he’s perfect at, and makes him exceptionally vulnerable to being taken by surprise: whether from large scale events like the Crime Syndicate coming out of nowhere in Forever Evil, or even something as small as one of his rogues gallery randomly changing their modus operandi.

[Panels from Detective Comics #835, during a plot where Scarecrow eschewed using fear toxin (meaning Bruce couldn’t track him down through his chemical suppliers) and started attacking during the day (when Bruce let his guard down because he wasn’t expecting it). “All of Batman’s carefully constructed files about Jonathan Crane and his alter ego are useless.... Batman’s lashing out because he feels helpless.”]

To bring this back to where I started: Bruce in The Batman (2022) definitely doesn’t seem to have had the same extensive and obsessively variegated training that Bruce has had in the comics. Apparently in the somewhat-canon tie-in novelization it’s established that he studied with a few martial artists, but that’s a lot less than he’s done in other continuities, and the movie itself seems to imply that his primary teacher was Alfred. His established rogues gallery seems to be limited to just Joker, and if he has any peers in vigilantism he’s clearly not in contact with them. So, if Bruce’s intelligence is primarily rooted in observing or borrowing from other people with more traditional genius... doesn’t it kind of make sense that he’d be less “smart” in the 2022 movie where he doesn’t have anyone else to borrow from?

Obviously there are other skills comics!Bruce has that Battison does not-- social manipulation being prime among them, since Battinson has an ABYSMAL socialite mask and probably couldn’t talk his way out of a paper bag. But comics often go out of their way to characterize child Bruce as being taciturn and socially awkward (and generally lacking an interpersonal emotional intelligence that he really still doesn’t have as an adult), traits that stay with him until he comes back from his world travels and establishes his “playboy” personality. Maybe 2022!Bruce just... never met the teacher who taught comics!Bruce social skills. And now he doesn’t know how to look up at windows OR how to make eye contact.

[folkloreguk]

Shower Thoughts

A/N: I like writing about personal emotions a lot…this feels a little like writing a diary but also like self-therapy and it really helps me. I hope anyone who also feels this way knows that they’re not alone with those feelings. Also happy birthday to the sweetest @sunghoonied!! I wrote this thinking of you and I hope you have the best day ♡ PS. I didn't proofread this so if you find errors kindly lmk please! x

genre: optional bias (male), meant to comfort you, angst, fluff, talk of loneliness / anxiety but with a good ending!

words: ~ 2.5 k

taglist: @lovely-ateez, @mochi-ficz, @soundsofminho, @runaway-fics

People said that walking was supposed to clear your mind. But then why was it, that you had gotten so lost in your worst thoughts out there? The time spent in fresh air was meant to let your mind wander to calm places and smiling at strangers should have made you feel less lonely. But with every step you took and with every passing face your body felt heavier. Not only did you carry your figure, but the crushing burden that had been nagging at you for weeks.

Watching others stroll around the streets seemed so easy. And perhaps it should have been easy, after all. It made you wonder, maybe you were the only one whose mind was constantly covered in dark rain clouds. Maybe everyone had their place in the world, and they knew just where and with whom they belonged. Surely, they didn’t overthink every conversation they had with a random stranger. Did their brain also function merely on autopilot in public, while the back of your mind was chaos of doubt and fear? Was there anybody else who spent day to day worrying about never finding someone who could deal with the burden of you and your issues? How was somebody else going to love you if you were this sad?

Those people that care about you are the ones you should be honest with, after all. There was no brushing off the How Are You question with a quick “I’m fine”. How could someone deal with the real answer you would give? You didn’t want to pull anybody down with you when you were hurting. So then again, maybe it was for the better your apartment was always empty when you came home. With no one to ask you about your feelings, you couldn’t cause anyone else agony and worry. Your own pain was enough – one person was enough to deal with it.

You shoved your shoes in the corner next to your door. If it wasn’t for your mental state, you would’ve guessed your jacket was a hundred kilos heavy. But even after you had peeled it off, nothing changed. You dragged your body to the bathroom.

You’d be so proud if only you could go one day without crying. And you had almost made it, had it not been for the godforsaken shower water. There was something about seeing the droplets on your skin and on the tiles that caused your tears to come out freely. The noise of the shower made you feel shut off from the rest of the world. Now it was just you and your salty ocean tears. The tears united with the shower water. It was hard to tell which drops on your cheek had originated in your swollen eyes and which had fallen from the shower head. This way, it seemed almost as if there was an invisible force that was wiping over your face, trying to appease your sobs.

But there was nobody. And that was why you only cried harder. If only you had listened to your own words when you tried to cheer yourself up. Then maybe you would feel better when you wrapped your arms around your own body. You were desperate. The notion that someone could hold you like this, one day, should have gifted you at least some form of hope. But no, you knew it wouldn’t happen any time soon. Not with this mindset and your sadness.

You hiccupped helplessly. This was all so tiring. Before you knew it, you sat down on the shower floor under the hot stream. At least there was no one waiting to get into the shower after you. So you wouldn’t have to feel guilty about blocking the bathroom and wasting all the hot water. For a few minutes you remained on the floor, drowning out your cries under the splashing sound. You felt the impulse to scream. Look, I’m here! I’m a person with interests and passions and emotions! Doesn’t anybody see me? I’m sick of only existing! Won’t somebody teach me how to live?

But at most, that would cause you a noise complaint. If only you weren’t so terrible at talking to people. Maybe you could make a friend someday – when your anxiety got better. Like in a trance, you finally switched off the water and grabbed your towel. You were so utterly lost in your thoughts, that everything went by as if you were only watching from the sidelines. You got out of the shower, dried off, put on some body lotion – an attempt at self-care – and got dressed in the most comfortable, baggy clothes you owned.

What on earth would you do tonight? There really were only so many ways you could have fun (or rather distract yourself from feeling down) when you were all by yourself and everything reminded you of how lonely you were. The option of just going to sleep slipped past you. But you weren’t tired enough. You knew you’d lie awake for hours, left alone with your thoughts. And crying yourself to sleep was the last thing you wanted right now.

So you opted for the most mainstream idea: Netflix. You plopped down on the sofa, a steaming hot cup of tea on the small table in front of you. Now you only had one thing left to do. You needed to choose some stupid show and let the problems of tv characters invade your brain and pray they would shove out your own issues. You weren’t even hungry. Although there was a part of you that wished it could have eaten your weight in chocolate, but you knew that had little to do with hunger.

Just as you reached for the remote control, the sound of your doorbell made you jump. I’ll just let it be. They’ll think I’m not home and leave. Those thoughts came right away. It made you curse yourself. You had just cried over feeling alone, but now you’re shutting out some random neighbor who probably just needs some tiny favor from you. Way to go. So, more to prove a point to yourself than to be friendly, you stepped to your door and opened it.

“Hi.” It was your neighbor. Your handsome, kind neighbor, who you always met at the local grocery store. You were so mentally exhausted you didn’t even feel self-conscious about looking the way you did. Although you hoped your eyes had recovered from the redness, at least a little. “Hi,” you greeted him back.

“Look, I really don’t want to be intrusive. And if you want me to leave, I will,” he said. He fumbled with his hands, as if he was nervous about his words. “But I kind of heard you…cry…in the shower. And I know you live alone, and I figured if you’re crying you probably don’t have any company. I guess I just wanted to check whether you’re okay. Do you have someone to talk to?”

With every word your heart only sped up. You felt like a trapped rabbit in a corner and the meaning of his message only sunk in slowly. Yes, of course. I’ll call my friend and talk to them,you wanted to say. But that would have been a massive lie. And you just couldn’t lie to him. Not when he stood there, in his fuzzy sweater and fresh-out-the-shower damp hair, with eyes so worried and attentive. You weren’t sure if it was from how touched you were by his concern for you, or if it was your sadness catching up to you again. Before you could swallow your tears, your eyes filled to the brim and your vision turned blurry.

“Oh, I’m sorry,” you said, not sure what for. Hurriedly, you used your sweater paw to wipe your leaking eyes. You didn’t want him to feel bad for you, but now you had achieved just that and more. Your embarrassment set in and you finally came out with the truth. “I don’t have anyone to talk to.”

“No need to be sorry. It’s alright. We all have those days, don’t we? I just want you to know that you’re not alone. And I have nothing to do…so if you need someone to talk to, or even just to keep you company…I can stay with you for a bit…or you can come over to mine. I just don’t want you to feel alone. But if you would prefer to be by yourself, that’s okay. People deal with things differently.”

You were so baffled that your ability to speak completely fell through. The idea of someone, an almost-stranger, going so out of their way to make sure you were okay blew you away. He knew nothing about you. But here he was, taking a chance on you, nonetheless. Only then you realized you probably looked like a fool, staring at him but failing to answer. Quickly, you prompted yourself to open your mouth to speak, but he beat you to it.

“What were you doing just now?” he asked. “Any plans for the evening?”

“I was going to watch a movie, I guess,” you said. “And I think some company would be very nice.”

He smiled at you like was your childhood best friend and you had just reconnected after years of being apart. That’s why it felt the more natural to let him enter your apartment. You got into small talk about what it was like living in the building and how his apartment had a mirrored structure to yours. The simplest conversation took your mind off your sorrow right away. You felt like thanking him would be a little dramatic after he had barely settled on your sofa, so you kept it to yourself. Either way, the small smile on your face felt like warm, soothing sunlight on your skin after eight consecutive days of rain.

“Do you want to talk about anything?” he asked. You thought for a moment.

“No, I think I’d rather just distract myself,” you said. Even though you were grateful for having him here, you feared if you spilled your guts to him you would only scare him away.

“Alright,” he said without judgement. “What film were you planning on watching?”

And so you started your movie. There was a respectful distance between you on the sofa. But his simple presence next to you was more than you could have asked for tonight. He was like a heater, providing safety and comfort in the coldest winter. Hearing someone else chuckle at the jokes in the movie along with you was magnificent. His laughter sounded like a rainbow. It seeped into your body and your soul straightened up and bloomed like a parched flower being watered after all this loneliness.

But even under all the light, your problems were still here, waiting to nag at you. You knew they would consume you when he returned to his own apartment later. They would laugh at you for trying to socialize but staying closed off as always. Just because someone saw you didn’t mean they understood you and who you are. And how was one supposed to make human connections if they treated their thoughts like strictly confidential information in front of everybody? No, you had to tell him.Impulsively, you pressed the stop-button on the remote. He shot you a questioning gaze.

“I- I think maybe I do want to talk about something,” you confessed.

“You can tell me anything. I promise it’ll be safe with me. Let out whatever bothers you,” he said. His lovely, warm eyes were inviting like a haven for you. So you just started to talk. All your frustrations and reasons for anxiety were exiting your lips, floating all around you in the room. Airing out your weary brain finally, after holding everything in for weeks, was uncaging and nothing had felt this good in so long. Although your sadness wasn’t something that could be fixed by doing a task, the more thoughts and worries you explained to him, the easier it became. It wasn’t long before you felt your tears well up once more.

“It’s okay,” he said with his hand on your shoulder. This time, you didn’t try so hard to blink them away. Where there were emotions, there were tears, and he was right. It was fine to let them out. Through sniffles you finished telling him your issues.

“Is this okay?” he asked, gently putting his arm around your shoulder to hold your shaking figure. You hummed and nodded in agreement. His warmth was like a blanket to shelter you from the anxiety, if even just for a short while.

“I don’t expect you to know a solution,” you said. “I need to wait for it to get better. It’ll get better, eventually.”

“You’re right. It will all resolve,” he said. “I’m sorry things are so difficult. But you’re not alone, okay?”

You nodded again.

“Time will heal, I promise,” he said. “And until then, you have to hold on and keep going. The world’s a little cruel sometimes, when it shuts out the ones who struggle and don’t do as well as others. But you’re as much of a part of it as any other human on the street. And you’re just as important as them. You weren’t born to be successful or to achieve things. You’re here to live and be happy. So promise me to take care of yourself, and be gentle to yourself. Because you’re the only person that will be with yourself every second until the end. Please don’t be hard on yourself and have patience for good things to come around. And if it all feels like it’s too much for you, don’t feel guilty about reaching out for help. You can always ring my doorbell if you need something.”

“Thank you so much,” you cried. Your cheek rested on his shoulder and you sat in silence for a while. It was unbelievable which wonders such a small conversation between two people could do. Your heart felt lighter and the thoughts were no longer racing through your head. Peace was settling in, and you welcomed it more than ever.

“Now that I’ve told you about me, what kind of person are you?” you asked through tears. He chuckled a little. All you knew until now was that he had a heart of gold. Which, to be fair, meant your impression of him was off to a pretty good start already. Your thoughts were cautious as you wondered…Maybe he could be my friend.

You abandoned the movie. Instead, you spent all evening chatting about whatever came to your mind. You discussed childhood dreams, favorite dishes, your best playlists down to the cutes dog breeds you had ever seen. It felt great, getting to know somebody. And your suspicions came true. His big heart wasn’t the only thing admirable about him. He was funny and knew just what to say when you felt awkward or shy. When you slipped into bed that night, you did so with a smile on your face. You had always told yourself that you weren’t alone. But sometimes, the most optimistic person needed a small reminder coming from somebody else. Here was yours.

[shihalyfie]

Hi :) If it's not too much trouble, could you please share your take on why they'd continue the Adventure brand after tri. was such a flop? (and a tangent: what does "dark history" even mean?). We got Kizuna, the reboot, and a 02 movie. Logically, it doesn't really make sense they'd keep investing in it.

This is a thorny topic, and I'd like to reiterate that although I've ended up making more posts related to this series and the discourse surrounding it recently (probably because it's even more on the mind now that another movie is on the horizon and a lot of people are apprehensive for various reasons), I do not want this blog to be making a brand out of being critical of this series. I’m writing this here and in public because I figured that there is a certain degree I need to clarify what I mean about audience reception/climate and how it might impact current or future works, and I’m admittedly also more than a little upset that I occasionally see Western fanbase criticisms of the series getting dismissed by people claiming that the only people mad about it are dramamongering or ignorant Westerners (which could not be further from the truth). However, this is mainly to address this and to answer your question, and is not intended to try and change anyone's existing opinion or impression of the series as much as it's me trying to explain (from my own personal reading of the situation) what practically went down with critical reception in real life; no more, no less.

The short summary of the matter is:

The series was a moderate financial success (albeit with some caveats; see the long version for details) and definitely outstripped a lot of prior attempts to revive the franchise;

However, the overall Japanese fanbase-side critical backlash from tri. was extremely and viciously negative to the point where even acknowledging the series too much could easily result in controversy;

Kizuna’s production and the PR surrounding it very obviously have this in mind with a lot of apparent “damage control” elements.

The long version is below.

Note that while I try to be diligent about citing my sources so people understand that I’m not just making things up wholesale, I’m deliberately refraining from linking certain things here this time, both because some of the things mentioned have some pretty crude things written there -- it’s not something I feel comfortable directing people to regardless of what language it’s in -- and because I don’t want to recklessly link things on social media and cause anyone to go after or harass the people involved. For the links that have been provided, please still be warned that some of them don’t really link to particularly pleasant things.

I am not writing the following information to suggest that anyone should agree or disagree with the sentiments being described. I know people tend to take "a lot of people like/hate this" as a signal of implication "it is correct to like/hate this" when it's not (and I especially dislike the idea of implying that Japanese fanbase opinions are the only correct ones). There's a reason I focus on "critical reception being this way" (because it influences marketing decisions and future direction) rather than how much this should impact one's personal feelings; this is coming from myself as someone who is shamelessly proud of liking many things that had bad critical reception, were financial failures, or are disliked by many. As I point out near the end, the situation also does seem to be changing for the better in more recent years as well.

Also, to be clear, I'm a single person who's observing everything best I can from my end, I have no affiliations with staff nor do I claim to, and as much as I'm capable of reading Japanese and thus reading a lot of people's impressions, I'm ultimately still another “outsider” looking in. These are my impressions from my observation of fan communal spaces, following artists and reading comments on social media and art posting websites, and results from social media searches. In the end, I know as much as anyone else about what happened, so this is just my two cents based on all of my personal observations.

A fanbase is a fanbase regardless of what part of the world you're from. There are people who love it and are shameless about saying so. There are people who have mixed feelings or at least aren't on extreme ends of the spectrum (as always, the loudest ones are always the most visible, but it's not always easy to claim they're the predominant percentage of the fanbase). That happens everywhere, and I still find that on every end I've seen. However, if I'm talking about my impressions and everything I’ve encountered, I will say that the overall Japanese reaction to tri. comes off as significantly more violently negative on average than the Western one, which is unusual because often it's the other way around. (I personally feel less so because the opinions are that fundamentally different and more so because we're honestly kind of loud and in-your-face people; otherwise, humans are mostly the same everywhere, and more often than not people feel roughly the same about everything if they’re given the same information to work with.)

This is not something I can say lightly, and thus would not say if I didn’t really get this impression, but...we're talking "casually looking up movie reviews for Kizuna have an overwhelming amount of people casually citing any acknowledgment of tri. elements as a negative element", or the fact that even communal wikis for "general" fandoms like Pixiv and Aniwota don't tend to hold back in being vicious about it (as of this writing, Pixiv's wiki refuses to consider it in the same timeline as Adventure, accusing it of being "a series that claims to be a sequel set three years after 02 but is in fact something different"). Again, there are people who openly enjoy it and actively advocate for it (and Pixiv even warns people to not lord over others about it condescendingly because of the fact that such people do exist), and this is also more of a reflection of “the hardcore fanbase on the Internet” and not necessarily the mainstream (after all, there are quite a few other Digimon works where the critical reception varies very heavily between the two). Nevertheless, the take-home is that the reputation is overall negative among the Internet fanbase to the point that this is the kind of sentiment you run into without trying all that hard.

I think, generally speaking, if we're just talking about why a lot of people resent the series, the reasons aren't that different from those on the Western side. However, that issue of "dark history" (黒歴史): there's a certain degree of demand from the more violently negative side of the fanbase that's, in a sense, asking official to treat it as a disgrace and never acknowledge it ever again, hence why Kizuna doing so much as borrowing things from it rather than rejecting it outright is still sometimes treated like it’s committing a sin. So it's somewhat close in spirit to a retcon movement, which is unusual because no other Digimon series gets this (not even 02; that was definitely a thing on the Western end, but while I'm sure there are people who hate it that much on their end too, I've never really seen it gain enough momentum for anyone to take it seriously). If anyone ever tells you that Japanese fanbases are nice to everything, either they don't know Japanese, are being willfully ignorant, or are lying to you, because there is such thing as drama in those areas, and in my experience, I've seen things get really nasty when things are sufficiently pushed over the edge, and if a fanbase wants to have drama, it will have drama. This happens to be one of those times.

(If you think this is extreme, please know that I also think so too, so I hope you really understand that me describing this sentiment does not mean I am personally endorsing it. Also, let me reiterate that the loudest section of the fanbase is not necessarily the predominant one; after all, as someone who’s been watching reactions to 02 over the years, I myself can attest that its hatedom has historically made it sound more despised than it actually is in practice.)

My impression is that the primary core sentiment behind why the series so much as existing and being validated is considered such an offense (rather than, say, just saying "wow, that writing was bad" and moving on) is heavily tied to the release circumstances the series came out in during 2015-2018, and the idea that "this series disrespected Adventure, and also disrespected the fanbase.” (I mean, really, regardless of what part of the world you’re from, sequels and adaptations tend to be held to a higher bar of expectation than standalone works, because they’re expected to do them justice.) A list of complaints I’ve come across a lot while reading through the above:

The Japanese fanbase is pretty good at recordkeeping when it comes to Adventure universe lore, partially because they got a lot of extra materials that weren’t localized, but also partially because adherence to it seems to generally be more Serious Business to them than it is elsewhere. For instance, “according to Adventure episode 45, ‘the one who wishes for stability’ (Homeostasis) only started choosing children in 1995, and therefore there can be no Chosen Children before 1995” is taken with such gravity that this, not anything to do with evolutions or timeline issues, is the main reason Hurricane Touchdown’s canonicity was disputed in that arena (because Wallace implies that he met his partners before 1995). It’s a huge reason the question of Kizuna also potentially not complying to lore came to the forefront, because tri. so flagrantly contradicts it so much that this issue became very high on the evaluation checklist. In practice, Kizuna actually goes against Adventure/02 very little, so the reason tri. in particular comes under fire for this is that it does it so blatantly there were theories as early as Part 1 that this series must take place in a parallel universe or something, and as soon as it became clear it didn’t, the resulting sentiment was “wow, you seriously thought nobody would notice?” (thus “disrespecting the audience”).

A lot of the characterization incongruity is extremely obvious when you’re following only the Japanese version, partially because it didn’t have certain localization-induced characterization changes (you are significantly less likely to notice a disparity with Mimi if you’re working off the American English dub where they actually did make her likely to step on others’ toes and be condescending, whereas in Japanese the disparity is jarring and hard to miss) and partially due to some things lost in translation (Mimi improperly using rough language on elders is much easier to spot as incongruity if you’re familiar with the language). Because it’s so difficult to miss, and honestly feels like a lot of strange writing decisions you’d make only if you really had no concept of what on earth happened in the original series, it only contributes to the idea that they were handling Adventure carelessly and disrespectfully without paying attention to what the series was even about (that, or worse, they didn’t care).

02 is generally well-liked there! It’s controversial no matter where you go, but as I said earlier, there was no way a retcon movement would have ever been taken seriously, and the predominant sentiment is that, even if you’re not a huge fan of it, its place in canon (even the epilogue) should be respected. So not only flagrantly going against 02-introduced lore but also doing that to a certain quartet is seen as malicious, and you don’t have as much of the converse discourse celebrating murdering the 02 quartet (yeah, that’s a thing that happened here) or accusing people with complaints of “just being salty because they like 02″ as nearly as much of a factor; I did see it happen, or at least dismissals akin to “well it’s Adventure targeted anyway,” but they were much less frequent. The issue with the 02 quartet is usually the first major one brought up, and there’s a lot of complaints even among those who don’t care for 02 as much that the way they went about it was inhumane and hypocritical, especially when killing Imperialdramon is fine but killing Meicoomon is a sin. Also, again, “you seriously think nobody will see a problem with how this doesn’t make sense?”

I think even those who are fans of the series generally agree with this, but part of the reason the actual real-life time this series went on is an important factor is that the PR campaign for this series was godawful. Nine months of clicking on an egg on a website pretending like audience participation meant something when in actuality it was blatantly obvious it was just a smokescreen to reveal info whenever they were ready? This resulted in a chain effect where even more innocuous/defensible things were viewed in a suspicious or negative light (for instance, "the scam of selling the fake Kaiser's goggles knowing Ken fans would buy it only to reveal that it's not him anyway"), and a bunch of progressively out-of-touch-with-the-fanbase statements and poor choices led to more sentiment “yeah, you’re just insulting the fanbase at this point,” and a general erosion of trust in official overall.

On top of that, the choice of release format to have it spread out as six movies over three years seems to have exacerbated the backlash to get much worse than it would have been otherwise, especially since one of the major grievances with the series is that how it basically strung people along, building up more and more unanswered questions before it became apparent it was never going to answer them anyway. So when you’re getting that frustrated feeling over three whole years, it feels like three years of prolonged torture, and it becomes much harder to forgive for the fallout than if you’d just marathoned the entire thing at once.

For those who are really into the Digimon (i.e. species) lore and null canon, while I’m not particularly well-versed in that side of the fanbase, it seems tri. fell afoul of them too for having inaccurately portrayed (at one point, mislabeled) special attacks and poorly done battle choreography, along with the treatment of Digimon in general (infantilized Digimon characterization, general lack of Digimon characters in general, very flippant treatment of the Digital World in Parts 3-5). If you say you’re going to “reboot” the Digital World and not address the entire can of worms that comes with basically damaging an entire civilization of Digimon, as you can imagine, a lot of people who actually really care about that are going to be pissed, and the emerging sentiment is “you’re billing this as a Digimon work, but you don’t even care about the monsters that make up this franchise.”

The director does not have a very positive reputation among those who know his work (beyond just Digimon), and in general there was a lot of suspicion around the fact they decided to get a guy whose career has primarily been built on harem and fanservice anime to direct a sequel to a children’s series. Add to that a ton of increasingly unnerving statements about how he intended to make the series “mature” in comparison to its predecessor (basically, an implication that Adventure and 02 were happy happy joy series where nothing bad ever happened) and descriptions of Adventure that implied a very, very poor grasp of anything that happened in it: inaccurate descriptions of their characters, poor awareness of 02′s place in the narrative, outright saying in Febri that he saw the Digimon as like perpetual kindergartners even after evolving, and generally such a flippant attitude that it drove home the idea that the director of an Adventure sequel had no respect for Adventure, made this series just to maliciously dunk on it for supposedly being immature, and has such a poor grasp of what it even was that it’s possible he may not have seen it in the first place (or if he did, clearly skimmed it to the extent he understood it poorly to pretty disturbing levels). As of this writing, Aniwota Wiki directly cites him as a major reason for the backlash.

In general, consensus seems to be that the most positively received aspect of the series (story-wise) was Part 3 (mostly its ending, but some are more amenable to the Takeru and Patamon drama), and the worst vitriol goes towards Parts 2 (for the blatantly contradictory portrayal of Mimi and Jou and the hypocritical killing of Imperialdramon) and 4 (basically the “point of no return” where even more optimistic people started getting really turned off). This is also what I suspect is behind the numbers on the infamous DigiPoll (although the percentage difference is admittedly low enough to fall within margin of error). However, there was suspicion about the series even from Part 1, with one prominent fanartist openly stating that it felt more like meeting a ton of new people than it did reuniting with anyone they knew.

So with all of that on the table: how did this affect official? The thing is that when I say “violently negative”, I mean that also entailed spamming official with said violently negative social media comments. While this is speculation, I am fairly certain that official must have realized how bad this was getting as early as between Parts 4 and 5, because that’s where a lot of really suspicious things started happening behind the scenes; while I imagine the anime series itself was now too far in to really do anything about it, one of the most visible producers suddenly vanished from the producer lineup and was replaced by Kinoshita Yousuke, who ended up being the only member of tri. staff shared with Kizuna (and, in general, the fact that not a single member of staff otherwise was retained kind of says a lot). Once the series ended in 2018 and the franchise slowly moved into Kizuna-related things, you might notice that tri.-branded merch production almost entirely screeched to a halt and official has been very touchy about acknowledging it too deeply; it’s not that they don’t, but it’s kind of an awfully low amount for what you’d think would be warranted for a series that’s supposed to be a full entry in the big-name Adventure brand.

The reason is, simply, that if they do acknowledge it too much, people will get pissed at them. That’s presumably why the tri. stage play (made during that interim period between Parts 4 and 5 and even branded with the title itself) and Kizuna are really hesitant to be too aggressive about tri. references; it’s not necessarily that official wants to blot it out of history like the most extreme opinions would like them to, but even being too enthusiastic about affirming it will also get them backlash, especially if the things they affirm are contradictory to Adventure or 02. And considering even the small references they did put in still got them criticism for “affirming” tri. too much, you can easily see that the backlash would have been much harder if they’d attempted more than that; staying as close as possible to Adventure and 02 and trying to deal with tri. elements only when they’re comparatively inoffensive was pretty much the “safe” thing to do in this scenario (especially since fully denying tri. would most certainly upset the people who did like the series, and if you have to ask me, I personally think this would have been a pretty crude thing to have done right after the series had just finished). Even interviews taken after the fact often involve quickly disclaiming involvement with the series, or, if they have to bring up something about it, discussing the less controversial aspects like the art (while the character designs were still controversial, it’s at least at the point where some fanartists will still be willing to make use of them even if they dislike the series, albeit often with prominent disclaimers) or the more well-received parts of Part 3; Kizuna was very conspicuously marketed as a standalone movie, even if it shared the point of “the Adventure kids, but older” that tri. had.

(Incidentally, the tri. stage play has generally been met with a good reputation and was received well even among people who were upset with the anime, so it was well-understood that they had no relation. In fact, said stage play is probably even better received than Kizuna, although that’s not too surprising given the controversial territory Kizuna goes into, making the stage play feel very play-it-safe in comparison.)

So, if we’re going to talk about Kizuna in particular: tri. was, to some degree, a moderate financial success, in the sense that it made quite a bit of money and did a lot to raise awareness of the Digimon brand still continuing...however, if you actually look at the sales figures for tri., they go down every movie; part of it was probably because of the progressively higher “hurdle” to get into a series midway, but consider that Gundam Unicorn (a movie series which tri.’s format was often compared to) had its sales go up per movie thanks to word of mouth and hype. So while tri. does seem to have gotten enough money to help sustain the franchise at first, the trade-off was an extremely livid fanbase that had shattered faith in the brand and in official, and so while continuing the Adventure brand might still be profitable, there was no way they were going to get away with continuing to do this lest everything eventually crash and burn.

Hence, if you look at the way Kizuna was produced and advertised, you can see a lot of it is blatantly geared at addressing a lot of the woes aimed at tri.: instead of the staff that had virtually no affiliation with Toei, the main members of staff announced were either from the original series (Seki and Yamatoya) or openly childhood fans, the 02 quartet was made into a huge advertising point as a dramatic DigiFes reveal (and character profies that tie into the 02 epilogue careers prominently part of the advertising from day one), and they even seemed to acknowledge the burnout on the original Adventure group by advertising it so heavily as “the last adventure of Taichi and his friends”, so you can see that there’s a huge sentiment of “damage control” with it. How successful that was...is debatable, since opinions have been all over the board; quite a few people were naturally so livid at what happened with tri. that Kizuna was just opening more of the wound, but there were also people who liked it much better and were willing to acknowledge it (with varying levels of enthusiasm, some simply saying “it was thankfully okay,” and some outright loving it), and there was a general sentiment even among those who disliked both that they at least understood what Kizuna was going for and that it didn’t feel as inherently disrespectful. (Of course, there are people who loved tri. and hated Kizuna, and there are people who loved both, too.)

Moreover, Kizuna actually has a slightly different target audience from tri.; there’s a pretty big difference between an OVA and a theatrical movie, and, quite simply, Kizuna was made under the assumption that a lot of people watching it may not have even seen tri. in the first place. An average of 11% of the country watched Adventure and 02, but the number of people who watched tri. is much smaller, in part due to the fact that its “theater” screenings were only very limited screenings compared to Kizuna being shown in theaters in Japan and worldwide, and in part due to the fact that watching six parts over three years is a pretty huge commitment for someone who may barely remember Digimon as anything beyond a show they watched as a kid, and may be liable to just fall off partway through because they simply just forgot. (Which also probably wasn’t helped by the infamously negative reputation, something that definitely wouldn’t encourage someone already on the fence.) And that’s yet another reason Kizuna couldn’t make too many concrete tri. references; being a theatrical movie, it needs to have as wide appeal as possible, and couldn’t risk locking out an audience that had a very high likelihood of not having seen it, much less to the end -- it may have somewhat been informed by tri.’s moderate financial success and precedent, but it ultimately was made for the original Adventure and 02 audience more than anything else.

I would say that, generally, while Kizuna is “controversial” for sure, reception towards the movie seems to be more positive than negative, it won over a large chunk of people who were burned out by tri., and it clearly seems to have been received well enough that it’s still being cashed in on a year after its release. The sheer existence of the upcoming 02-based movie is also probably a sign of Kizuna’s financial and critical success; Kinoshita confirmed at DigiFes 2020 that nothing was in production at the time, and stated shortly after the movie’s announcement that work on it had just started. So the decision to make it seems to have been made after eyeing Kizuna’s reception, and, moreover, the movie was initially advertised from the get-go with Kizuna’s director and writer (Taguchi and Yamatoya), meaning those two have curried enough goodwill from the fanbase that this can be used to promote the movie. (If not, you would think that having and advertising Seki would be the bigger priority.) While this is my own sentiment, I am personally doubtful official would have even considered 02 something remotely profitable enough on its own to cash in on if it weren’t for this entire sequence of events of 02′s snubbing in tri. revealing how much of a fanbase it had (especially with the sheer degree of “suspicious overcompensation” Kizuna had with its copious use of the 02 quartet and it tagging a remix of the first 02 ED on the Hanareteitemo single, followed by the drama CD and character songs), followed by Kizuna having success in advertising with them so heavily. Given all of the events between 2015 and now, it’s a bit ironic to see that 02 has now become basically the last resort to be able to continue anything in the original Adventure universe without getting too many people upset at them about it.

The bright side coming out of all of this is that, while it’s still a bit early to tell, now that we’re three years out from tri. finishing up and with Kizuna in the game, it seems there’s a possibility for things improving around tri.’s reception as well. Since a lot of the worst heated points of backlash against it have a very “you had to have been there” element (related to the PR, release schedule, and staff comments), those coming in “late” don’t have as much reason to be as pissed at it; I’ve seen at least one case of a fanartist getting back into the franchise because of Kizuna hype, watching tri. to catch up, casually criticizing it on Twitter, and moving on with their life, presumably because marathoning the whole thing being generally aware of what’ll happen in it and knowing Kizuna is coming after anyway gives you a lot less reason to be angry to the point of holding an outright grudge. Basically, even if you don’t like it, it’s much easier to actually go “yeah, didn’t like that,” not worry too much about it, and move on. Likewise, I personally get the impression that official has been starting to get a little more confident about digging up elements related to it. Unfortunately, a fairly recent tweet promoting the series getting put on streaming services still got quite a few angry comments implying that they should be deleting the scourge from the Internet instead, so there’s still a long way to go, but hopefully the following years will see things improve further...

In regards to the reboot, I -- and I think a lot of people will agree with me -- have a bit of a hard time reading what exact audience it’s trying to appeal to; we have a few hints from official that they want parents to watch it with their children, and that it may have been a necessary ploy in order to secure their original timeslot. So basically, the Adventure branding gets parents who grew up with the original series to be interested in it and to show it to their kids, and convinces Fuji TV that it might be profitable. But as most people have figured by now, the series has a completely different philosophy and writing style -- I mean, the interview itself functionally admits it’s here to be more action-oriented and to have its own identity -- and the target audience is more the kids than anything else. As for the Internet fanbase of veterans, most people have been critical of its character writing and pacing, but other than a few stragglers who are still really pissed, it hasn’t attracted all that much vitriol, probably because in the end it’s an alternate universe, it doesn’t have any obligation to adhere to anything from the original even if it uses the branding, and it’s clearly still doing its job of being a kids’ show for kids who never saw the original series nor 02, so an attempt to call it “disrespectful” to the original doesn’t have much to stand on. A good number of people who are bored of it decided it wasn’t interesting to them and dropped it without incident, while other people are generally just enjoying it for being fun, and the huge amount of Digimon franchise fanservice with underrepresented Digimon and high fidelity to null canon lore is really pleasing the side of the fanbase that’s into that (I mean, Digimon World Golemon is really deep in), so at the very least, there’s not a lot to be super-upset about.

[x0401x]

Jeweler Richard Fanbook Short Story #26

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Opera-phile

I had a hobby that I couldn’t tell anyone about. People like me were no rare breed.

Amongst the hobbies I had heard about from my friends until now, the one that made me think “this might be a bit hard to tell someone” the most was that keeping ice cream lids when they finished eating it. They said they would write down the date on each lid and store them in one of those clear files sold at 100-yen shops. They could only eat ice cream on special days when they were little, and they still couldn’t get over the habit of that time. The face of the person who had told me about this seemed simply satisfied in some way. Regardless, this may not have been something so difficult to say because it was revealed at a drinking party.

Now. Bringing the topic back to me.

If you were living alone in a foreign land called Sri Lanka, you could do whatever you wanted. I could get up at any time, eat whatever I felt like, study the things I enjoyed and go wherever I wanted with my Three-Wheeler. I didn’t have much, but the prices were cheap. My culinary repertoire was also noticeably increasing. Even if I danced alone in my room, no one would be watching. No, my dear dog ​​Jirou would stare at me with a bit of a strange look, but there were times when he’d eventually jump up and down and start dancing with me. Even if I listened to music at a loud volume, the same went for my neighbors.

Therefore, I was now thinking that maybe my stopper had come off a little.

I had bought the CD in Colombo, the real capital of Sri Lanka. As one would expect of the biggest shop in the country, they sold a lot of things that were unlikely to be available in Kandy.

The jacket featured a black-haired woman with a spellbound face, both of her arms outstretched. It was an opera CD with twelve songs.

I went back and forth in my room, shouting, “ah~, ah~”. What an opera was? No, I did know. It was traditional singing style – something like a musical, in which singers such as tenor, paritone, soprano and alto would perform along with a play. But something about them that diverged a bit from musicals was that the words used were old, the melodies weren’t excitable, and they were mainly either Italian or French, I believed.

I had no choice but admit it at this point. I liked opera.

Nakata Seigi had the words “I’m in love with opera” floating about in his head. I was driven by an urge to scream “gyaaah” and make said words disappear, but on the CD jacket, Maria Callas was making a spellbound face as usual, and that made me happy. I had purchased this CD after much hesitation over buying this or buying that. There was no way I wouldn’t be happy about it. Still...

Somewhere in my head, I recognized this as something embarrassing.

My dear boss was always telling me to think rationally at such times. He told me that whenever I thought my mind was moving in absurd ways, it always happened that there was some sort of timid development in me, which I either hadn’t noticed or, even if I did notice it, I’d ignore it – but once I understood it, it would stop being absurd.

Why would opera be embarrassing in the first place?

How I had come to like opera? The trigger was the radio. When I was staying at a hotel for a while back in Tokyo, I tended to feel down because I had nothing to do other than study, so I’d sometimes listen to the radio broadcast at the hotel while devoting myself to physics and English.

The singing voice I heard at that time was – how should I put it? – tremendously wonderful.

I couldn’t think that it was the voice of someone from the same world as myself. Someone was singing in a place just a few ways away, and as I listened to it, my body felt like my body was airily floating up – it was that kind of voice. I didn’t have any preferences for either male or female, and if anything, I liked both. The title of the song being streamed was written in the hotel’s guidebook, so I went to a video streaming site and searched for the same song by other singers and the songs that came before and after said piece. Faust. Madama Butterfly. Otello. Rigoletto. The Magic Flute. Don Giovanni. Whenever an opera song was used on a TV show, i became able to at least tell which prelude it was from.

And this passion hadn’t cooled down even now that some time had passed since then.

I walked around the room again, shouting, “Uuuh, uuuh”. Jirou energetically followed me from behind. It was almost as if he meant to say, “It’s fun to go a stroll even inside a room, huh, owner?”. Sorry but it’s not like I’m taking you on a walk, I thought, yet Jirou couldn’t care less, letting out a sweet voice as I held him up and rocked him, and then running off to the yard as if he had gotten excited. Just as I felt relieved, thinking about what a cute fella he was, I found myself imagining something. I could see myself at the drinking party, talking about how I liked opera. The reaction I pictured was an explosion of laughter.

“‘Opera’, you say. What’s up with that? It’s that thing where fat people raise their voices like crazy, right? You like that? Why? No way, Nakata, didn’t you just want to have a rich people hobby just ‘cause you’ve well-off these days? Like, those that feel like you’re superior. That’s exactly what opera is. Okay, I get it, but that ain’t very interesting, so how about we change the topic?”

It gave me chills.

I wasn’t creeped out by how people might talk about my hobbies. However, it was painful to have the whole genre of opera, which had saved me back when I was put in a spot like a light reaching out from the sky, be judged by people who didn’t even know the difference between Callas and Pavarotti and not be able to defend them. I had to protect what was important to me. Or else, it would get damaged. I wasn’t referring to the long-standing form of art that had been cultivated for hundreds of years. I meant my own heart. That was painful to me.

Yeah, I was somewhat aware that this wasn’t an “embarrassment”. But I was scared.

I was low-key terrified of having people pointing their fingers at me from behind with words such as “eccentric”, “weirdo” or “pretentious” for having a preference that was different from other people’s – and something that I seriously liked, no less.

With a deep breath, I took the CD’s vinyl cover. Unlike Japanese CDs, there was none of those convenient little ears that made the cover come off when you pulled it. I slowly cut it with a pair of scissors, set it on a nostalgic stereo radio and played it while referring to the table of track numbers on the backside.

Just from the intro, I already knew who was singing and what song it was.

Maria Callas’s “Casta Diva”. It was a song from an opera called “Norma”, and the meaning of it was “chaste goddess”.

What it made me reminisce to was a seriously horrible time, when I had to prepare for my death to a certain extent. Whenever this song played in the hotel’s radio program, which repeated itself over and over, this song would connect me with paradise, telling me that I didn’t need to worry about trivial matters, so I was able to leave it all aside and relax. It was that kind of song. Without a doubt, my biggest and best saver was that beautiful jeweler, but from the sidelines, opera had definitely helped me keep my sanity.

That was amazing.

I was grateful from the bottom of my heart that this form of art, which couldn’t be classified as mainstream at all in Japan and probably overseas as well, had maintained its thread of life across the centuries. It had saved me. Would the CD sales be of any help to it? Thankfully, I had some money to spend and was probably able to buy a set of all-track CDs per month. Would that be a form of repayment of any kind? It would be great if so, I thought wholeheartedly.

“Casta Diva” wasn’t too long a piece. With a voice that sounded like it was vanishing, the song ended. For whatever reason, it made me feel like crying, no matter how many times I had listened to it. It was too beautiful. It was an impossible speculation, but if Richard turned into a song, I felt that his form would change into something very close to this one.

Once I finished listening to the track, the “aaah”s and “uuuh”s had disappeared from my head. I liked opera. Opera turned into my strength. So I wanted to cherish it.

Even if someone ridiculed me for it, the problem was with the person, not with me or with opera. And my precious, beautiful shopkeeper had stated that “no discriminating other people based on their preferences” was one of the main principles of Etranger. What was I going to do by discriminating myself?

I was going to keep buying opera CDs from now on too, I swore proudly to my heart, yet secretly decided not to write about it in my blog or talk to Richard about it. Not because it was embarrassing. But rather because I had the gut feeling that I couldn’t predict what would happen in the end if I told him.

On that day, I was busy with preparations for cooking. First Saul-san, and then Richard would come to Kandy to hear the reports about the progress of my studies. It was also like a test. But I hadn’t studied half-assedly enough to chicken out at that. Above all, thanks to the negotiations in Ratnapura, I was conscious that my eyes were well-trained, if I could say so myself.

If it didn’t go well even with this, that was fine. I was happy to find new challenges. Lots of things became easier once I started feeling that studying was fun.

And since they were coming over, they wouldn’t get angry if I prepared a bit of a feast. More than anything, being able to cook a few people’s share in this house had me overjoyed. After all, I was basically living alone, so just how many times had I found delicious-looking and cheap food but had to tearfully give up because I wasn’t sure if I could eat it all by myself?

Being surrounded by things that made you happy was extremely good for the heart.

Deciding to go for an additional blow, I set the CD in the radio. A long aria began at the end of the first opus of all songs. It was a French opera called “La Fille du Régiment”, and being fond of this one had greatly helped me when I was studying French.

The man who started to sing that he was going to marry the army was a world-renowned tenor.

In the beginning, the man sang that he was going to do meritorious deeds in the army, cheered on by his companions. Since I had been listening to the words ever since back when I could only hear them as katakana spelling, my mouth moved without any reference. Of course, my voice didn’t sound like that of a tenor, but it had the same gist as somehow trying to sing in the range of a singer from some music show. Just that was fun enough.

A fish pie was baking in the oven. There were three types of curry in the smaller pots. My Nakata-style sliced veggies pickled in soy sauce, which were a mixture of chopped coconut sambal and dried fruits, were lined up on a cutting board, and the fresh fruits that I planned to make into mixed juice were all completely ready. The only thing I had left to do was preparing watalappan for dessert. It had to chill in the fridge for a while, so it was necessary to make it in advance. However, since it was my third time making it, I had the procedure memorized. No worries.

The tenor raised his voice amidst joy. The man who sang, “Ah, I’m going, I’m going to marry the army” didn’t like the army in particular, he was just in love with the abandoned girl that all the men from the regiment he was enlisted in were raising together.

The key switched to waltz. The true value of the tenor would ensue from that point onward.

The oven beeped, indicating that the pie had finished baking. With light steps, put on my gloves, took out the whole iron plate with the pie on it and gently slid it into a white porcelain plate.

A series of splendid high Cs. This referred to when the tenor raised their voice a great deal. If the composer was wonderful in reproducing the feelings of happiness into the music so keenly, then so was the singer who sang them so faithfully, I believed. The feeling of excitement turned into the melody just the way it was.

I arranged the dishes on the table and peeled the fruits. The high Cs continued one after another. I opened a can of coconut milk and mixed the contents with nut paste. The song was approaching the end. “What a fate, what a fate,” he sang, sounding merry. The highest note was near.

The song was coming to a close while celebrating happiness with the highest note. The feelings of the singer weren’t recorded in the CD, but I could hear them as comfortably as could be.

It wasn’t nearly high enough, but I sang along at a fairly loud volume.

At the same time as the song finished with a flashy grace note, I lightly kicked the open lid of the oven. It closed up neatly. With this, everything was all set. I was going to put away the CD set before the guests arrived.

Or so I had planned.

After the peak of my excitement, I noticed that someone was standing outside the window. He hadn’t come in from the front door. Hence the chime didn’t ring.

“Bravo, bravissimo.” A beautiful man wearing a white shirt and sunglasses, said glasses charmingly pushed up above his forehead, was smiling while applauding at my stiffened self.

The test was terrible that day. I didn’t think there was any issue with the contents of my answers. However, since I was stuttering so much, Saul, my mentor who was so picky about manner of speech as well as the contents of it, pointed out that I should “act more dignified”. I knew that better than anyone. There was too much noise interference in my head with things such as, “Why did I put opera on in such high spirits? What did he think of me now? As I thought, does he think that this hobby doesn’t suit me? No, that’s definitely impossible when it comes to my teacher, so I have to take control of my self-consciousness”.

And so, this is a story that happened more than half a year after that. Something that took place in Sri Lanka in May.

“Eh?”

“Happy birthday, Seigi. Here is a little present.”

“A bank deposit transfer certificate?”

“Good job reading it. That is from the USA.”

“USA...”

“There was a seat that you would probably like, so I purchased a year’s worth of it.”

“A year”? This wasn’t potato chips or cup noodles. What kind of seat was that? Was there a truck coming to deliver it? While thinking about such things, I continued reading the A4 paper, and when I got to half of it, I roared loudly. I let out a voice that sounded like a crushed frog, I believed.

The seat that Richard had given me was indeed a seat. But at a music theatre in America, which was likely the world’s most famous. It was a one-year membership card.

This was proof that “a seat will be reserved for you”. A seat just for me, for any performance, that I could use whenever I went there.

I felt lightheaded. Just how much had this “seat” cost him? What was he trying to do by giving something like this to someone who sat in swivel chairs sold at mass retailers? I did have such rational retorts in my head, but above that, I was so, so happy that I started jumping up and down. I could go to a theatre that I only knew about from CDs. Anytime, as long as I had the plane tickets. No matter who was singing.

“Can I really have this?!”

“Do you think I’m some sort of boorish lad who’d take back the treasure after making the other person happy?”

“No way! Uoooh, I’m too excited; that’s bad!”

“You are reacting like a dog again...”

“I’m gonna run in the yard for a bit!”

As I, with a messy katakana pronunciation, sang to myself the chorus part of the aria that had just finished while rolling around in the yard, Jirou ran over and mounted on me without restraint. “Owner, we’re going to play here, right? We’re going to play here, right? Come, let’s play,” he seemed to say, energetically wagging his tail. I was so happy that I hugged him and rolled about, but then I could see Richard laughing. The yard was on a slightly lower level than the house, so the house was wholly visible, so I didn’t think I was mistaken. He really was making a happy-looking face. This might have been my first time seeing that man laugh with such a child-like expression.

At that moment, something suddenly came to mind.

When Richard told me for the first time that he “likes pudding”, did he also think for a bit that it was embarrassing or wonder about what I was going to say? This man had thorough knowledge about the so-called “society”. There was no way that he hadn’t considered the possibility.

But he had told me about it.

Did I not say anything weird to him back then? “A man, liking pudding?” or “Why would a foreigner like a Japanese dessert?” It gave me the creeps. Back then, I didn’t have as much care as now regarding how to handle such circumstances. I just had words jumping out of my mouth like knives. This still applies even now, but I wanted to think it had gotten better, even if just a little.

Had I not said anything to him? Had I not hurt him? I didn’t have any way to confirm that now. If I apologized without knowing what I had said, it wouldn’t be a sincere apology.

But right now, Richard was looking at my happy self and smiling.

So I decided to stop thinking about these things. And from now on too, I would keep making heaps upon heaps of the things he liked.

I had to protect what was important to me by myself. But if I happened to notice something that mattered to someone who was dear to me, I wanted to cherish it too. I had no other choice.

After stroking Jirou, I went back to where Richard was and bowed to him again. He reciprocated the bow with a “you are welcome” and seemed about to start laughing again.

“That’s right, I was gonna make pudding. Wait just a bit more.”

“Is there anything I can help with?”

“You already got me a seat at the MET; I can’t go along with that flattery even as a joke. I’d be happy if you played with Jirou, though.”

“Then, I will take you up on those words.”

Rubbing my chest in relief, I went back to my room, patting my whole body to remove the dirt and dog hairs, and after washing my hands with soap, I returned to the kitchen.

By the looks of it, I was going to be able to listen to an opera in person one of these days – at least within a year’s time. Once I watched it live, all the curtains would close, right? For real? Was such a thing possible? Apparently yes. Hard to believe but it was true.

That man who was like an incarnation of the worldwide definition of “beauty”, and above that, who was a genius at pleasing me, was fooling around with my hybrid brown dog in the yard, illuminated by tropical sunshine. It seemed that the preparations for our feast would still take a while.

“What a wonderful day,” I hummed tentatively in French. A gorgeous tenor voice wouldn’t come out of my throat, but the things I liked would firmly support my heart nevertheless. Almost like a backbone for it. And there was someone supporting this backbone. Honestly, what a wonderful day. For now, I’d be making pudding. And share at least a little bit of this feeling.

[boys-night]

Mickey and Ian - communication, sex, and relationship styles, post 11x07

Here’s my take on how Ian and Mickey relate to sexuality and relationship styles, thinking mainly about 11x07, but also looking more broadly at the series and including HoS. If you’re not interested in incorporating 11x07 in your version of canon, ignore this! I enjoyed 11x07 but I understand people have different ways of seeing Ian and Mickey’s relationship. I’m also doing the classic meta thing of taking seriously exaggerated/comic/contradictory elements in the show because that’s how I roll. 

Super long post under cut. 

I’ve been reading Sexuality: A Graphic Guide by Meg-John Barker and Jules Scheele which is where a lot of the following ideas and terminology come from. I’ve also been looking at Meg-John Barker’s free relationship zine on their website rewritingtherules.com. I highly recommend their work, including the podcast they have with Justin Hancock, The Meg-John and Justin podcast (although MJ has left now and it’s called Culture, Sex, Relationships, but you can check out the backlog!) 

They think about sex and relationship styles using various models including monogamy/polyamory, allosexuality/asexuality, romance/aromance etc. They look at these different facets of sexuality/relationship styles as complicated continua rather than binaries which shift over time. They also write about sexuality on an action/identity spectrum, communication strategies around relationships styles, and the windows into relationships. Here, I’m looking at all of these things thinking about Ian and Mickey’s relationship and as individuals within the relationship. 

The monogamy/polyamory continuum

I’ve seen a bit of debate about how to label Mickey and Ian’s relationship on the monogamy/polyamory spectrum and I think it’s a pretty complex question especially considering those labels mean different things to different people and that relationships shift a lot over time. While labels like these can be useful, they can also be rigid and restrictive in their own ways. 

Some terms that come close-ish to what they say they’ve decided in 11x07 are monoamorous and polysexual, considering they aren’t at all interested in romantic connections outside of each other but are up for sex (in a broad sense) with other people. But these terms don’t account for the agreement that they’re only exploring sex with other people when they’re together. 

As people have pointed out, some of the boundary setting around exactly how they’re involving other people in the relationship is left off-screen, and also they’re not necessarily going to form identities around how they act in one episode. I’ve also seen people suggest reading their relationship style as monagamish and/or that what they do with other people is part of kink/play. I think these make sense in different ways and that in 11x07 Ian and Mickey definitely focus more on what they do (action) rather than who they are (identity) in regards to monogamy/polyamory. 

In 11x01, Ian’s focus is more on identity. He sets up a binary choice between being monagamous or not in their relationship. 11x07 indicates they’ve moved through off-screen discussion into a much more personalised arrangement with more focus on actions allowing for flexibility over time. In 11x07, we see them agree on rules: sex in a broad sense is allowed outside of the primary partnership, love isn’t. They keep negotiations ongoing (e.g. in the bedroom, in the furniture store), and there is an indication that these rules could change over time. 

I’d love to read/explore more about the ways in which this approach has changed over the course of the whole show. At the start of their relationship, definitely prior to s4, they have much more implicit rules about who they can have sex with, and those implicit rules become problematic in s5, when they realise they’re not completely on the same page regarding them. They bring up clashing ideas around the rules when Mickey’s leaving prison in s10 too. In s11, their relationship becomes more intentional, with these rules stated aloud rather than assumed. 

The action/identity continuum in regards to gay sexuality 

On a slight tangent, I think there’s a comparison to be made here to how they relate to sexuality (specifically gender of attraction) and the idea of gay identity, which seems to develop in the other direction. For Mickey especially, for a long time having sex with men was something he did rather than something he was, and that’s gradually somewhat shifted over the course of the show. There’s so much more that can be explored here, for instance, about how the action-based approach is much more acceptable within the hyper-masculine environment he was raised. Terry also approaches it this way when talking about prison sex, for example. According to this very oppressive social script, having sex with men in certain circumstances can be OK but claiming that as part of who you are is absolutely not. 

But I also want to stress, I don’t think either approach to gay sexuality, looking at it through actions or through identity, is inherently better or worse. These different lenses on sexuality also intersect with class and levels of education. As explored in Sexuality: A Graphic Guide, the identity approach is also relatively a very modern way of seeing sexuality (late 20th century). Gender of attraction is also only one facet of sexuality (which includes amount of sex you want, type of sex, sexual roles etc.) but its now often regarded as the only or most important facet of sexuality. The identity-based approach is much more acceptable within the more aspirational/middle class settings they interact with in s10 and s11. In these seasons, Mickey and to a lesser extent Ian aren’t completely willing to accept it wholesale. I like how, for example, even well after “coming out”, Mickey often still approaches sexuality through actions rather than identity, e.g. his response to the woman at the flower shop asking if he’s a homosexual: “He is, I just like having another man’s dick up my ass.”

However, I also think it’s cool/interesting how Ian and Mickey both move towards and embrace various parts of mainstream gay identity in s11 too, and a large part of that involves combatting the sexism, femmephobia, and hypermasculinity with which they were raised, e.g. of course, singing and dancing to Lady Gaga and Ariana Grande in the bathroom.  

You could also look at the different ideas about the origins of their gay sexuality in HoS through this lens. Mickey goes for a psychological/behavioural approach (based in like early 20th century sexological theories); Ian goes for a born-this-way, biological/genetic approach (popularised in the 1980s as part of gay pride movements). 

Mickey’s approach is very old school (definitely a way of thinking that reflects his upbringing), which assumes straight is the norm from which gay deviates, to do with Freudian theory/the idea of homosexuality as pathology. He doesn’t, for example, seek to use the same model (Fiona’s bad relationship history) to explain why Lip is straight. Ian’s approach (”not because I was born this way?”) reflects his investment in the intractability of sexuality related to his strict opposition to conversion therapy models and the idea of being gay as a choice. It also reflects the way he reacts negatively/disbelievingly to Debbie’s more flexible sexuality (in s8?). While obviously it’s fucked up/impossible to force people to change their sexuality and it’s perfectly reasonable for him to define the origins of his own sexuality however he wants, this approach risks excluding more fluid experiences of sexuality. 

Again, Mickey’s approach is more behavioural/action oriented and Ian’s is more identity oriented. They both seem pretty willing to shift their ideas around this though (especially Mickey, who potentially is just regurgitating old stuff he’s heard without thinking). The concluding thought is that Ian is gay because he likes Mickey’s d, lol. 

Individual differences on sex and relationship continua

I really like the detail that Ian doesn't want to have sex and be friends with anyone else aside from Mickey. In 11x07, he doesn't want to make friends with the guys in the locker room although he's down for repeat sexual experiences which suggests he thinks he forms romantic attachment through a combination of both sex and friendship. It seems like it's important to him in his negotiation with Mickey that they don't form romantic attachments outside of their own relationship.

This relates back to the 87% thing in HoS where Ian says he tends to get at least slightly attached to everyone he has sex with and Mickey has 87% of his heart. Mickey doesn’t like the 87% thing at all but I reckon it outlines a really interesting difference between the two characters in regards to relationship styles. It indicates that Ian is comfortable with a slightly less mononormative way of doing nurturance/care than Mickey, while Mickey seems to initiate more of the polysexuality than Ian in 11x07. (Although of course, we don’t see how Ian would react if Mickey were to tell him he’s got 87% of his heart! -- but this is a very difficult to imagine scenario).

Sex is a big part of their relationship for both of them. Both Ian and Mickey seem pretty allosexual (e.g. they feel sexual attraction for other people generally), but Mickey is possibly even more so than Ian. Mickey also maybe falls on the aromantic/grayromantic spectrum (once again, the labels can be really useful but I don’t want to be too prescriptive/rigid). Ian seems to be more alloromantic, with a capacity to experience romantic attraction to a whole bunch of people. For him, sex and romance seem to be more interconnected in all cases although he can definitely separate the two (especially when thinking about transactional sex etc).

But I think it's more complex than that. For instance, Mickey reserves certain sexual acts for just between him and Ian and its clear that they have both intimacy and exploration in their sex life. From the outset, Ian and Mickey’s relationship involves exploration and excitement with sex, and provides a freedom to explore their sexualities in regards to sexual roles and kink. It’s clear that Mickey values the safe space Ian specifically gives him in this regard from very early on in their relationship. There’s a parallel here with the bathroom Gaga/Grande scene where Ian’s instinct isn’t to tease or make fun of Mickey but support him embracing more stereotypical gay behaviours and/or more fluid gender roles to the ones he’s grown up with outside of sex too.

Also it might be useful to complicate the idea of romance itself which is a really difficult idea to pin down and which seems to mean different things for both of them. I love the stress on friendship in 11x07. Friendship and also family connection play such key parts in their relationship with one another and the way in which they are attached, arguably even more so than traditional models romance. Both HoS and the Hopper painting discussion are interesting to think about in regards to the ways Ian and Mickey think about the concept of romance differently and the ways it intersects with or differs from their ideas around friendship/family. I like how Mickey’s willing to see getting a coffee together as romantic in a positive way for instance after Ian explains that it’s about togetherness in hard times. While maybe Mickey sees Ian’s suggestion of having a bath together as awkward/weird because he views it more as trying to live up to a social script of what is “romantic”.

Communication strategies around relationship styles

In s11, Ian and Mickey’s relationship is very entwined, and, in comparison to Tami and Lip, for instance, they disclose a lot to each other. Ian asks that they tell each other everything, and although Mickey is more resistant to that initially, he becomes much more forthcoming with his feelings in s11 (around Terry, around moving to the West Side, around becoming a parent). 

While I appreciate Ian’s role in initiating more communication between the two of them, I felt sorry for Mickey in their initial discussion in 11x01 in re “monogamous or not”. The turning over the paper method is a pretty binary way to open up a discussion about a very charged and complicated thing. 

They do seem to complement each other in this regard though with Ian generally more keen to initiate conversation but also getting more trapped into binaries, narratives of normativity and should-stories. While Mickey totally still projects an image that is informed by local expectations around masculinity and white supremacy, he’s also a rule-breaker in many ways and doesn’t have the same desire to conform to what society perceives to be “normal” (thanks HoS), especially behind closed doors and within his relationship with Ian (“liking what I like don’t make me a bitch”).  @fiona-fififi had a really good point in the tags a while back about how Mickey’s investment in their wedding and its success might have spurred Ian on further to embrace more normative ways of doing relationships. This is super interesting, and also makes me think just about how being married itself prompts Ian to think about taking a more active role in pushing the relationship further up the relationship escalator and in pushing for more communication around these steps in general. 

There’s also something to be said about pressurising each other in 11x07, especially when they jokingly(?) threaten each other with sex with other men if both of them aren’t around. I doubt they were making these suggestions seriously but it definitely doesn’t strike me as the most consensual method of communication. But there’s parallels here with generally using sex as a bargaining chip earlier on in the season. Ian seems to do that after having exhausted his attempts at trying to have conversations around money/monogamy etc, as a tried and tested way of getting Mickey to engage with him. And it definitely reflects using sex with each other and sex/relationships with other people (e.g. s3 Angie/Ned, s10 Byron/Cole) as modes of communication in earlier seasons. It kind of makes sense that they still have these habits in s11 even if they are no longer the primary mode of communication. 

Ian and Mickey relied so much on implicit communication in the early seasons and they have highly developed nonverbal ways of communicating. I don’t want to say that either verbal or nonverbal ways of communicating are inherently better than the other. They seem to understand each other on a deep level, which is really cool, but people have pointed out can make them think they don’t need to verbally communicate when they do, because they assume that they’ll understand one another and be on the same page. It’s super interesting to see them maintain that deep connection and continue to use nonverbal cues while also adopting more explicit and intentional communication styles in s10 and s11. 

The windows of their relationship

The fandom is always bringing up how Ian and Mickey leave the doors open when they bang, lol, and also making fun of how much Ian overshares. I think this is v fair but it also strikes me as pretty healthy that he wants people to see into his and Mickey’s relationship, especially in his discussions with Lip. But Ian’s got plenty of people around him who can see and help when things get tough. 

In s11, it’s great to see Mickey get closer to the Gallagher family and see various members defending him or taking his side in arguments, but he definitely does have less of an on-screen support system than Ian. (I wish that they had developed his and Sandy’s relationship in s11). I think the aftermath of the City Hall incident in s10 really reveals this particular imbalance in their relationship. On one level, Mickey moves in with Byron as a reaction to being hurt and even maybe a strategy of revenge/manipulation, on another, he doesn’t really have anywhere to go aside from the Gallagher house when/if he needs to get away from Ian. Also, the way he retreats back to the Gallagher house when he can’t deal with the Westside is an interesting development of this in s11. 

Ian’s need to share stuff about their relationship is kind of exciting considering his history of being unforthcoming about his relationships (and his history of being in a lot of secret relationships), as well as how difficult he found it to talk about Mickey while Mickey was away. But there is a different problem with ongoing talk around privacy and boundaries here too (Mickey doesn’t want Ian to chat about how he’s not into rimming!). Although to be fair, Mickey also chats about a lot of explicit sex stuff with strangers. 

Although they do ultimately decide against pursuing the pretty inorganic way of making friends in 11x07, Ian’s desire to make gay friends who he can talk to about relationship stuff makes sense in terms of the way he has been pushing for a more intentional relationship with more communication and more explicit discussion and compromise this season (and last season too). It also intersects with an idea of him/both of them going further to embrace gay sexuality as an identity. 

It’s interesting that Mickey’s the one to initiate this decision through ribbing Ian about his relationship with Lip. Why’s Mickey doing that? Is it just to be a little shit or is he also trying (subconsciously?) to activate Ian in some direction? (And also, maybe there’s a parallel there to getting their apartment in the west side, where Mickey’s the one inadvertently introducing Ian to the idea by pushing for them to go play in the pool). 

-----------

There’s a lot here which is just scratching the surface of thinking about Ian and Mickey’s relationship in the context of these different sexuality and relationship continua. For e.g. it would be really interesting to think more about this stuff in terms of shifting sex roles and kink exploration. Of course it’s all up for interpretation and I am sure I am highlighting areas that I’m personally interested in and inadvertently projecting myself/my own preferences and styles into this discussion. Very down for disagreements and discussions if other people are interested and manage to read all of this, lol. 

[maxwell-grant]

OK, I know this will probably be painful, and I may be a bad mutual for asking but...would you be willing to identify what, in your opinion are the bottom five worst Shadow adaptations, and give a detailed breakdown of why they were so lousy?

Oh christ, okay. I don't think you're gonna get as much of a detailed breakdown for these compared to some of the others, because I take more issue with adaptations that do have good qualities but also big or deep problems to talk about.

For example, I can't include Garth Ennis's Shadow in this list because the comic has a lot of strong points to it, despite a deeply, deeply detestable take on The Shadow's character, where as the rest of the Dynamite run doesn't reach neither the lows or highs of his run. Likewise, Andy Helfer's run has a couple or a couple dozen moments every issue that make me want to tear something to shreds in frustration, but it's also at many points a really good comic with great art and some occasionally very inspired writing. Really, I'd just be repeating myself talking about what I hate in those.

But, fine, let's list some of the others.

I think I'm just gonna have to get the elephant in the room out of the way here, and address that I won't be including Si Spurrier's 2017 Dynamite mini in this list, and I think at least some of you might be angry it's not Number 1 by default. I'm doing this because I intend to one day really revisit it, think about it and it's reception and what it was trying to do, and talk about it on it's own, now that it's been 5 years and everyone has moved on and we can maybe talk about it without kneejerk hatred driving everyone nuts (your mileage may vary on how warranted it was).

I'm also not going to be talking about James Patterson's new novel, because I haven't read it. It seems to be considered a forgettable potboiler by mainstream critics and a resounding failure by everyone who likes the character whether they've read the book or not, and frankly I don't have it in me to learn what the fuzz was about anytime soon, I got my hands way too full as is.

And I won't be including the Batman x Shadow crossovers here, because again, they do have a lot of virtues that put them far ahead of some of the really worst Shadow media, and I've talked enough about how badly I think they mangled The Shadow, which is really the big problem I have with them (well, that and Tim Sale blatantly copying a Michael Kaluta cover, that was really shitty). I don't really hate them anymore, I just get tired and frustrated thinking about parts of them, I said my piece as is. Really, my frustration over this comic is what inspired me to start writing about The Shadow here, so I guess in a way I do owe it at least that much.

5: Archie Comics's Shadow

I think some of you might be wondering why this isn't ranked higher, but to be honest, I don't actually harbor any hatred towards this. I mean, I have to include it, but I find it kinda silly that some people even today actually care about the existence of this comic enough to hate it.

For fans back then? Oh yeah, obviously, but this dropped to such instantaneous backlash that it never really got to live past 6 issues. Really, everything wrong about it can be understood immediately from the covers, and I've actually read the comic in it's entirety to see if there was anything worth taking. I found only a couple of things of note but, no, this really is just a painfully mediocre superhero comic that happens to have a couple of Shadow names in it. If anything, it gets too much credit.

The actual contents of what it is are never going to justify it's reputation, but the existence of it and the disproportionate response to it is the funniest and most enduring legacy it could ever ask for. This whole comic is The Shadow's version of Spongebob's embarassing Christmas photo.

4: David Liss's The Shadow Now

This is another "The Shadow as an immortal in modern times" comic and I think you may have noticed the pattern with those by now. I may revisit this eventually and I do have some moments from it saved for reference, but overall: It sucks, and it doesn't even suck in a way that lets me talk much about it, it's a diet version of Chaykin's Shadow. If Archie's Shadow is a generic mediocre superhero comic wearing The Shadow's name, this is a generic crime story playing beats from movie. The Shadow is an asshole and not even a grandiose or sinister one, he just feels like a sleazy douche in a costume. The art is a 50/50 coin toss between appropriately moody and "Google images with a filter on them", I don't remember anything about the plot other than Khan had a bomb again and he had a daughter, and there were new versions of the agents and the Harry stand-in turned evil and Lamont shacked up with Margo's descendant which, uh, no. I don't really hate this but I really have nothing nice to say about this comic other than Colton Worley's art is nice sometimes. I can't really muster anything else to say here.

3: Invisible Avenger

ZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZ

ZZZZZZZZZZZZ

ZZZZZZZZZZ...

...uuh, wha-

Yeah, I remember nothing about this one other than it's painfully boring and nothing about it, nothing at all, works in the slightest and I drift off to sleep even now trying to give this a rewatch. To be honest pretty much every other Shadow serial not starred by Victor Jory sucks and I don't really have anything to say about them, this one is just the worst of the lot. I dearly wish there was a good Shadow tv series but, if it was going to be like this pilot? Good riddance.

2: Harlan Ellison's The New York Review of Bird

This isn't really a Shadow story as much as it's a Harlan Ellison story that happens to feature The Shadow, but man am I glad that Ellison's "Dragon Shadows" was canned, because holy shit what a goddamn nightmare Harlan Ellison writing The Shadow for real could have been, going purely by the one time he ever touched the character. New York Review of Bird is a purely farcical parody story that wears real, real thin even before "Uncle Kent" shows up, and we get to see in it what is by far the most detestable and irredeemable take on The Shadow ever put on print, and not even in a critique or deconstructive way or anything that could be remotely worth discussing.

I don't hold any particular affection for Harlan Ellison and his writing (despite liking some of it) and I've come to notice the major red flag that is finding someone who looks up to Harlan Ellison in any capacity as a person, and this story in particular really feels like Ellison aggressively trying to channel his jackass tendencies through every line, just him being nasty because he built a personal brand on being nasty. The only reason this isn't Number One is because it's a very short story that saw zero influence or reputation, and thus it only exists as a brief mention in The Shadow wiki, and a brief mention is all it really calls for.

1: Howard Chaykin's Blood & Judgment

I'm guessing most of you already knew this one was in the top spot before I started writing.

I would actually rather not write a big piece on Blood & Judgment, because I think (or at least I hope) it's influence on The Shadow has waned a lot over the years and I would prefer to draw it the least amount of attention possible, but if I HAVE to talk about this, I guess I'd rather just vomit this out of my circuits now instead of giving it it's own post.

I would prefer to use a less unpleasant image on my blog, but if I'm going to talk about this comic, there's no image to better convey it than this drawing of macho asshole Cranston holding a sexualized mannequin at gunpoint. By leaps and bounds, Blood & Judgment is the most misogynistic Shadow story I've ever read. It's ironic that Chaykin justified the rampant misogyny he gave The Shadow with the idea that this is just a man from the 30s would act like, when he admits in the same breath that he never even touched the stories, and he wrote a story more sexist and demeaning to it's female characters than anything, literally anything, written in the Shadow pulps. It's almost impressive even.

I'll paste some segments from Randy Raynaldo's review

In Flagg, he intended to present his own point of view on American society while keeping his work tongue in cheek and acessible. But this vision dimmed, and Flagg had become a vehicle by which Chaykin could play out fetishes and portray gratuitous and stylish violence.

In The Shadow, stripped of the political and social veneer which was supposed to make Flagg unique, Chaykin's sensibilities and excesses become disturbingly apparent. For all of his liberal posturing, Chaykin's work demonstrates zero difference from the same kind of mentality exploited and made popular by similarly violent popular culture icons like Dirty Harry and Death Wish.

More than half a dozen individuals are indiscriminately and violently murdered in the first issue. Although the victims are characters who played major roles in the myth of The Shadow, we feel little sympathy for them, even for those of us who knew these characters at the outset. Who dies is unimportant, it's how they die that is the fascination.

Chaykin uses sexual decadence as a means by which to establish villains, and undercuts this device by making the protagonists as promiscuous as the villains. For all of Chaykin's seemingly liberal leanings, he demonstrates very little sensitivity in his portrayal of women.

Because everything works on rules of three, this comic also follows the pattern with other works mentioned here, as this isn't Howard Chaykin writing The Shadow: it's The Shadow reimagined as a Howard Chaykin character. He looks and acts exactly like Reuben Flagg and the typical macho protagonist of Chaykin's other works, he's a cynical sleaze with an entirely new origin who half-assedly dons a garb to machine gun people, and I already wrote a separate piece on why the machineguns are kind of emblematic of everything wrong with this take.

I understand that Chaykin has, or used to have, a big following of sorts, and I've tried to wrap my head around this for years, but I genuinely still don't get why Shadow fans stomach this comic unless they happen to be Chaykin fans first and foremost, I really don't. Everything, fucking everything Shadow fans hate about modern depictions of the character can be traced right back to this. The parts that stuck and changed the character for the worse, like him being defined as an immortal, bloodthirsty warmonger who got all his skills and powers from a magic city in Tibet, or Lamont Cranston being a coward who fears and hates the Shadow, or his agents being expendable slaves, stuff that has been ingrained into the mythos through this and the Alec Baldwin movie and other comics, to the point that people now think of it as the norm, that it's the baseline of what The Shadow is, and I hate it, I genuinely fucking hate it,

I hate it so much that it's a big part of the reason why I created this blog and why I want so badly to get to write The Shadow, because I plainly couldn't stand not having ways to tell people that this is all wrong, that this is actively shooting down the character's odds for success, and that they are missing out on something really great, because the well has been tainted with garbage that won't go away and everytime I read the words Shambala in a Shadow comic, even an otherwise good or great one, I get just a wee bit cross.

The only semi-redeeming aspects I can think of for this comic is one or two cool moments, like when The Shadow hijacks a concert using his Devil's Whisper or when he tames dogs with a stare. Just breadcrumbs of "not garbage" amidst an ocean of anything but. I hate that talking about why I hate this comic in-length can almost feel like I'm still enticing people to check it out of curiosity, but if you wanna do that, fine, just know this: The worst part of Blood & Judgment, even if you don't care at all about what it did to The Shadow, is that it's boring.

It is a deeply boring comic. If you like Howard Chaykin to begin with, you'll probably like this okay (although even Chaykin fans told me that this is his weakest work and that even he seems to agree). If you don't, I plain don't see what you could get out of this.

The comic itself is just nothing. It's the comic book equivalent of a pre-schooler trying to get a reaction by swearing. It has nothing whatsoever other than half-assed attempts at shock value. The plot isn't there, the ideas are stale, the dialogue is needlessly oblique and comprised entirely of unfinished sentences, interrupted conversations and one-liners without build-up. The characters are all unlikable and uninteresting stooges with no personality, or joyless cartoons. There's no heart or emotion or logic, and it isn't even funny enough to succeed as just an outrageous exercise in 80s excess. There's nothing in here.

I get "why" it was popular enough at the time, a rising star creator penning a modern revival of an old character based on controversy that pissed off the old fans, it's an old story that still gets repeated today. But manufactured controversy is not a replacement for storytelling and it rarely ever exists to benefit the people who actually want to enjoy the stories, it only benefits those for the crude benefit of those who want to sell you something out of the controversy.

I guess they got their money's worth back then.

------------------------------------------------

Phew, okay, I did it, I finally vomited out a piece on Blood & Judgment and some others, allright, let's put this piece of negativity behind us now.

[elyvorg]

So… I was talking about aspec V3 headcanons? Well then, let me lay down the facts.

Maki Harukawa is on the aromantic spectrum. Yes, even though she explicitly develops a crush on Kaito, and no, I’m not trying to dispute that part.

This is basically canon. Let me tell you why.

Maki is aro

For this, we need to consider the conversation Maki has with Shuichi in the first training session in chapter 4, while Kaito has temporarily disappeared to the bathroom. On one level, this conversation exists to be the only actual meaningful indication* that Maki has romantic feelings for Kaito until she goes and confesses them. Someone like Maki wouldn’t care about asking Shuichi if he “liked” Kaede (in that annoying loaded meaning of the word “like” that specifically refers to romantic attraction) unless she was trying to come to terms with the idea that she also “likes” someone else in the same way, and the only plausible candidate for that is Kaito.

But even more striking about this conversation, far more so than the general implication that Maki would only bother asking this if she happened to be crushing on a certain spiky-haired space dork, is the way Maki approaches and thinks about this whole topic in general. Take a look:

Maki:  “Well… I assumed you didn’t, because that would be weird. […] Liking someone you just met… especially in a situation like this…”

Shuichi:  “… Then tell me… under what circumstances is liking someone *not* weird?”

Maki:  “…Huh? I… don’t know. I don’t… really understand what that is.”

I, as an aromantic person myself, fully agree with Maki that it just seems weird to start romantically liking someone you’ve only just met, especially in a life-or-death situation where surely there’s way more important things to be focusing on. But apparently, most people do not find this thought weird at all – love at first sight is supposedly a real thing that can happen, and something something dangerous situations can bring out more hormones and passion???? sounds fake but okay – and so opinions like mine and Maki’s here are very much outliers.

And not only that, not only does the thought of crushing on near-strangers bewilder Maki to the point of disbelief, but she also can’t even come up with an answer to when crushing on someone would ever not be strange and bizarre. Like the whole concept is just alien to her. She can barely even wrap her head around how “liking” someone in that way even works. The very reason she’s even asking Shuichi about this is because she doesn’t understand why she’s feeling this way about Kaito.

This is how an aromantic person would view this kind of thing. It doesn’t sound even slightly like something an alloromantic person would say in this situation. That’s not up for interpretation – that’s just the truth about these views that Maki is expressing. Again: I’m aromantic. I would know.

Even from a character who then does turn out to nonetheless have a crush on someone, these statements are pretty much as canonically confirmed arospec as you can get short of them straight up using the word "aromantic" or a variant.** And, well, obviously Maki isn't about to go calling herself that. From the way she’s questioning this, she clearly doesn’t realise that her perspective is the outlier, so she’s probably never even heard of the term. Besides, she most definitely has way bigger hurdles to be getting over first in terms of her self-acceptance before she's ever going to particularly care about figuring out labels for her orientation of all things.

Aros with trauma are still aros

Now, granted, I severely doubt that Maki being arospec is what the writers intended to convey. Haha, deliberate aro representation in mainstream Japanese media, especially something more complex than vanilla aro, that's a funny joke. What the writers probably meant by writing this conversation I just discussed is to suggest that Maki is viewing things this way a result of her trauma.

But hey, guess what? Even if it is because of her trauma - and I'm not denying that it probably is - that doesn't make Maki any less aro. Some people are arospec because of trauma, and that's equally as valid a reason to be arospec as without. Maybe Maki would have grown up alloromantic if she hadn't been scouted as an assassin, but that's irrelevant, because that's not the Maki who exists now.

In writing this conversation, the writers were presumably attempting to communicate that Maki is so messed up by having been manipulated and abused and moulded into a soulless killing machine that she can no longer comprehend the idea of how or why anybody (especially not herself) would fall in love with someone when they'd only just met, or even really in any circumstances at all. …And in doing that, the writers unintentionally wrote a character who, as a result of her trauma, is aro(-spec). This is an objective fact about the canon story that does not change just because the writers probably weren’t aware enough about aromanticism to actually realise this.

Aros who feel romantic attraction are still aros

So, of course, Maki does in fact come to romantically love Kaito despite this. That fact becomes very important to her, and me lengthily explaining here that she’s actually arospec is not remotely trying to diminish that. But it’s also very important to me that people realise that Maki’s romantic love for Kaito comes from an aromantic perspective. She eventually chooses to embrace those feelings not remotely because it just feels to her like the natural way things should go, but despite every single conscious part of her insisting that this is weird and illogical and doesn’t make any goddamn sense to even be happening at all. She is not going to suddenly fall into all the boring romantic cliches and stereotypical alloromantic approaches to love just because she does in fact happen to be experiencing romantic attraction. There’s nothing alloromantic about Maki’s crush on Kaito.***

As for the specific flavour of arospec that allowed Maki to fall in love with Kaito anyway? This part is somewhat more up for interpretation because there’s no real explicit indication of this in particular, but I personally like to go with the idea that Maki is demiromantic. It feels appropriate for Maki’s character and trauma to imagine that she can only begin to potentially feel romantic things towards a person when she has an emotional connection with them – when she trusts them and knows that they trust her. It doesn’t necessarily have to take very long – she’d only been friends with Kaito for a handful of days before that telling conversation with Shuichi – and she may not even have to have consciously admitted to herself that she trusts them, but she needs to have that bond. She’s normally so guarded and has such strong automatic barriers up during her interpersonal interactions that seeing most people in a romantic light literally isn’t even an option in her brain.

Maki’s confession of her feelings for Kaito does read as rather strongly demiromantic, I think. She makes a point that this is about who Kaito is and what he’s done for her, before even getting to the part where she admits to having fallen for him. And she says she “fell for” him, not that she was always in love with him or anything to that effect. This happened somewhere along the way during their friendship, because of their friendship, and because of Kaito being his incredible trusting supportive self towards her when she needed it most.

Maki Harukawa is demiromantic, and she’s wonderful.

  ---

[some grumpy Amatonormativity and Aro Erasure 101 footnotes, can you tell I am bitter about this kind of thing]

(* When I say “actual meaningful indication” of romantic feelings, I mean something that isn't just the narrative infuriatingly pointing at things that are actually perfectly platonic in nature and going “ooh look how romantic~!”. Newsflash: worrying about somebody and wanting to rescue them when they're sick and injured and have been kidnapped by someone you think is an evil sadistic mastermind is not somehow proof of romantic feelings. That is a thing that friends do. And on the same note, teaching somebody how to build a crossbow is not some kind of deep metaphor for romance; it is literally just a lesson in how to build a goddamn crossbow. Maki would have done both of these things in exactly the same way if her crush on Kaito didn’t exist.)

(** It's exactly like how characters can be considered canonically confirmed same-gender-attracted when all they've done is show attraction to the same gender****, without them actually needing to explicitly refer to themselves with the word “gay”, or “lesbian”, or “bi” or whatever else. Anyone who tried to insist that was necessary in order for it to “count” would instantly be written off as homophobic. So if that’s the case, then a character explicitly saying something such as “I don’t understand what it means to like someone that way” equally constitutes them being confirmed aro, and trying to argue that it doesn’t “count” without outright hearing the word itself is, guess what…?)

(*** This also inherently means that there’s nothing straight about Maki’s crush on Kaito either, since societally-expected “straight” attraction is allo as well as hetero. I gather that some people in this fandom like to devalue and erase Maki’s crush (and potentially also Maki herself) because they feel that it’s an Obligatory Forced Straight Romance and don’t like that, or something along those lines. Well, good news! It’s literally not that, actually, because Maki isn’t straight.)

(**** …This only applies so long as it actually is very clearly romantic or sexual attraction and not just people deciding platonic affection is totally romantic thanks to the disease that is amatonormativity. Because, you know. That happens. Literally all the time. (Even from V3’s narrative itself; see footnote 1.))

[btsandvmin]

Ask: Reply - 2021.03.25

Time to go through some of your asks! I am glad you seemed to like the new format and I’ll keep it up for now. (If you have any suggestions for improvement feel free to comment.) I got a lot this time and with pretty varying topics, so it took a while for me to write this even if it still seems pretty sloppy. I also got two asks I just answer briefly but didn’t want to include due to the topics. Anyways, let’s get to it. :)

Topics:

Ask 1 - Anon share about shipping Ji/hope and becoming a Vminie Ask 2 - Reasons to ship Vmin and no leaks of a relationship (+ rumors ask) Ask 3 - Stress over my analysis “making people delusional” Ask 4 - Tae/kook and Ji/kook being big ships (+t/k shippers ask) Ask 5 - Not enjoying a bond because of it’s shippers Ask 6 - Vmin videocall while getting make-up. Ask 7 - Vmin shaking hands Ask 8 - Wheesa from Mamamoo Ask 9 - Any wholesome fic recs?

(I got a few more left, but the post was getting long, so I’ll save them for next time. I promise I’ll answer them in my next ask post.)

Ask 1 - Anon share about shipping Ji/hope and becoming a Vminie

Hi and thank you for sharing your story, I always find it interesting to read how people found their way to Vmin and in particular if they shipped something else first. Don’t worry about it being long, it was a fun read. :)

I see what you mean with there being “something about Jimin” and I actually think he is so shippable with all BTS members. He truly works so well and is so sweet and cute with all of them. I also think Ji/hope (as many hyung x maknae line ships) is a very underrated ship. And they used to be very big on the fanservice on stage in the early years too so they definitely have some “questionable moments” in that sense as well. 

I think the way Jimin express his love for all his members is amazing and has probably lead to all of them expressing their love a lot more opnely. Think of how Jimin started their tradition of giving gifts for their birthdays for example. Honestly, all BTS ships are good ships but I really think Jimin’s way of being so openly affectionate just makes all his ships very soft and full of love. But yes, more love to Ji/hope please, because they have a lot of great moments. 

It’s interesting how you say you were affected by the platonic label Vmin has. I really think it’s very strong and works very well on a majority of the fandom and on most people that don’t dig a bit deeper and question what Vmin have actually done. That being said, a lot of the surface level things for all ships are great, and I do think you really have to deep dive into a ship to get the more actually questionable moments a lot of the time. And I think with Vmin this hasn’t been done so much, so people might be surprised when they actually do look closer.

I also like how the lipstick moment and the kissing the doll moments made you end up questioning Vmin. For me who has looked at Vmin for so long these were just more examples of things I had already seen, but I am sure many newer fans (just like you did) would react and look twice at these moments. I’ll tell you though, these moments are just barely scratching the surface of questionable things that Vmin have done.

I am glad you like my blog and think the things I say makes sense, though I do want to be clear and say it’s just me guessing and making theories. I am glad they make sense, but I could still be wrong. :P Thank you again for sharing your own story, and I hope you will keep on enjoying Vmin and my blog. <3

Ask 2 - Reasons to ship Vmin and no leaks of a relationship (rumors)

I mean, I think I have shared my reasons to ship Vmin in pretty much every post I have ever done on this blog. There’s a lot of them after all... But if you haven’t already I would suggest checking out my posts 10 Reasons to ship Vmin and 10 more reasons to ship Vmin. 

I stress the point that Vmin could easily be platonic but simply extremely close all the time as well, so we could definitely be reading too much into things. Of course this goes for all shippers (or rather believers, there is a difference after all). I suspect your question might not be about shipping but rather if Vmin could be real and what reasons I might have to think that is possible. You can check my post Shipping vs Believing if you want to know how I view things very differently when it comes to simply shipping and anything that goes beyond shipping).

As for what makes Vmin stand out as more likely compared to other ships I guess the main things I take into account are: The songs, Vmin being careful (including friendzoning and other members’ reactions to them), their sometimes contradicting behavior (like them being soulmates but seemingly being awkward with some things or not being together as much as we might expect etc.), the way they do some very romantic looking things and have increased those behaviors over time and then just a lot of interesting moments and their close relationship in general. Also, soulmates is not a label to underestimate.

As for leaks I think you have to ask the same question for all idols, and all relationships. I mean, how many leaks of any BTS relationship have we gotten? I don’t think the guys have lived in celibate for their whole careers. Not to mention a lot of idols date secretly, and for LGBT+ idols I am sure they would be even more careful. But at the same time people also would likely be less suspicious unless they do something very obvious. I mean, think of all the things we have seen BTS do openly. I also think we have to remember that if it’s something that the fans doesn’t want to know or believe it also is less likely to get spread. For example that an idol they love would be LGBT+... because heteronormativity and homophobia is not to be taken lightly either. I also think you underestimate how many secrets insiders in all entertainment industries are keeping. I am sure many idols are pretty open with their dating to many, but it doesn’t get spread because there is a risk with being the whistle blower as well. Perhaps in particular with exposing someone’s sexuality which could ruin their whole career... And any person trying to ruin BTS’s reputation at this point might honestly get lynched by all of Korea.

I also know some rumors (not about sexuality) even gets pushed away as spread by antis etc. So sometimes even when rumors leak they get shut down. In the end there are a lot of rumors floating around, many that contradict each other as well, but I don’t think lack of rumors has to mean it is impossible for it to be happening. Again, many in the LGBT+ community aren’t even out to their own family and manages to hide that... We don’t know enough about how two members in a relationship would be or how open they would be to begin with. I suspect in the case of Vmin they would be very careful and only a select few would know. 

There could also be leaks, but they don’t reach the mainstream fandom. Like how I learned about the problems and disbandment talk back in the summer of 2018. Some things definitely do get leaked, but it is also very difficult to know if they are real or not until confirmed.

But I do think if a couple is real and they are pretty open with it, eventually they would either be in an obvious glass closet or there would be rumors or even confirmation. Because if a couple isn’t careful to begin with then they clearly risk exposure and likely wouldn’t mind too much to be outed.

It’s definitely a complicated topic, and a whole world we as fans don’t know enough about to even come to any real conclusions. So don’t worry about not knowing, it’s not like we as outsider can easily know how things work as they are likely even different for each company, group, couple, individual etc.

I also want to adress one ask I got but won’t include, about a particular sasaeng rumor ((part of ask: there was news going around by saesung (idk if I spelled it right sorry)...)). I only have two things to say, because I don’t want to spread any of these rumors or want any of you to look for these things.

1. Rumors are rumors, we have no idea what sources they come from and many times they also contradict each other. Often they can be spread by antis of some kind with an agenda to hurt or worry. It’s better to simply pay them no attention most of the time.

2. If the rumors are ridiculous in nature, as the one you asked about, it’s even better to not spread it further. In this case it would go against the personalities of the members and against their own words. It would mean BTS lied to us straight to our faces about something there is no reason to lie about, and thus doesn’t have any reason to happen to begin with. Be open of course, but also think critically. Don’t worry in vain, just try to ignore stuff like this.

Ask 3 - Stress over my analysis “making people delusional”

Thank you a lot @phantomavenger​, your message really soothes me. This is a dilemma I’ve struggled with a lot over the years actually. If sharing stuff and theories about Vmin might not be good, no matter if I am right or wrong. Because if Vmin are together I am basically working to exposing them against their will and if I am wrong I might be a factor in people believing in something that isn’t real, which might end up hurting them. 

I usually end up thinking that maybe it’s better for things to come from me with a more nuanced take than that someone else finds it and it spreads in a more uncontrolled and delusional way right away. If that makes sense? I know this might sound very conceited, but since I know my words are being spread I at least hope to make people understand the importance of not jumping to conclusions and sounding too sure of anything we don’t really know. Again, a lot of ships have believers, and that says something. We should all be careful both for our own sake and for the privacy of the boys. Normalizing delusional behavior is what usually leads to worse and worse things being done “in the name of the ship” as well and I just don’t want that from Vminies. The trickle down effect of people misunderstanding or twisting my words is also a bit scary.  There are also so many shipper at this point that I think most things I point out will eventually likely be pointed out or noticed by someone else anyway, so...

But you are right, I can’t take responsibility for people taking my things out of context or getting convinced even though I try to tell them not to. In the end I write analysis on Vmin because I don’t think anything I find is enough to actually prove anything (this goes for all ships btw). I’ll share my analysis and with it I will also have many reasons on why shipping real people and “knowing a ship is real” is so much more difficult than many seem to think. 

Here’s a sneak peak in case anyone is interested. 

Don’t worry, I’ll try to edit it and make it more concise. Thank you again for your kind words and reassurance. :)

Ask 4 - Tae/kook and Ji/kook being big ships

Hi, and wecome to the fandom! I hope you will enjoy being an ARMY and keep liking Vmin. :3

I answered recently about big ships (Ask: Reply - 2021.03.18 Ask 3 - What makes a ship big?) and I’ve talked about popularity regarding these certain ships before as well in Why do you think Vmin get so brozoned by the fandom?

First I would like to say that “vibes” to me doesn’t really say much... All shippers clearly have their own perception of the members and their dynamics, otherwise everyone would ship the same thing. That being said I think projecting is part of many shippers’ reasons to ship and definitely think it’s part in why JK ships in general are very popular. Not just within BTS but for straight ships as well.

I don’t think there is ever one simple reason for why someone ships something, and same for why they might think a pair is actually together. Me might all have our own reasons for why we like a certain ship. For me all ships in BTS have good enough chemistry and dynamics to be shipped and I don’t think there is anything weird with those ships being popular. Especially since they’ve basically been popular since the start for their own reasons and then simply kept growing.

In short I think these things might play a big part in why some ships get bigger than others:

1. Projecting and falling for a ship similar to your own preference in a relationship 2. Amount of moments, and type of moments. 3. Type of relationship and the fandom view. Some dynamics will draw people in more even if it’s only percieved dynamics and stereotyping. Sexual tension and complicated drama is more “fun” than “friends to lovers” trope. 4. How popular they are. Big ships will grow bigger faster. More exposure and material by fans might make people find big ships easier. 5. Room for analysis. Honestly, if a ship seems “complicated” it might be more interesting to dig deeper into. So when people see analysis of ji/kook or tae/kook they get interested and might get more involved. Basically if analysis are being made it will make people more invested, and for Vmin it’s not that people can’t analyze them, but rather that not many have. So you won’t find as many fans deep diving and looking harder at Vmin compared to many other ships.

Again, ships might be popular for many different reasons, but I don’t think size of a ship really is that important. Just ship and let others ship what they like as well.

I also want to briefly adress an ask I got but that I won’t post, because I got yet another ask about Tae/kook. I’m sorry I won’t include the ask but I definitely agree with your comment to “Look at V as an individual person, not part of a ship”. This should be obvious and apply for all shippers. 

But I do want to say that I don’t think shipping a particular pair is the problem, it’s how you do it. I personally see no problem with shipping anything as long as it only is shipping, which is a fantasy. I ship Chen x Baekhyun from EXO and Chen is married... I simply enjoy their dynamic as a fantasy. Just like how I enjoy characters in a book or movie I am aware it isn’t real. I mostly see shipping as a problem when you let it affect how you behave towards people with different opinions or if you push it onto the people themselves which is never ok (even if it would be real). Of course there are many examples of shippers taking things too far, but I don’t think the ship in itself is the problem, but again what those shippers might do. So yeah, I condone any shipper who crosses the line and push things onto the members, but I don’t think shipping in itself is bad.

Ask 5 - Not enjoying a bond because of it’s shippers

Hi, and first of all I am sorry you are feeling like this. I think sadly this is quite a common problem, and I am not sure I have any good answers for you. But I’ll try. I do recognize this feeling though I have mostly felt it in other fandoms where shippers of “rival” ships got me so annoyed it was difficult to not just see the shippers’ reactions every time they had a moment. Which made it less fun and sometimes hard to enjoy their moments even though I would have usually. What I did in that case was actually stop engaging in the fandom all together for a while, to take a step back as many of my own fellow shippers’ negativity about the other shippers and their theories affected me as well (btw this was a fictional ship so it’s quite different in many ways).

It’s sad when shipping affect us this much, but it can be hard when we invest so much time and get so much enjoyment out of it. I am not sure how bad you feel, but I think when you feel conflicted (possibly cognitive dissonance) when coming across ji/kook content it might have gone a bit too far (I talk about it a bit in this post) and be too attached to the idea of your own ship. If so you might want to consider taking a step back and engage with the fandom less and just focus on enjoying the actual content we get. If you simply react due to shippers and don’t actually care if ji/kook are happy together (or even would be real) I would simply suggest trying to stay away from those people. Sadly over analyzing the members happens a lot and will likely not stop anytime soon. I know it’s not that easy, but I don’t really have any better advice. Try to find places you can be while feeling happy, or take a break if you have to. Distance and time might help at times and I know many people who take breaks from their fandoms when they get too much for them and they get less enjoyment from being part of the community.

For me I did also have a period when looking at Ji/kook made me a bit annoyed or even sad. It was during a period when I was extra sensitive and wasn’t feeling very good so even small things affected me more than they should. But it had less to do with Ji/kook and more to do with consuming very toxic narratives from Ji/kook shippers that basically included Vmin being fake or played up. The idea of Vmin being fake hurts me much more than any other ship being real. Consuming a lot of quite toxic Ji/kook theories made me think Ji/kook being real would equal Vmin being fake and thus seeing Ji/kook hurt a bit.

What worked for me was realizing that this narrative makes no actual sense and there is no point in me worrying about Vmin being fake. And if they would be I know my reaction would simply be to walk away as I wouldn’t enjoy BTS if they lie about things there is no reason to lie about. This took away the feeling of being insecure, and I can be happy with just knowing Vmin are soulmates, no matter what kind. 

I also stopped looking up analysis of other ships and simply keep in mind that even if other ships are real it doesn’t change the bond between Vmin. I know enough about other ships to see their weird moments and to know I shouldn’t be certain about my own ship. I can also see what other shippers might see in a moment on my own at this point, so I do see how seeing moments might make you just think of what theories it might lead to. For me it was about changing my own mindset about other ships vs Vmin and to simply not consume content that was toxic or made me feel bad. Basically, even if Ji/kook or any other ship would be real it wouldn’t bother me as I know what Vmin has is still incredibly special and genuine.

To me this worked, but every person has their own limits. I would suggest backing off from consuming shipping content and simply look at how much the actual content shows the love between the boys. And also if possible try to get with the idea that even if another ship is real, that isn’t neccessarily bad. I would be happy for any ship if it was real at this point as long as they make each other happy, and I don’t feel threatened by other ships because of it.

As for shippers being bad or toxic, sadly with size and confidence it seems to happen a lot. I simply don’t bother with antis or over analyzing shippers of any kind that put very negative narratives on the boys. I know there will always be some bad ones in all bigger fandoms, so I try to not let it affect me too much. In fact I feel more hurt when my own ship communities engage in toxic behavior as that is harder to ignore and walk away from.

Thank you for sharing your struggles and I hope I could help maybe even a little. I know it’s not easy and as you say the guilt is also hard to deal with. I know I might have strayed away from your actual issue, but it’s a very difficult topic for me too. But at least your worry shows you truly do care for the members and don’t want to see them in a negative light. Just try to do what you need to do to feel better, even if it might be hard to do. Also thank you so much for liking my blog. <3

Ask 6 - Vmin videocall while getting make-up.

I am going to be frank here, this is a moment where fans most likely saw incorrectly and then some still spread it as a Vmin moment. I know people debated about it when it happened and I am sure people still have different opinions on it. But for me since it seems pretty clear the screen corresponds with how Tae moves the phone and takes a picture of himself. I think it was on selfie mode, not that it was a video call. This image I found might be edited because it look very much like Jimin, but it could also be accidental that this screenshot really really looked like him. I know it really looks like Jimin and the paleness of the screen makes it difficult to know... But if you watch the video in it’s original size and quality you see it’s Tae pretty clearly.

The video is  [BANGTAN BOMB] Jin's Sunglasses Collection in Hong Kong - BTS (방탄소년단). You can watch it around 2.10. Sorry for bursting the bubble. But hey, at least we know Vmin actually do facetime each other despite how much they see each other. :)

Ask 7 - Vmin and shaking hands

Vmin really are extra with the shaking (and holding/touching) hands, aren’t they? To be fair I think they do this quite a lot with other members as well, but it’s still definitely a Vmin thing. ;)

As for Brooklyn 99 I have watched clips, but not the full show, so I know who Holt and Kevin are... But I didn’t know they did that. That’s really sweet. Though obviously it sucks they can’t just be like any other couple and would have to make hand shaking their public display of affection (though I suppose it could just be their personalities as well? Like I said I don’t know the show too well.)

Funny but I actually wrote a little drabble Vmin part of something similar at one point... Though it wasn’t about shaking hands but instead fist bumps, as Vmin was doing that a lot at that time. I just find the idea of Vmin making anything normal into something cute and intimate, like an inside joke, very endearing. Thank you for sharing. :)

Ask 8 - Wheesa from Mamamoo

Thank you for sharing this cute moment. :) I really do like Mamamoo and from the few moments I have seen with them they seem really sweet with each other. Also I love Twit, it’s such a bop! 

Wouldn’t it be amazing if Vmin followed suit and Jimin appears in Tae’s MV for KTH1? :3

Ask 9 - Any wholesome fic recs?

Hi and thank you for your kind words. :3 English isn’t my native language and I struggle with being articulate sometimes, so your comment makes me really happy. :)

As for fics I am sorry, I have two big fic recs and I feel most of my favorites are included in those. (Huge Vmin fic rec and Vmin fic rec - Canon compliant) I know they don’t have any indications of rating etc. but for now looking through these lists to check if they fit what you like is what I have. If anyone has any particularly wholesome BTS fics to rec feel free to add them in the replies. :) Thank you and sorry for not coming with any actual recs in this reply. 

And that will conclude this post as it was starting to get a little long. :) I do have some asks left, and I’ll try to answer them as soon as I can with my next post. Thank you all for your interesting questions and shared stories. I hope you found this post enjoyable, or at least worth a read, as it included some pretty heavy topics.

[thekitschdiet]

the kitsch diet part II

part one alr posted!! this chunk is about 3,000~ words long... let me know what u think :-) thank u all for all the luv already!!! looks like I really will hit 31 followers by easter!!!!!!!!

  Who is the Kitsch Girl? 

 I think this is more loosely defined, but The Chic Diet did a truly admirable way of reducing a girl to her YSL bag and her really skinny legs. Now, that implies an archetype, or a population in a specific location. I think kitschness is kind of the niche you fill when you��re not really much of anything else, sort of your own conglomerate of mainstream-specific. One major requirement, though, is being a little too into something somewhat uncool. And the whole illusion falls apart if you have any sort of outward insecurity. See, the Kitsch Girl is somewhat undefinable because she is so much of everything. She exists in multitudes, in a way that is also quite simple to understand; think of a list of axioms, or principles to live by. And now add a section to each one that says “but…” to make a collection of verified exceptions. Say, the kitsch girl will never wear jeans. But she thrifted this pair of vintage flares she just loves. She doesn’t reply to texts efficiently, but sometimes she will within a couple seconds. No mascara, no dinner forks, candles are to be collected not burned; but that was a gift, or something. It’s not personal, of course, those are just the contradictions she exists in. Don’t try to understand it, the enigma is essential to the facade. Or maybe she just lives like this, and her character is so homogenous with her inner world there’s no sense in trying to separate it. You have to have a little bit of an individuality complex about the whole ordeal, which is normally so eugh, but if you’re kitschy enough it works on you. Trust!The Kitsch girl is not someone unlikeable, but amiable and well heeled. I double checked that last one, assuming it meant liked by most, but apparently means affluent. I suppose that is an aspect of the kitsch girl too, having seemingly endless frivolous expenses with no real strain, but that’s not important right now. People that don’t like her think so out of jealousy, or something. Envious that her clothes are all kind of shake-it-up-esque and her highlights desperately need touching up, but she still seems so enthralled with the whole of life… How does she enjoy her own company so much when other people want to know her better? Doesn’t she feel weird about blowing people off to make a joke about reading Kafka in the bath? Why would she document her cluttered, unexciting life on Instagram so delicately, so vibrantly? Of course, no one would say this to her face because they are really baseless claims. She’s nice, generous, and valuable to have as a friend. Trade-offs exist, as they do with anyone. But I like thinking it’s easier to overlook a forgotten birthday when your kitschy best friend gave you a multi strand pearl necklace to celebrate the welcome breeze of June. Or some other made-up holiday. She is so unassuming if you’re not really looking. Girls want in on her inner circle. Or they just don’t care. Nothing wrong with being liked or thought of naught, for the most part. Boys are either enthralled or repulsed by her. Her doctor knows her as something of a hypochondriac, but only minorly. It’s just carpal tunnel, don’t worry… The sales staff at CVS turn a blind eye when she slips an eyeliner pencil into her tote bag. She shoplifts on occasion, just to see if she still knows how. But she is not a shoplifter. $9 here and $6.45 there doesn’t really add up to much. Everywhere she goes, she makes a tertiary friend or two. The term of friend is loosely used here, of course. But it is nice to tell a stranger you like her earrings. Or her phone case is so fun, is it Wildflower? The kitsch girl has an eye for this kind of detail. Simply put, she is sort of unspectacular. But in a way that makes you sort of wish you knew her better.

Phone cases

The phone case is, like, religious for the kitsch girl. Sorry, but there’s just no other accessory as flippant and expensive and single-purpose as a trendy little iPhone case with some semitacky stickers plastered over the design. I used to have an iPhone XS- extrasmall-  with like, 18 phone cases. It was kind of a sordid affair. I jest, but really… owning that many phone cases was kind of sick. We get it, you are frivolous and spontaneous and sooo stylish! Stop posting mirror selfies on your Instagram story, your crush isn’t going to see it. Kidding again. Having an extensive collection of phone cases is just so fun because while attainable, most people just simply do not partake in it. That makes you kitschy and unique. I really thought I had more to say about the IDEA of the phone case, but I guess in practice it is all very, very simple. You can slide your driver’s license in the back of a clear case. At what point does it stop being cool to have legal operational control of a vehicle? I don’t display mine because I don’t really like the photo. I look round. In the eyes but also just in general, swollen, unglamorous. Whatever. Not like I drive a Nissan or anything. I drive my *Mom’s* Nissan. Playing Bladee in the car seems sacrilegious. She would hate it.Back to phone cases. Sonix ones are cute but kind of overpriced retail- unless you have like, an iPhone 12 Pro Max or whatever the fuck is new this year, just go to Winner’s. They always have Xs and 11 cases. I had a cherry one for my previous phone, like the exact one Lana Del Rey had? Thank god I sold it before she got outed as a copfucker or whatever. Casetify is for an inadvertent flex. Flexing your lame, lame taste. Sorry, I know you bought it because you liked it, but what you failed to consider is just how un-Kitsch they are. SO common, and they advertise on Instagram. Sorry, I just can’t get into it! Kind of how I just never liked the Brandy Amara tanks. Or lowtop converse. Otterbox is just distressing. Like, if my boyfriend gave me an otterbox phone case I would probably break up with him because somebody clearly isn’t paying attention- one of my favorite, potentially overused joke is how Otterbox cases are the equivalent of orthopedic insoles. Sorry but if you have poor arch support or whatever, but no pain is worth giving up a good pair of Margiela slingback tabi heels. Obviously I couldn’t afford that right now because all loose income goes directly to Wildflower and my cig boy. But like, one day. I hope you want to punch me in the face a little bit after reading that.  If Wildflower isn’t your thing, at least have the decency to get a beaded phone strap. But not from String Ting. Pray tell you aren’t keeping score, but they are one of my several parasocial enemies. That should have been ME collaborating with Wildflower! Should have been ME mailing shit to Caroline Calloway (more on her later, but she is the only blue check I follow. I adore her! I was on her patreon for a bit I thinkl!!) …. Side note. Phone cases are cute but there is no way to properly protect your laptop without looking just absurd or colossally lame. The foam sleeves… ick.

Having the shittiest music taste ever

So like, here’s the thing. I’m an Apple Music user, which sort of reinstates my status as an unironic My Bloody Valentine Hyperpop Death Grips kinda gal. Read; volcel. My most recent conquest ended up being a huge L on my part, but also… I totally dodged a bullet. The guy had an iPhone 11 (female trait) and didn’t know who Rei Brown was, which just seemed suspicious given his Niche. I just know he had a “making out playlist” comprising entirely of like, Joji. Which isn’t a bad thing I guess but so unembarrassing it horseshoes back to being humiliating.Like I said. Having the worst music taste. It’s nice how subjective and deeply personal your music taste can be; no one really Needs to know you’re a die hard drainer. But there’s also no point in being a die-hard drainer and Not capitalizing off it somehow. I added it up and I have well over 150 hours of just Bladee and Yung Lean. Which is so yass? The more I write, using myself as a case study, I realize just how desperately jobless I am. And Yogenfruz isn’t even hiring! UGH!I think there is something very kitschy about liking hyperpop in the least ironic, least obnoxious way. Sort of feeds into a “I’m not like other girls” thing, but I mean… That’s kind of the idea of kitsch, isn’t it? Be a little different but also the very same as your lipgloss brethren?!Side note. If you make monthly playlists I am genuinely kind of afraid of you. That is just so organized!! I just make playlists with esoteric titles and then make a new one when I’m sick of the stuff on the last. I have exhausted most genres but I think my favorite is the “I’m wearing f****ng air forces and my teeth are SO white”. Guess what genre it is. Or don’t, but it’s probably what you think is. Okay, moving on….

Curating a scent

I like thinking I smell like mango and peach, Glossier you, whatever citrus is in that Lush shower jelly and mint 5Gum. But of course it is probably less distinct and just kind of generally fruit-floral-mint. Anyway. I think Glossier You is the perfect scent for anyone with a rather elementary understanding of the whole.. Perfume business. Every bottle of intentional fragrance I own was made via aesthetic choices… it really helps that Glossier You is so cute And so universal. Now, Glossier is kind of interesting to me because it really is at the intersection of cheugy and kitsch. Kind of basic, overplayed, unspectacular. But also…. Often popular things are popular because they are good. Glossier has excellent customer suurv, they ship SO fast (and no import duties! W!) and their stuff is just so sweet and nice if not unoriginal, in kind of the same way strawberry ice cream is. Which is still my favorite, of course, especially if there’s a vegan option. I was talking about Glossier. What the hell! It’s really worth trying out. A huge principle of kitsch is just… having as many possible layers and appendages to your composure as possible. And adding a signature scent just really completes that! When curating your own, I say this as a complete amateur, know-nothing; make it something that comes kind of naturally to Your Character. Like, I’m just not a Chanel No 5 kind of girl. Odds are you aren’t either. My bottle (before she asked for it back when I told her I didn’t use it, in exchange for a Nordstrom’s gift card) was from my grandmother. Ummm.. Yeah, I really have no expertise in curating a scent. But it is nice to have a signature. And having a bottle displayed on your dresser next to your aughties McDonald milkshake themed beanie baby and a handful of lip products is just way too fun! This is the kind of girl I am, everyone! Cluttered, but prioritizing pretty-delicate things!

Cheugyism

Cheugy is a relatively new word that has unfortunately wormed into my vocabulary to replace “uncouth”. Which I use to mean graceless or tacky, but if that isn’t what it means…. Don’t tell me. That would hurt more than weighing myself after a “feast” slash pastry binge at my dear Grandmothe’s house. Like I was saying. Cheugy. It’s sort of a fucked up concept to me because it is a critique on consumption, but not the pace or volume or magnitude of it. But rather… the idea of not being “good” enough at engaging in microtrends, or involvement in the fast paced fashion cycle. Don’t get me started on TikTok, or do, but… yeah,. No. That will require a cigarette because I’m so sorry, but writing a thinkpiece on social media is so lowbrow I would need to find about six ways to aesthetically counteract it…. Moving on.  I think the idea of cheugy is good, we really do need a word to simply and efficiently define “out of date/uninspired/lame”. But the way it is used to shame others for not liking the same trends or whatever is kind of gross. If you use cheugyism to put other people down and not as a neutral identifier umm… you will become what you fear. Sorry, that’s what happens. Some things that I think are cheugy or embarrassing, or just not part of my stylistic lexicon are… 1. Hooded or zip up clothing, or things with a large graphic on the back. Bingo if it's all three! I just can’t get behind it. Side note, my summer home outfit is brandy sweats and a tube top (Urban Outfitters tank I ripped the straps off) and a large cardigan that should have belonged to a stoner, but probably didn’t. I can dunk on bulky, uninspired clothes because I would honest to God NEVER be caught DEAD out of the house wearing any of it. I’m so serious. Next segment should be about the kitsch girl’s inadvertent affinity for diuretics. Remind me….. One of the ports of my laptop is dead. Not really sure what to do about that.

Eye makeup and what it means to me….

Personally, I am one of those people who never wears foundation and kind of has a complex about it. The kitsch girl wears fluffy eyelashes and owns a plethora of sparkly eyeliner. Or maybe she doesn’t, but she has something distinct and a little ritzy, if not haphazard. We all saw Euphoria and it like, totally imprinted on us. The way glitter sits on your face after a long day is so resplendent. When it’s shining and a little bit melted off from your long, semi-productive day… ugh! Just made for film. Pictures on film. But not the Prequel app. I keep getting fucking ads for it. But it’s so embarrassing. Like, isn’t the whole point of film the authenticity of the moment? The texture of the afternoon? Why would you fabricate that? Prequel is just so cheugy. More on that later. But anyhow. Wearing a ton of eye makeup kind of fits with the idea of film too I think. Like, look at you, in the moment. With your strip lash falling off! It’s all so tres-chic. Plus, for whatever reason, it’s kind of unique or notably dedicated to ~Pull up to the function~ with more eye makeup on than everyone else. Sorry, but it really doesn’t take that long! But yes I will gracefully accept your praise… it’s kind of like the dropshipping of complements if you think about it. Easy to source with little to no effort in the curating. Side note, lashes are like $20 for 40 weeks if you cut them in half and use each pair about 5 times. You could probably do more but I lose track. How the fuck is it almost June? I was trudging through the snow to check the mail for my Online Ceramics shirt just last week, I swear. The trick to cutting your lashes (the way I do it anyway) is pretty simple. Get out two lashes that are symmetrical. Find the middle and cut one slightly to the left and one slightly to the right. This means you have two sets (one set is a little more dramatic than the other but at least they are symmetrical) with longer outer edges. Glue this to the outer corner of your eye and you will look so Composed… obsessed with how this layers with three eyeliner tails (one traditional one pointing up and one pointing down directly below it, sort of like the tail light on a 2019 Lexus UX) and one below your eye, like a clown. Fun, irrelevant fact, is the first time I added this third tail to my eye makeup, my dad had just gotten home from the hospital because he was sure he had like appendicitis or something and it was actually.. Not that. Typical indie hypochondriac. He made me bring him cottage cheese on a plate with a teaspoon that evening. I put black pepper on it for flair, which he hated. Walking up and down stairs with a plate of cottage cheese is much more imprinting than most of the multiplication tables. Don’t forget to use a bright shimmer eyeshadow in your inner corner. It really opens up your eyes. I recommend Too Faced.  One time I got a little bit too high and tried to film an “editorial” makeup tutorial. You will never, ever, ever see that video. But I essentially covered my whole eyelid in the ABH shadow “palermo” and smudged out the edges with a tan Tartelette Toasted shade, coupled with my long-expired Milk Makeup holographic stick. Lopsided lashes and near-blinding eyeliner experience aside, it was kind of cool. My point is, you really cannot go wrong with an arsenal of shimmers, taupey mattes and a good eyeliner pen.

[blackgirlsuperherorants]

With more articulation, I'm ready to talk about why the push for Lokius simply bothers me, and this can be said for other m/m or w/w ships that fans push to be canon so hard just because they ship it.

It's the framing. The framing that if Marvel doesn't do it (or whatever the brand is), it's because homophobia, and if other fans don't like it/ship it, it's because homophobia (even if they ship other queer ships and are queer themselves.) And the biggest problem with that is that it overshadows the REAL issue of lack of queer representation on screen in mainstream nerd media, especially from big things under the Disney umbrella (Marvel and Lucasfilm/Star Wars, especially.)

It makes it bad that your ship isn't canon instead of bad that there haven't been any queer romances on screen in the MCU.

And like, as a writer myself, I find myself dissecting the stories of other media all the time. I can watch an MCU movie or series and pretty much assess what direction the story is going in by the narrative points they're hitting. I knew Sylki was basically gonna happen (even if just a kiss) because narratively, that's what the show was doing as soon as they had that "what is love" conversation on Lamentis-1. It didn't mean I liked it. But I knew it was happening.

Similarly, there's no romantic undertones to Loki and Mobius. None. For Marvel to make them a couple, it would mean they'd be doing it simply because the two present as men and it would make stans happy. And while there's something to be said for fan service, it would be annoying to watch them cram two guys together who aren't romantic in the slightest. I'd much rather see Loki meet some guy and have the same type of undertones they were giving to Sylvie and form a real bond to where the kiss feels earned and warranted. Not just put him with the nearest man because "he gay lol."

And how you guys are claiming it's being queer that makes you want this is beyond me. It's not being queer that makes you want this. I don't want queer characters that fuck everyone of whatever gender(s) they're attracted to even when it doesn't make sense for them to. I want real love stories. I mean, yeah, sometimes we can have a slut character, because that's fun, too, but that's not even what y'all think Lokius is. You seem to want them to be in love. But why? Because he's the first friend Loki made that isn't through Thor?

I hate that, too, because I hate this idea that queer people cannot have friends of their same gender without wanting to fuck them. IDK how y'all are, maybe y'all are like that, but I almost never have wanted to fuck any of my friends. The only few exceptions have been when I tried to befriend someone I had a crush on (in which case, usually the friendship can't work, really, because I have a crush on them.) I also think it's okay if you can have casual sex with friends, or if you have a friendship that develops into romance, but Jesus, do you people not have friends that you don't want to fuck? I am bi, maybe more pan (gender kind of doesn't matter to me, I guess) and I'm friends with people of all kinds of gender identities and like... I love them as people, which is why they're my friends, but I DO NOT want to fuck them. Especially my closest friend. I talked about her, before, here, but she's like my sister. The thought of fucking her is gross, to me. Not because she's gross, but because it feels incestuous.

Loki shouldn't want to fuck Mobius just because they developed a friendship. And that's very much how it's written on the series. They almost dislike each other (or Mobius is at least indifferent to Loki) and then they become friends.

That's not to mention the power dynamic that exists, there. And I know some of y'all are subs, but yeah, it's a bit gross to imply a sexual relationship with Loki's captor.

But on to Sylki. It sucks that I feel like most of y'all hate Sylki because Sylvie is a girl, and not just because it's bad in other ways. Like, the reasons Sylki is bad have less to do with "it should have been Mobius" and more to do with it being a lazy 1980s action movie plot that should have never happened. I'm not as creeped out by the selfcest (as many of you wouldn't have been if she was a he, I'm almost positive), but what's bad about it is that they couldn't have a strong female lead character without her being the love interest of the main guy. She didn't need to be, especially because she was a Loki variant, anyway. There was no need for it to have romantic undertones, and there was no need for them to kiss. It was sexist more than it was homophobic (and I can't help feeling like y'all are kind of being biphobic in this case. Maybe I'll talk about that, later, but yeah.) It was sexist bullshit. And there's valid criticism that Sylvie is underdeveloped. She's just angry and something for Loki to project affection onto.

I was also hoping they'd do a "found family" type of thing with Sylvie and Loki and let her be like the sister he never knew he needed, but no, they had to go trope and make her the love interest. It was lazy and bad and basically went "If Loki girl, main Loki want bone!"

Basically, having the main character fall for a character just because of their proximity and gender is bad and I hate it (and it would have been bad with Mobius, too, but yeah.)

Both the Mobius and the Sylvie thing also feel kind of racist, to me, because the show has prominent Black women who aren't even presented as desirable to Loki. And y'all, of course, ship him with anyone but the Women of Color. Y'all can pull true love with Mobius out of your ass, but he couldn't possibly fall for the Black women. lol.

Anyway. Not every show needs ships, and this show shouldn't have had any. I hate it. It's bad.

I guess on the biphobia front, I have heard some takes that it's not biphobic because Loki being queer in the MCU which hasn't shown any queer relationships, and Loki being the first openly queer character means they shouldn't have shown him with a woman presenting character. Which, I guess I get where you're coming from... but I have also been in fandoms for a long time and I see mostly girls saying this shit, which is what leads me to feel like it's simply jealousy. It happens all the time when a long-beloved single male character/celebrity suddenly starts dating a woman. Everyone hates it. And like, we haven't seen Loki be with ANYONE in the MCU, because mostly he's been doing villainy and his dating life hasn't been relevant. If the demigod says he's bi, he can kiss a woman. Especially a woman version of himself. Like I said, I hate it for other reasons, but pretending it's because he should have kissed Mobius is utterly delusional. He probably shouldn't have kissed anyone. Not in this series. There was no reason for any canon romance, especially because the show has a season 2 and we'll have time to see Loki develop earned, deserved romance with someone.

I'd much rather see them create a character just to be his boyfriend than have y'all push Marvel into making Lokius canon, which is a nonsense ship that only happened because Mobius is the only prominent male-presenting character before we meet the other Lokis.

My sincere wish is for people to remember that their ships are just ships and to enjoy them without getting all self-righteous about it. I TOLD y'all that Lokius wasn't gonna be canon like 4 episodes back, and here y'all are acting shocked and like Marvel took something from you. NOBODY expected y'all to ship Lokius. It's not even queerbait.

You can make clear arguments as to why Sambucky was queerbait. It's there in undertones in the actual series.

You cannot watch Loki and tell me you thought it was queerbait, unless you think men can't have conversations or hug goodbye without being romantically involved. Which means, in my opinion, that you need to learn about healthy masculinity.

Again, this is not a defense of Marvel. They DO need to let characters be queer, for real, and not just by saying " A bit of both". Like, let Loki be queer. Let Deadpool be queer. Let these queer characters be queer on screen. Yes.

But please stop making it about your ship. I'd rather see a flashback of Loki dating a guy and see him kiss someone he loved back on Asgard than watch y'all force Lokius. Because my queer rep is not about your crackship. It really isn't. And the fact that y'all keep calling us homophobic for not liking your ship REALLY needs to be addressed.

Like, when will y'all stop? I got on Stucky shippers about this shit in the past. All of us gay as hell, too, we just don't like YOUR ship. A lot of us like other queer ships. A lot of us like queer ships in other fandoms, too, and even have queer OCs. YOUR ship just ain't it. Stop forcing it. Literally, most of the ship wars between MCU fans have been queer ship vs queer ship, not really queer ship vs straight ship. Like, the number one Stucky rival ship was Stony. Not Steggy. People are not homophobic for not wanting your ship.

Sometimes it's because they ship something else.

And sometimes, like me, it's because they want something to make sense narratively and not happen for the sake of it happening. It's always better writing to have a character meetcute a new love interest than to magically turn a platonic friendship into a romantic relationship. Like, even when the characters are straight. Like, when Moesha dated Hakeem. It was just weird, even if he was kind of a great boyfriend. He was just supposed to be her friend, and people didn't really like it because it didn't fit narratively.

And that's why ships for the most part should be left to fanfiction, with the exception of a few where fans are right to call out the writers for not making it canon because it's clearly bait (like what happened to Destiel shippers. To see Lokius shippers compare themselves to THAT was so ridiculous. Destiel shippers had a decade of evidence only to be let down by a criminally unfair ending. Lokius shippers saw two men have a deep conversation once and lost their minds.)

Anyway, I'm not saying don't ship Lokius. I don't even hate it, really. I just think it obviously shouldn't be canon, and fans pretending like they were robbed of it is ridiculous. Literally, Ao3 exists for this reason. I will never see Steve fuck Sam Wilson, so I wrote it into my fanfic. I am not mad that they didn't actually date in the main MCU storyline.

[minnarr]

Don’t Talk to Me About Naboo’s Moons

Last month, I had a little too much time on my hands when I ran out of things to do at work, so I made a Powerpoint. I did not expect to have 20 slides worth of yelling about Naboo’s moons, but here we are.

[ID: PowerPoint slide. The title, in big letters, reads “Don’t Talk to Me About Naboo’s Moons.” In smaller letters, the subtitle: “(Star Wars Writers Sure Didn’t Talk to Each Other About Them, Either)”. /end ID]

And now I’m adapting it to a Tumblr post, because why not.

How many moons does Naboo have?

I'm glad you asked

Three

Inside the Worlds of STAR WARS Episode I (2000) stated that they had one moon, and from TPM footage it’s hard to claim for certain there’s any more than that. Apparently taking their cue from Secrets of Naboo, a supplement to the WOTC Star Wars RPG, later sources have run with three moons

Source: https://www.theforce.net/swtc/orbs.html#naboo

Thrawn: Alliances (2018) compares another system’s moons with Naboo’s: “They were small moons, smaller than any of Naboo’s three…” (Ch. 15)

Nexus of Power (supplement to the Star Wars Force and Destiny Roleplaying Game) says Naboo has “three small moons”

[ID: Moonlight over Theed, The Phantom Menace. One obvious moon shines in the sky over Theed palace. Another bright object in the sky may also be a moon. /end ID]

[ID: Amidala’s starship passes a moon of Naboo, The Phantom Menace. The moon in question is tan and barren-looking. /end ID]

So, we have designations for three or fewer moons, right?

Wrong

There's five candidates: Ohma-D'un, Onoam, Rori, Veruna, and a “nameless mass”

Sources and Canon in Star Wars

Before we go on, let’s look at how we get information about the Star Wars universe, and how I select from contradictory information. If you’re familiar, obviously, feel free to skip ahead to the next section. The imaginary audience for the PowerPoint might not have been.

The old EU passes into Legends

On April 25, 2014, in the leadup to The Force Awakens, Lucasfilm announced that all previous Expanded Universe material would now be published under the Legends banner. All six previous movies plus The Clone Wars series “are the immovable objects of Star Wars history, the characters and events to which all other tales must align.” Novels, comics, and other expanded universe material published after the changeover to Legends is now known as New Canon (or Disney Canon).

Every fan ultimately comes to their own arrangement with what they consider canon — which pieces of New Canon and Legends they stitch together to come to a satisfying understanding of the Star Wars universe.

Canon status of roleplaying game materials

The canon policy of Wookieepedia is fascinating and I have not even scratched the surface, but the section on roleplaying games makes for especially convoluted reading. Both the West End Games and Wizards of the Coast licenses for RPGs ended before the Legends changeover; these are firmly Legends. 

Fantasy Flight Games, however, gained the license to card, board, and roleplaying games in 2011, just three years before the switch to New Canon. Lucasfilm Story Group has made no public stance on whether their material is canon. 

For this reason and because their publishing time for the RPG sourcebooks stretches before and after the changeover, Wookieepedia has gone case-by-case and selected which books apply to Legends, Canon, or both for article-writing purposes.

Mainstream solutions to the three-moon problem

[ID: A quote from Nexus of Power: “Three small moons - Ohma-D’un, Rori, and a nameless mass that is little more than an overgrown asteroid - house small colonies as well as a handful of offworld and orbital shipyard and factories.” /end iD]

Nexus of Power is an FFG sourcebook that was determined by Wookieepedia’s standards to apply to Canon as well as Legends articles. Its entry on Naboo, however, differs from the later sourcebook Rise of the Separatists, which Wookieepedia deems canon and cites in its selection of moons. 

The Rise of the Separatists entry reads:

Three moons—Ohma-D’un, Rori, and Veruna—orbit Naboo. They host small colonies with shipyards, orbital dockyards, and factories.

So even within one publishing license and one context, different moons have been attributed to Naboo.

Wookieepedia

Wookieepedia’s Canon page for Naboo lists Ohma-D’un, Onoam, and Veruna. Each of these comes from a different source:

Ohma-D’un cites Rise of the Separatists

Onoam cites Leia, Princess of Alderaan

Veruna cites Star Wars: The Visual Encyclopedia

They’ve made a choice—but it’s definitely not the only plausible choice. Each of the four names we’re given for Naboo’s moons has at least some backing in New Canon.

Onoam

Onoam is the only moon on this list that is fully and non-dubiously canonical, as Leia spent some time there in the 2017 novel Leia, Princess of Alderaan. It is, however, the funniest name choice: someone recently pointed out to me that it’s just an anagram of “a moon”

I love this, but Claudia Gray sure muddied the Naboo Moon Name Waters by making this the only choice it is impossible to reject. No shade, though. I loved the LPOA Naboo crumbs.

Onoam has both mines (plagued in the Imperial era by corrupt leadership and miner safety issues) and luxury housing. Before his assassination, Moff Quarsh Panaka resided in a chalet on Onoam, and Queen Dalné had a home there.

Sidebar: The Mining Moons

When discussing the assassination attempt on Padmé in Attack of the Clones, Mace Windu says, “Our intelligence points to disgruntled spice miners on the moons of Naboo.”

Leia, Princess of Alderaan establishes that Onoam was one of these moons; it mentions strikes and minor political violence a generation before Leia’s. It also establishes that Onoam is mined for medicinal spice, which by law can only be mined by humans, not droids

In Queen’s Shadow, which takes place in 28 BBY, the mining moons “struggle to maintain the balance between the rule of Naboo and their allegiance to filling their quotas”; the mining jobs are much less lucrative than farming on Karlinus

Veruna

[ID: a rather barren, tan-colored moon /end ID]

Star Wars: The Visual Encyclopedia (2017) identifies the moon pictured above as Veruna. The same moon was identified as Ohma-D’un by The Complete Star Wars Encyclopedia (2008), according to Wookieepedia. I have access to neither, but it looks like the moon the ship passed in TPM. For being one of Wookiee’s choices, the evidence for this name is astonishingly thin, but the same can be said of some of the others

Sidebar: King Veruna and his moon

The likelihood is that Veruna (the moon) was named for Ars Veruna, Padmé’s predecessor as Naboo’s monarch in Legends novels Darth Plagueis (2012) and Cloak of Deception (2001)

It is very probable that Veruna is no longer canon, and it is certainly impossible that he served a decade-plus term that ended shortly before Padmé’s reign:

Padmé’s immediate predecessor, according to Queen’s Peril (2020), was Queen Sanandrassa

Sometime during Eirtaé’s childhood, Réillata served a single two-year term, according to Queen’s Shadow (2019)

Even if he’s placed somewhere before Sanandrassa, there’s not really room for him to have reigned that long unless there are two monarchs between him and Padmé 

Rori

Rori was named and fleshed out in the 2003 game Star Wars Galaxies, which is now Legends. While it is one of the names given in the Fantasy Flight Games sourcebooks, it doesn’t seem to have a source anywhere else in New Canon.

Ohma-D’un

Ohma-D’un has one New Canon source outside of RPG sourcebooks: the 2018 reference book Star Wars: Smuggler’s Guide. In Smuggler’s Guide, Tyro Viveca (one of the owners of the in-universe book) mentioned seeing bursa-baiting on Ohma-D’un. Bursas are bear-like creatures originally from Legends material, where they were known to attack and destroy Gungan settlements.

I had a picture of a captive bursa for illustrative purposes, but honestly it made me too sad so I deleted it. Nevertheless, that’s stronger detail and evidence than we have for either Rori or Veruna.

Bonus fact: Naboo officially has no such thing as prison. When Panaka mentions this to Rabé, she says, “Only because we send everyone to the moon” (Queen’s Peril). Enjoy those implications!

TL;DR

While Onoam is definitely one of the moons, what you call the other two is up to each person’s discretion until something else is stated. Personally, I prefer Ohma-D’un and Rori, rather than Veruna. This partly because I don’t like Veruna the Legends figure (petty) and partly because Rori has some interesting Legends lore that could be drawn on in a pinch, which as far as I can tell Veruna does not. 

[cruisercrusher]

@edling-week week day 4- song

BRO I was thinking about this scenario before I even realized this was one of the prompts for today, it’s like the stars just aligned. Remember that au I mentioned on day 2? Same one, I’m calling it the sellouts au, and here’s an incomplete snippet of some fic for that au. enjoy :3

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

“Hey, Ed, uh… I need your help with something.” 

Ed looks up from where he’s tuning his guitar to see Ling standing in the doorway, shuffling awkwardly in place. Ed’s eyes widen at the sight of the pop prince there, physically standing there and not, you know, on the other side of the planet. 

“Ling!” Ed stands up, setting his guitar aside. “Shit, you didn’t tell me you were gonna be back in town so soon!” 

Ling shrugs with a smile. “Just business stuff, no big deal,” he says. “But didn’t you say we should, ‘hang out sometime’?”

Ed cringes as he remembers that… more than embarrassing exchange at the airport a month ago. Jesus Christ, what had possessed him to lean across the security divider and shout to get Ling’s attention over the screaming fans, after they’d already said bye, only to say, ‘let’s hang out sometime’? God, he’s pathetic. 

Of course, when Ling smiles like that at him, he remembers exactly why he had done that. 

God, he’s pathetic.

Ling’s smile fades as he repeats his greeting. “Anyways, I… well, can you help me?” 

Ed rolls his eyes and sticks his hands on his hips. “I guess, depends on what you need help with. I hope your spoiled ass didn’t forget we’re not your personal assistants again.”

Knowing Ed is (probably) joking, Ling laughs. “Nothing like that!” He says, waving his hand back and forth. “I need you to help me write a song.” 

At that, Ed’s put-upon mask breaks. “Really? Is your label finally letting you write your own shit?” 

“No, haha,” Ling rubs the back of his neck sheepishly, and that’s when Ed realizes the taller boy has kept one hand behind his back this whole time. “No, it’s, uh, it’s a personal song.” 

Ed just looks more confused. “But you write those all the time, right? Why would you need my help?” 

“I want to write a song in English,” Ling stresses. Ed still doesn’t get it, and it shows, and that just seems to make Ling more agitated. “You stupid, stupid boy,” he mutters under his breath, rubbing his brow. Ed frowns. 

“Hey!” 

“I need your help writing a song in English because I’m no good at English and the song is for the boy that I like and he only speaks English so what good is a genuine love song in a language he doesn’t know, Ed!” Ling blurts all in one rush, the look on his face both equally serious and panicked. “And I need you to help me write a song that— that will make him— agh, what’s the word, not ‘know’ it’s— understand, that will make him understand how I feel! Because you’re an amazing lyricist and you understand me better than almost anyone else, and, well, Lan Fan is ass at writing lyrics.” His fervour dies down at the end, but he still looks at Ed with that earnest, downright pleading expression on his face. 

Shattering. Like a glass chandelier being smashed to a million little pieces. That’s the sound that Ed hears his heart make as Ling says that. Fuck, he’s so stupid, he was so stupid. Of course Ling likes someone else, duh, Elric. Ed is— well, there’s too many things to list, there, and Ling has millions and millions of people that throw themselves at his feet every damn day, did Ed really think he was different? Was he really delusional enough to think he’s, what, somehow more special, more interesting than any one of those kajillions of people? And Ling is just… so…

Well, perfect. And Ed is so stupid. 

“So what?” He snaps, suddenly vicious, and Ling blinks in surprise. “Go ask Al, he’s just as good as me at lyrics and he’s way better at sappy, romantic shit anyways, so—“ 

He turns to go back to where he left his guitar, but Ling stops him with a hand on his automail shoulder, and Ed whips back around, practically throwing Ling’s hand off. 

“I don’t want it to be sappy and romantic—“ Ling snaps back at him. “Everything I fucking sing is sappy and romantic, and I want this song to be— to be real. I thought… I thought you would get that.”

Ed flinches. God, this is exactly why… “I didn’t mean that,” he mutters. “Just— go ask Al.”

“Well—“ Ling winces. “Actually, I kind of already did, just because I thought he was less likely to make fun of me than you, but he called me a dumbass and told me to ask you.” 

Despite himself, Ed chuckles, but his smile drops as quickly as it appeared. “Look, I don’t know, man,” he sighs. “Maybe Rose—“

“Rose can’t help me.” Ling says, oddly determined. “Please, Ed… look,” he takes his hand out from behind his back finally, showing Ed a USB stick and a folded up piece of paper. “I, well, I actually already wrote it, but in Mandarin. And these are the google translate lyrics.”

Ed blinks. “So… huh?”

Ling huffs. “I need you to make the English version sound good. It has to be you. Please.”

Ed thinks he would rather eat his automail than write Ling a love song for someone else, but Ling is still his friend, no matter how else Ed feels about him, and he clearly wants Ed’s help because this is important to him and because Ed is his friend, and he trusts Ed to help him give his heart to someone else and—

And Ed would just be a huge jackass to refuse. “Alright, fine.” He sticks his hand out for the demo and the lyrics. “Lemme see.”

Ling’s face brightens, a huge grin Ed recognizes well lighting up his whole face. He shoves the USB and paper at Ed and does a little hop in place, his bangs bouncing. “You’re the best, Ed!” He laughs. “Thanks!” 

And then he… 

Runs out of the room. 

Ed stares at the spot where Ling just was. “What the fuck?” He says aloud to the empty room. “I never said I’d do it for you… dumbass.” He mutters, going back to where he left his guitar, digging through his bag for his laptop. “Ugh, whatever. Let’s see what that dumbass came up with.”

“Oh my god,” Ed laughs as he looks over the google translated lyrics-- the paper Ling gave him literally is a printed out screenshot of the google translate. “Man, Ling, this guy had better make you happy as hell for me to be doing this for you.” 

When he listened to the demo, he was surprised. He didn’t understand it, obviously, he doesn’t know Mandarin, but the sound was nothing like anything else in Ling’s official discography. Which he supposes he should have expected, really, since Ling has said before he doesn’t really like the music that Emperor Records has him sing. Ed can’t imagine, honestly, what it must be like to build a career on music that you just can’t bring yourself to be passionate about. 

Actually, Ed has a sneaking suspicion that Al was responsible for the track. He has no proof, of course, but Ed knows his brother and he knows what the music he makes sounds like. Either way, it was a little heavier than Ling’s usual family-friendly pop music, more alternative than his typical ultra-mainstream. And the lyrics…

This would be easier if Ed knew Mandarin, if he could get the actual meaning of the original lyrics and not just the literal translation of the words, then the version he’s been tasked with making would be more accurate. It would be easier, if Ling hadn’t run off and instead stuck around to tell Ed what the hell he actually meant by ‘very good son, your golden eyes make the sun feel embarrassed’-- because that can’t possibly be literal.

But, whatever. He can deal with this. Ling said he wanted this song to be real, and--

Well, if there’s one thing Ed can give, it’s the truth. 

[reluctant-fan-girl]

My thoughts on 139 as an Ereri shipper

Buckle up for a long read and some unpopular opinions haha. Feel free to add on/ correct me but this is only how I feel so take it with a pinch of salt, I'm not asking anyone to change how they feel because we're all feeling some feels right now and your grief is valid. I just really wanna talk about the chapter before I go back to my Yaoi ship. (Forgive my grammar errors and all I wrote this at 5am and I'll probably come back and fix the spelling and stuff later today)

Thoughts on ch 139:

Well... here we are guys. The last chapter, it's been one hell of a ride and even though I have only been a part of the community for three years I'm still sad it ended. (Not to mention it finished 4 days before my birthday but that's just an extra oof) I keep seeing a lot of Mikasa hate and even though I used to despise her this chapter really got me thinking and damn, she's definitely one of the strongest characters (second to Levi at least in terms of resolve but hey I'm biased lol) she killed the person she loved, who pushed her away time and time again, and until the very end wanted to save him yet she was the one who ended it all. I doubt I could do that if my girlfriend was doing something similar... but I guess most people are like that. I admit, when I read the chapter at work I began crying in the break room, not because the ending caught me off guard, it was about what I was expecting, but I'm still sad Eren died. All this stuff was foreshadowed through especially the last few chapters and I kind of hopped into the manga around when Zeke blew Levi up, and even then... I feel like I knew this would be how it turned out some time last year? It was mostly predictable since this story, from it's inception, has done nothing but break the shonen stereotype time and time again and this was just the kind of ending that would shatter the mould and make it worthy of that moniker. Now am I happy that Eremika is canon? Not really, in fact not at all I'm mad. Although tbh it's not that I really expected a same sex, age gap relationship to be canon in mainstream manga, but this is what fan fiction is made for right? Besides as much as this manga has challenged or straight up ignored it's very obvious what the intended ship was going to be from the start. Even still the confession at the end by Eren is honestly OOC from most of everything else he's said/done and feels forced but, 🤷🏻‍♀️ like... the ending would have been better if Eren's feelings stayed vague so we could come to our own conclusion. If I had my way I'd have Eren confessing to Levi and they'd run off to live in secret but again... that isn't how it ended and I'm accepting that even if I don't like it. (Plus I can read/write a fanfic of a 'better' ending to make myself feel better) but I'm glad I stuck around for such a bitter sweet end.

Eren's character:

Now I love Eren as much as anyone else, but I see lots of people crying "character assassination" and I feel this personally isnt true at least not completely. We're all grieving right now and I know he was so cute and lovable at the start (hell in a way he still is) but this has always been his character. He is the one who most desperately yearns for freedom because feels trapped by his fate more than anyone else. The line "I felt like I had to and I let myself get caught up in the flow" is proof he *knows* he isn't free despite his father's reassurance, and his own repetition of the phrase. There's a common phenomenon with mantras or the practice of repeating something over and over in your head, the more you say it, *the less you believe it* and IMHO Eren never really felt free from the start. He knew his fate was sealed and he probably could have, no... *should* have acted differently yet he himself couldn't change what fate had in store. He just kept moving forward for no other reason than he wanted to save Mikasa, Armin, and his people. He (may have?) sacrificed Carla, not to serve as motivation, but so that he could save Armin later on by eating the Colossal titan instead of burning to death. It must have been a heart wrenching choice to make but he cares for his friends more than anyone else. He gave them a fighting chance and his death gave the alliance a good name so the world (or the 20% left of it) would see they aren't the same as him. Of course I'm thinking, "What if he had Dina free Carla or just let her eat Bert I mean Grisha probably would have passed on the Attack titan to Eren even if Carla had lived," but Armin very well could've died in another way or things could've turned out so much worse for everyone else. But even if Eren hates his choice I think something to note here is he doesn't seem to regret it, taking some of Levi's advice with him to the grave (quite literally) Plus you guys have to remember he died at 19 years old, that is *young* and I may only be a few years older but 18-21 is a huge period of change and you wont make the best choices, he's dealing with all that on top of the memories of the other titan holders, and the founding titan which I think really messed with him more than anything. He even says he only wants to live 10 more years ;-; the poor thing deserved a full life too even if his perception of time is warped and he never got a chance to become an adult.

The aftermath:

Well, everyone seems happy for the most part which is great! The one thing that I didn't expect was for the ending to be bitter sweet rather than total annihilation. Historia really does seem... fuck it I don't know and this is the part that bugs me most is she never really got the ending she deserved and felt kinda... forgotten? It's hard to tell but I think she ended up loving her child in the end... maybe... she's smiling while holding her... right? Levi is out beyond the walls and he may be wheelchair bound and half blind but he's still alive! Now this is honestly my saving grace here I mean god imagine him surviving a literal bomb only to die such a lame and pointless death in the last chapter. My boy made it through everything though and he's still got them dad vibes with Gabi and Falco which is kinds sweet... but I still hate Gabi. I still really hate Gabi, but it's nice to see that they're all somewhat okay. (Plus okay... Eren Canonically being reborn as a bird is kinda hilarious yet fitting since he got his freedom... Parasitic Jaeger haha good one Isayama.) Who knows if the war will ever end, heck Isayama himself said this is only the begining and while the fight goes on they have a chance thanks to Eren sacrificing himself the way he did. He could've made so many other choices and I don't know what could've/would've been better. Maybe Isayama knows but time travel and altering the past opens a whole ass can of worms that is just... like the killing your grandpa paradox kinda thing and if I were writing this story I wouldn't wanna try and deal with that either, especially after writing one story for eleven years.

(LEVI LIVED MY BEST BOI LIVED WHOOOO YESS 😭😭😭 ALL I COULD ASK FOR AHHH) *cough* sorry I had some crying fan girl in me that demanded to be seen too

Anyways this was just my thoughts for now, I may eventually write more and hell I'll probably go back to sweet sweet denial myself, posting contradictions because dammit I love my ereri too much and some people have good points or some posts are just funny in general. Have a good day, stay safe, and we are all in this together <3 Thanks for reading all the way if you did! (And here's a good meme to lighten the mood too)

[therappundit]

Best of the 1st Half: 2020′s Best Rap Projects (*so far*)...

“I’ve had, the halftime of my life...!”

*record scratch*

2020, WHAT THE F**K. 😳

Ohhh what a first half it has been. If 2020 ended today, it would still be one of the most historic years in a century...and NOT in a pleasant way. Years from now 2020 will be studied for the long-term damage caused by the COVID-19 pandemic, the potential breaking point (hopefully??) of this country’s ignorance to systematic racism and the need for a complete overhaul of our police departments, and of course, whatever the hell comes from the November Presidential election....and, not to mention whatever additional ‘tbd’ chaos rings in the second half of ‘20 that we haven’t even heard about yet!? These are trying times, folks.

My whole life, I have tried to use humor and entertainment to help me with processing high levels of stress and anxiety. This year, that process has felt more daunting than usual. I am writing less and less, and often find Twitter to be too dark of a place for me to navigate. It’s anything but a fulfilling “escape”. Still, I am constantly inspired by all of the new music that fills my headspace during life’s precious little moments, and it really keeps me grounded in the day to day. 

At the end of 2019, I wrote the below in one of my posts. It took me back to a special feeling that I had, at a moment when the future seemed more like an opportunity, rather than a worrisome question mark. I’m going to work towards finding that place again, and I wanted to re-share this because it speaks to how the love of any art can be a healthy reminder of what we have to be thankful for in our daily lives:

“Regardless of how you feel about this list, I hope that you visit (or re-visit) any one of these pieces of strong work and find the same level of enjoyment that I did. I loved so much rap music this year and I could not be more excited about what the future holds. On a personal note, in 2019 I found myself even more in love with my wife, feeling luckier than I have in a long time, more satisfied with my hobbies and passions, and above all else, more in awe of my child (and anyone that ever raised a child) than ever before. I became a father for the first time in 2019, so as my baby daughter continues to fill my heart, I am beginning to wonder what she will think of her father’s love for this art form that has brought him so much joy over the years…I suppose time will tell.”

This list is long, because I think the talent that went into these projects is worth your time (and I put a lot of thought into creating this list as well...I do not work in the industry or know anyone that does, and I do not have any real platform - I just do this because I love the music).

If you are an artist on this list, I want to thank you, because you helped me stay positive and focused on a brighter future that I hope will soon come to us all...because everyone has been through something this year, and we deserve better.  So salute to you and many, many others. 🙏🙏🙏

- THE Rap Pundit

The “Rules” for my list of the Best Projects of Q1-Q2 2020:

- the album/mixtape/EP/project/whatever you want to call it had to be released this year, by June 26, 2020

- the project must have at least 6 songs 

- these rankings are a combination of my own personal preference, my take on overall quality of the project (whether it speaks deeply to my sensibilities or not), and how the final product compares to other work from the artists’ peers that occupy the same lane/‘sub-genre’ of rap music

So here we go 👀...

1. The Price of Tea in China by Boldy James and The Alchemist

Sometimes the greatest albums are not the most ambitious or flashy, they are remembered based off the strength of artistic chemistry and execution. Basketball fans know the beauty of a perfectly timed chest pass to a teammate streaking towards the basket can be more impressive than a behind the back pass that’s simply done for the sake of showing everyone that you can do a fancy pass. Staying with that theme, The Price of Tea in China is The Alchemist doing his best John Stockton impression, serving to Boldy James’ Karl Malone, and by album’s end you realize that Boldy scored a quiet 40 points while making this rap shit look like an easy lay-up.

TPOTIC finds Boldy sprinkling every ounce of his Detroit seasoning into Al’s pot to yield one of the most Mobb Deep-esque collaboration albums since Mobb Deep was dropping albums. In turn, this project is not only Boldy’s greatest work, but it serves as a re-introduction of a veteran MC that is suddenly more relevant than ever.  Much like what Freddie Gibbs and Madlib did with 2019′s Bandana, this project is a great lesson on what MC and Producer chemistry can sound like when both parties are 100% on the same page when it comes to message, tone, and aesthetic goals. 

It would make sense that Boldy James would fall into the Griselda fold, because much like Westside Gunn, Conway The Machine and Benny The Butcher, he comes from a city with a rich rap music scene that still struggles to reach the level of exposure that the NYCs, L.A.’s, Chicago's and Atlanta’s have basked in for so long. He writes from a place of “been there, done that”, showing a rich attention to detail that separates his street tales from that of his peers in the same way someone telling a story second or third hand can’t match the level of detail that an eye witness has saved in the memory bank. Boldy has survived both real world and music business challenges to rise from the ashes of “hey whatever happened to so & so, he was about to blow” conversations to reach a new peak in his mid-30′s. He deserved this suite of incredible Alchemist soundscapes (Al is deep in his bag here, delivering some of his most low-key impressive instrumentals in years), and like his super-producer buddy, Boldy is looking down at us from atop an already prolific 2020 at its’ midpoint.  

I’m not sure anyone can match the chemistry that Prodigy and Mobb Deep had with The Alchemist, but in 2020, The Price of Tea in China delivers some of the most brutally subdued, occasionally humorous, stripped down rap records since P was throwing TV’s at us like he had nothing left to lose. If The Price of Tea in China isn’t holding the championship at year’s end, it still deserves to be mentioned as an impressive work by one of the strongest title-worthy unions running the pick and roll in the genre today.

2. Àdá Irin by Navy Blue 

Okay let’s be honest: the “sub-genre” that is often referred to as lo-fi rap music (whether you consider it an actual lane or not, I know you know what I’m talking about...which I suppose proves its’ existence, right?), is beginning to suffer from the same affliction that all other sub-genres tend to suffer from once the word is out that this is “the thing” that the kids find trendy right now. A lot of folks in this lane sound *exactly* the same to the average listener. I’m not even the average listener, and I often feel that way. The irony that comes with being part of the sound that’s supposed to be bucking the mainstream clone machine turning into a mini-clone machine itself, means that the window is in danger of closing to avoid over-saturation of the artists that are already thriving between the gravelly, whisper-welcoming walls of Soundcloud URLs and Bandcamp EPs being slid to their heady fanbase with zero promotion. So with that all being said...why give Navy Blue a chance?

Navy Blue lacks the name recognition of many of his peers (for now), but he has now been thriving in the lo-fi pocket for some time as both a MC and producer, a young artist that’s closely connected to the lane’s most famous figureheads (Earl Sweatshirt, and to some extent, Mach-Hommy), as well as less heralded trailblazers like MIKE and the whole sLUms collective. Sure you can check out Navy’s Soundcloud page to get a taste of his work, but with this Àdá Irin album, we don’t just hear raw snippets of a freshly discovered unsigned talent. With this album we hear Navy as a self-assured solo artist, capable of sharing an inspirational song with the likes of Ka and sounding like every bit of the veteran next to the iconic soft-spoken lyricist. This is a very, very impressive debut full length album that showcases the best that the (sub)genre has to offer: some experimentation, jazzy loops, the diary-like intimacy of words that sit like dust on an old basement book shelf, and the raw emotions that come from working through love, pain and loss in real time. In 2020 there may be nothing completely new under the sun, but it’s the aesthetic choices that Navy Blue makes with every verse and every instrumental that make Àdá Irin feel like a perfect balance of beauty and sadness. If you want to dip a toe in this water but you’re not sure you can get into the mumblecore-ish world of MIKE, MAVI, Medhane or Earl’s work from the past two years, this Navy Blue album might actually be the perfect intro.

3. A Written Testimony by Jay Electronica (featuring JAY-Z)

Not a lot of positive breaking news in 2020...but when Jay Electronica surprised Twitter with a few cryptic Tweets back in February, implying that he was dropping an album (and Jay-Z would likely be involved), the rap game was set ablaze with excitement, skepticism, disbelief, and hope (albeit with some measured caution there as well). 

This is something that fans, and arguably the entire rap world, had been clamoring for for a decade, many long since moving on believing that Jay Elec’s debut album had gone the way of Detox, sharing “1a & 1b” status as the most eagerly anticipated projects none of us seriously expected to hear. 

Then it dropped....and then it went. In a Twitter-run rap world, quality is too often measured by how long a piece of art stays within the “trending” mix, as opposed to...well, whether or not it’s actually good! The truth is, A Written Testimony is not just good, it’s very, very good, and while it’s not the “Illmatic 2″ that some may have been expecting, realistically it’s superior to what I imagined a new project from such a reclusive artist would sound like in 2020. If you at least try to table the expectations laid out when “Exhibit C” came out in 2009...I think you will find a project (it’s up to you whether or not you want to count this a “solo debut” or not, but at this point, it’s new Jay Electronica - can we just leave it at that??) stacked with memorable moments, quotable gems throughout, stellar production (this is one of the best produced projects of 2020 by far, not sure how/why this piece of the puzzle would receive anything less than acclaim), and some moments of questionable preaching made more palatable by a strong overall voice and package.

Jay Electronica raps with conviction throughout, and while the project feels brief, it lasts long enough to be more than a quick feeling, even if many feel that it’s not long enough to feel like a full album. If "Exhibit C" was the teaser then this is the redband trailer, flashing enough skill and details to resonate for far longer than its’ duration. Much has been said about the heavy hand of JAY-Z on most of the project’s 7 tracks, but let’s be clear, this is not Watch The Throne 2 (even though at points, it may feel like something along those lines). Yes, in impressive fashion, Hov comes through riding shotgun to show a deeper shade of one of his more complex dimensions, with many of his rhymes begging for dissection with every bar. However, AWT features a JAY-Z that’s rapping through Jay Electronica’s lens, not by any means where 4:44 or Everything Is Love left off. This is definitely a Jay Electronica album. AWT dives in and out of Jay Electronica’s beliefs in broad strokes that appear and disappear rather quickly, but even when certain verses raise more questions than provide answers, every song still has at least a handful of the gripping words that remind us of what made Jay Elec-Hanukkah sound like the chosen one in the first place (his tussle with writer’s block and hesitation to put out any art make for some of the projects most engaging moments).

If A Written Testimony is the last Jay Electronica album we ever here - which I truly hope it is not the case - it is still a memorable piece of work. So if you were one of the folks that moved on from it after the “surprise” of Jay finally dropping a project subsided, I hope you change that stance and revisit it once again.

4. Descendants of Cain by Ka

“Quiet and frigid disposition, growin' up in the cold /  Surprised I ain't get high from what I was low enough to behold /  Like when Pops shot at the neighbor's shop, put one in his head /  He knew how he grew me, threw me the gun, a hundred, and fled /  Didn't play, 'fore po' arose dispose of exhibit A / I was raised to age a few years in a day /  If not elite, didn't eat if you didn't pray /  As much as I heal, had to deal, all my scars are here to stay /  Our senseis spent days peddling /  Our heroes sold heroin.” - Ka, “Patron Saints”

He makes it seem almost too easy. If the writing wasn't so gripping, you might not even revisit it. Ka’s Descendants of Cain arrived with little fanfare, except for the collective awe of his humble but religiously devoted fan-base. The religious devotion is an important piece here, as Cain adds to Ka’s quietly impressive discography another strong album that leans on classic scribes as inspiration to spin poignant metaphors on Brooklyn street philosophy. 

This time, the classic work is the Christian Bible, and Ka being the brilliant MC/poet that he is, seems to have little trouble working with the medium to preach without sounding preachy, and wax familiar-sounding nostalgia over wax that sounds as dusty as it feels fresh, rich, and urgent. Producing much of the album himself, along with a few trusted collaborators, the album’s strength is in its’ density, as each song feels like it requires a pause to unpack every bar...and to be honest, that’s exactly the type of attention this work deserves. If you missed this one in the first half of 2020′s feverish dump of new releases, you need to remedy that immediately.

5. Pray for Paris by Westside Gunn 

If The Alchemist is the overall rap music MVP for his many contributions to 2020 thus far,  Westside Gunn may deserve at least a few honorable mentions. From becoming the ambassador of Buffalo New York to stepping up as an ambassador of the underground rap resurgence, I don’t think any other rap artist has done more to run with the torch that Roc Marciano has been waving for a damn decade than the Griselda mastermind. If you happened to hear Gunn name-dropping to Peter Rosenberg on Rosenberg’s long-standing Real Late show on Hot 97, you know exactly what I mean. Shouting-out close allies and lesser known peers alike, Gunn’s presence proudly announced the underground movement’s invasion of the highly known New York City radio station. It felt like ECW invading WWE’s Monday Night Raw all over again. Of course Gunn’s voice was met with more ears than usual during that interview, since that appearance came hot off the heels of the release of his much discussed side project turned full-blown album, Pray for Paris.

By now most fervent rap fans know the story behind the album (a project that miraculously arrived to completion while Gunn was suffering from the affects of coronavirus), but for many Pray for Paris is the introduction to the story of Griselda Records and the world that they revel in. If Conway the Machine and Benny the Butcher are responsible for the Griselda team’s grittiest street tales, Westside Gunn’s success leans on his ability to blur the line between all-too-real violence and cartoon violence, splattered with elite luxury references and shout-outs for his fellow wrestling addicts. The song titles are merely scattered trains of thoughts that may or may not have anything directly to do with a song’s actual meaning, it’s like naming your child ‘brunch in Williamsburg’ just because it was the last meal you happened to have that day. An audience brought up on Lil Wayne as the God MC may be completely lost at the appeal, but audiences brought up on Wu, DOOM and Sean Price know exactly what vibe Westisde Gunn is going for.

At times Gunn can come across as more of a talent curator than a stand alone MC, so if this is the album that takes Gunn to the next level as a rap star, it would make him the most unselfish rap star to come along in some time. A rapper doesn’t jump on an Alchemist produced track with the likes of Freddie Gibbs and Roc Marciano and expect to leave with anything but the Bronze medal. The same can be said for his chopped and screwed contribution to “Claiborne Kick”, which clearly belongs to Boldy James. That’s not to say that Gunn’s verse is a weak moment on any of the joints on Paris, but the fact that he consistently surrounds himself with high caliber writers confirms that he is well aware that the quality of the final product will be determined by the team involved, not just the artists’ name on the album cover.

For someone that considers himself more of an artist than a rapper, he continues to paint intriguing collages with every album, featuring him at the center of an ever-expanding portrait of MCs, producers, singers, designers, and dancers. Pray for Paris is a typical Griselda project that also happens to sport the potential of something larger than most of their fanbase ever imagined. Yes we get the dark backdrops, elite underground production, and quotables throughout, but we also get a few additional shades, as Gunn dabbles with a “beauty and the beast” dynamic that cleanly pairs his violent imagery with fashionista pomp and circumstance (which no doubt helped draw the likes of Wale and Tyler, the Creator to this project). But t’s all less of a solo album to push a mainstream solo career forward, and much more of a cannonball through the mainstream wall, just to allow some sunlight to shine on his people...and his city, for that matter - because best believe, Paris may be the inspiration behind the project but Buffalo, New York is still with him every step of the way. 

6. Alfredo by Freddie Gibbs and The Alchemist

A highly enjoyable surprise drop from two-thirds of the potent combination that gave us the fan favorite project that was Fetti (shout-out to Curren$y, though), Alfredo feels like the perfect treat to hold us over during these trying times. It feels rushed, but simultaneously sharp and activated. It has the feeling of a controlled experiment that was slapped together in separate rooms, rather than carefully curated by multiple artists hunched over the same mixer for days on end. Alfredo is more of a display of two power hitters putting on an impressive showing at a Home Run Derby, rather than the collaboration that has been slowly simmering for years...but that’s also part of the fun, because it feels like Al & Fredo (eh?) were just as excited to release it as we all were to hear it.

Neither party is reinventing the wheel here, but if you are going to have a rapper and a producer connect for an album of great rapping over great beats, you would be hard pressed to find a more natural pairing than these two. The Alchemist delivers with samples that channel the speakeasy jazz of an old piano, and Freddie is simply the king of hard-rap soul right now, so he excels on every song. There are moments of darkness, moments of hope, and moments of self reflection (Gibbs is a logical choice to swing haymakers back at cops abusing their power), all delivered by Freddie at a break-neck speed over Al's significantly less urgent production....as if Gibbs frantically spilled his guts to his buddy over the phone while Al was kickin’ back with a joint saying “uh-huh...yup, I hear ya man.” The final result is an effective one, if not a quick teaser of what a lengthier amount of collaboration time between the two might sound like. It should also be said that the guest verses on this album (especially those from Tyler, The Creator and Conway) took this album up a few spots on this ‘best of’ list. Alfredo is easily one of the strongest surprises of 2020.

7. Reasonable Drought by Stove God Cook$ and Roc Marciano

There is a tradition in the rap music biz that newer/younger artists are often shepherded along by more seasoned artists in order to insure that the less experienced artist is blessed with the built-in audience that comes with a co-sign. It doesn’t always work, but typically the initiation comes with a solid musical foundation on a debut project accompanied by a greener MC still finding his/her way. Not the case with Stove God Cook$, he is perhaps the most unexpectedly fresh MC to be cut from classic rap cloth since Griselda & Mach-Hommy began to build cult-like followings.

While Reasonable Drought (and seriously, how bold of a title is that for a debut!?) is blessed by the impressive production and mentorship of underground rap icon Roc Marciano, it truly is the lesser known MC himself that captures the imagination right from the get-go. When I say that in my life time, I cannot recall such a strong debut performance by a MC that I have heard virtually no work from prior to his 2019 emergence, with the help of minimal publicity/ad budget (if any? Cook$ was barely on social media until *after* his album had already been released) on his way to dropping an album with zero features...then you should take my recommendation very seriously. Fresh style, some of the most rewind-worthy quotables in recent memory (an Uncle Buck reference!? Bow down, people), and a new following built exclusively on the word of mouth of equal-minded folks that were blown away by a project many copped on a passing whim... it’s clear that this moment could be the beginning of an amazing, fascinating career. 

Similar to Roc Marciano before him, Cook$ possesses a rare flare with his wordplay and delivery that makes even the ugliest tales of coke dealing and disrespectful criminal activity sound like the colorful exploits of a post-Blaxploitation hero. He delivers every bar with the uber-specific word choice of Roc, but the outgoing swag of a Max B. The man that has people that never touched cocaine in their life singing that they’re “smelling like a brick right now”, is smelling like a winner in 2020 and beyond.

8. Battle Scar Decorated by Monday Night & Henny L.O.

Last call to board the Mutant Academy bandwagon! 

I have been saying that this deep underground collective of MCs & producers has been low key having a banner year all year long, and scrolling through this list you can see exactly what I mean. Henny L.O. is too good to be slotted as just a battle rapper, while Monday Night is far too strong of a presence to be considered a mere associate of the core Mutant team. When you think of Mutant Academy and their respective affiliated acts, think of them as a gathering of solo artists that happen to make dope rap music together, but all parties involved are capable of standing on their own two. I think that’s what consistently impresses me about their projects...hat, and the lack of filler material.

Along with a deep Rolodex of mostly under-the-radar talent, the hunger and confidence of a thriving Richmond, Viriginia rap scene is present on every track of Battle Scar Decorated. Much like many of my favorite albums of 2020, there is no reinventing of the wheel here, the triumph is in the execution. Monday & Henny tag in and out, each with the confidence that they have spit the best verse on the song before they have even finished. It’s that level of ability combined with a shocking amount of production talent that makes Battle Scar Decorated essential listening to anyone that wants to be reminded of a vibe that hasn’t been in abundance in the underground rap scene since L.A. in the late 90′s. It wouldn’t be fair to talk about how much I enjoyed this project without including the great producers involved, so a big s/o to: Sycho Sid, C.R.I.S.T.E.N, James Couch, Savvy, Heather Grey, and Ewonne.

9. Eastern Medicine, Western Illness by Preservation

Accompanied by a who’s who of underground hip-hop’s finest (Roc Marciano, Mach-Hommy, Your Old Droog, Quelle Chris, Nickelus F, Tree, Navy Blue, Billy Woods, Ka *and more* - I mean seriously!?), Preservation has assembled an impressively cohesive compilation album both sonically and thematically. 

Incorporating record samples from his travels in China, Eastern Medicine, Western Illness feels born in simplicity even though it is anything but a casual collection of dope verses over tightly wound production. A quietly gifted producer, Preservation knows how to squeeze the best out of his guests without shouting the results through the speakers, the choices are more subtle but yield a high impact and replay value. Listening to the project feels more like listening to a secret, unreleased project, because it’s hard to believe that this much talent would gift this much high caliber writing to a compilation of songs...although that was not uncommon in the 90′s and early 00′s (ah, I’m showing my old age again). Perhaps that’s a testament to Preservation’s vision, a DJ/producer with a relatively small catalog built on curated quality (see his fantastic 2015 collaboration with Ka on Days With Dr. Yen Lo). Eastern Medicine has enough talent involved that it could have been a worthy listen even if it was just as a hodgepodge of donated loosies, so the fact that the final product is so much more than that makes it an album that warrants a great deal of more attention.

10. The Allegory by Royce Da 5′9″

No accomplished lyricist makes life harder on himself than Royce Da 5′9″. Be it his tendency to cram personal observations and disclosures in and around his punchlines, or experimenting production wise, the Detroit veteran is intent on finding new ways to approach fine wine music, tossing more complex offerings into his catalog over the past few years. Things are no different with The Allegory. 

Not only did Royce once again pen an album that speaks to his ability to cope with his own past and present, he inserts himself in the producer chair as well, addressing the trials and tribulations of the increasingly problematic world around him, over backdrops crafted by only his hand a a few trusted peers. The effect is mostly successful, with the production exceeding the expectations of many (myself included), while the writing is at times both thought-provoking and in need of further exploration on Royce’s part. The guest features range from effective to scene stealing (not because Royce ‘s verse is outshined, but there are moments where it seems as if the guest is better suited over Royce’s own production than he is). If you’re Royce Da 5′9″ and you release an album titled The Allegory, no one should expect a simple quick fix of bars over easily digestible instrumentals. The highs come in abundance, and while the lows come in small trip-ups and the occasional skit that the listener probably could have done without, you get the sense that with some editing and further focus of his lofty goals, his sermons could have been sharpened into a more effective analysis of many of his topics (the music business, being black in America, history, conspiracy theories), resulting in an incredible album instead of a very good one. Nevertheless, it is all worth the ride to hear the latest work from one of rap music’s most gifted MC’s from the past decade. If The Allegory isn’t a home-run, it’s at the very least a strong base hit.

Top 50 (all belong in the Top 10-25, but...there’s only 25 spots in the Top 25, soooo):

11. Cold Water by Medhane

12. Shrines by Armand Hammer

13. Bag Talk by yungmorpheus & Pink Siifu

14. Try Again by ovrkast.

15. RTJ4 by Run The Jewels

16. Noise Kandy 4 by Rome Streetz

17. Innocent Country 2 by Quelle Chris

18. Weight of the World by MIKE

19. Sages by Henny L.O. & Ohbliv

20. Milestones by Skyzoo

21. Carpe Noctem by Big Ghost Ltd

22. Lake Water by SeKwence

23. At the End of the Day. by Fly Anakin

24. Sole Food by Deniro Farrar

25. The Oracle 3 by Grafh

26. The Blue Tape by Tree

27. lo&behold by lojii

28. Infinite Wisdom by Lord Jah-Monte Ogbon

29. FULL CIRCLE by Medhane

30. UNLOCKED by Denzel Curry & Kenny Beats

31. The Throwaways by The Opioid Era

32. Anyways by Young Nudy

33. PTSD (Deluxe) by G Herbo

34. Holly Favored by Monday Night & Foisey

35. THE GOAT by Polo G

36. Demon & Mufasa by Yhung T.O. & DaBoii 

37. The Face of Jason by ANKHLEJOHN

38. My Turn by Lil Baby 

39. No One Mourns the Wicked by Conway & Big Ghost Ltd.

40. Two4one by Jay Worthy 

41. Free Drakeo by Drakeo

42. Alone Time by YL

43. Assata by CV$ a.k.a. Con$piracy & Teller Bank$

44. Thug Tear by Big Kashuna O.G. & Monday Night

45. Ways and Means by Rasheed Chappell & 38 Spesh

46. IMMORTALKOMBAT by Al Divino & Estee Nack

47. Young & Turnt 2 by 42 Dugg

48. Sleeper Effect by Sleep Sinatra

49. Juno by Che Noir & 38 Spesh

50. LULU by Conway & The Alchemist

THE REST OF THE BEST (all belong in the Top 50 releases of 2020, but..what can I say, blame 2020 for being such a stacked year for music/events I guess):

Black Schemata by yungmorpheus,  The Smartest by Tee Grizzley,  Polly by the Powder Keg by Chuck Chan & Pad Scientist,  High Off Life by Future,  Gotham City Album by Plex Diamonds,  Memphis Massacre 2 by Duke Deuce, Poetic Substance by RIM & Vinyl Villain,  Styles David: Ghost Your Enthusiasm by Styles P,  MF Bloo by Bloo & Spanish Ran,  LSD by The Leonard Simpson Duo & Guilty Simpson,  Funeral by Lil Wayne,  RAW UNKNOWN by Spectacular Diagnostics,  Nezzie’s Star by Eddie Kaine,  ShrapKnel (self-titled),  The Bluest Note by Skyzoo & Dumbo Station,  WUNNA by Gunna,  Get Money Teach Babies by Heist Life & Spanish Ran,  Open Casket by Killer Kane,  6 Rings by Yung Mal,  The Beauty of It by Eto,  Meet The Woo 2 by Pop Smoke,  Fresh Air by UFO Fev & Statik Selektah,  Vito by Vince Ash,  GRIMM & EViL by GRiMM Doza,  RUDEBWOY by CJ Fly,  Rocket to Nebula by Killah Priest,  EVERYTHING by Kota the Friend,  NO Blade of Grass by V Don,  Eternal Atake by Lil Uzi Vert,  I’m My Brother’s Keeper by Yella Beezy & Trapboy Freddy,  Carhartt Champions by Tree Mason,  Viral Viral! by Dunbar,  Rowhouse Whispers by Ray West & Zilla Rocca,  Magneto Was Right #4 by Raz Fresco,  DUMP LIFE by Tha God Fahim, Jay NiCE & Left Lane Didon,  Burn One, Tap In, Zone Out by Dot Demo,  FNTG: From Niggaz to Godz by Squeegie O,   PANAGNL4E, Vol. 2 by Los and Nutty,  Death 2 All Haterz 2 by Rigz & Symph,  Thank You For Using GTL by Drakeo & JoogSzn,  Adjust to the Game by Larry June,  Martyr’s Prayer by Elcamino & 38 Spesh,  BETTER by Deante’ Hitchcock,  Attack of the Future Shocked, Flesh Covered, Meatbags of the 85 by $ilkMoney,  No Cosign Just Cocaine 3 by Ty Farris,  Hear No Equal by Chuuwee,  MSYKM by Tsu Surf,  Your Birthday’s Cancelled by Iron Wigs,  Spring Clean by Curren$y & Fuse,  Arctic Plus Degrees (The Sun Don’t Chill Allah) by Planet Asia & DirtyDiggs,  Psychological Cheat Sheet by Vic Spencer, Glass 2.0 by Meyhem Lauren & Harry Fraud,  Trust the Chain by Planet Asia & 38 Spesh, Director’s Cut (Scene Two) by Ransom & Nicholas Craven, and Son Of A Gun by Key Glock.

[shadowfromthestarlight]

The moment a group of people stormed the Capitol building last Wednesday, news  companies began the process of sorting and commoditizing information that  long ago became standard in American media.

Media firms work backward. They first ask, “How does our target demographic want to  understand what’s just unfolded?” Then they pick both the words and the facts  they want to emphasize.

It’s why  Fox News uses the term, “Pro-Trump protesters,” while New York and The Atlantic use “Insurrectionists.” It’s why conservative media today is stressing how Apple, Google, and Amazon shut down the “Free Speech” platform Parler over  the weekend, while mainstream outlets are emphasizing a new round of  potentially armed protests reportedly planned for January 19th or 20th.

What happened last Wednesday was the apotheosis of the Hate Inc. era, when this  audience-first model became the primary means of communicating facts to the population. For a hundred reasons dating back to the mid-eighties, from the advent of the Internet to the development of the 24-hour news cycle to the end of the Fairness Doctrine and the Fox-led  discovery that news can be sold as character-driven, episodic TV in the  manner of soap operas, the concept of a “Just the facts” newscast designed to  be consumed by everyone died out.

News companies now clean world events like whalers, using every part of the  animal, funneling different facts to different consumers based upon  calculations about what will bring back the biggest engagement kick. The  Migrant Caravan? Fox slices  off comments from a Homeland Security official describing most of the  border-crossers as single adults coming for “economic reasons.” The New York Times counters  by running a story about how the caravan was deployed as a political issue by a Trump White  House staring at poor results in midterm elections.

Repeat this info-sifting process a few billion times and this is how we became, as none other than Mitch McConnell put it last week, a country:

Drifting apart into two separate tribes, with a separate set of facts and separate realities, with nothing in common except our hostility towards each other and mistrust for the few national institutions that we all still share.

The flaw in the system is that even the biggest news companies now operate under the assumption that at least half their potential audience isn’t listening. This leads to all sorts of problems, and the fact that the easiest way to keep your own demographic is to feed it negative stories about others is only the most  obvious. On all sides, we now lean into inflammatory caricatures, because the  financial incentives encourage it.

Everyone monetized Trump. The Fox  wing surrendered to the Trump phenomenon from the start, abandoning its  supposed fealty to “family values” from the Megyn Kelly incident on. Without  a thought, Rupert Murdoch sacrificed the paper-thin veneer of  pseudo-respectability Fox  had always maintained up to a point (that point being the moment advertisers  started to bail in horror, as they did with Glenn Beck). He reinvented Fox as a platform for  Trump’s conspiratorial brand of cartoon populism, rather than let some more-Fox-than-Fox imitator like OAN sell the  ads to Trump’s voters for four years.

In between its titillating quasi-porn headlines (“Lesbian Prison Gangs Waiting To Get Hands on Lindsay  Lohan, Inmate Says” is one from years ago that stuck in my mind), Fox’s business model has  long been based on scaring the crap out of aging Silent Majority viewers with  a parade of anything-but-the-truth explanations for America’s decline. It  villainized immigrants, Muslims, the new Black Panthers, environmentalists —  anyone but ADM, Wal-Mart, Countrywide, JP Morgan Chase, and other sponsors of  Fortress America. Donald Trump was one of the people who got hooked on Fox’s  narrative.

The rival media ecosystem chose cash over truth also. It could have responded to  the last election by looking harder at the tensions they didn’t see coming in  Trump’s America, which might have meant a more intense examination of the  problems that gave Trump his opening: the jobs that never came back after  bankers and retailers decided to move them to unfree labor zones in places  like China, the severe debt and addiction crises, the ridiculous  contradiction of an expanding international military garrison manned by a  population fast losing belief in the mission, etc., etc.

Instead, outlets like CNN and MSNBC took a Fox-like approach, downplaying issues in  favor of shoving Trump’s agitating personality in the faces of audiences over  and over, to the point where many people could no longer think about anything  else. To juice ratings, the Trump story — which didn’t need the slightest  exaggeration to be fantastic — was more or less constantly distorted.

Trump  began to be described as a cause of America’s problems, rather than a symptom,  and his followers, every last one, were demonized right along with him, in  caricatures that tickled the urbane audiences of channels like CNN but made  conservatives want to reach for something sharp. This technique was borrowed  from Fox,  which learned in the Bush years that you could boost ratings by selling  audiences on the idea that their liberal neighbors were terrorist traitors.  Such messaging worked better by far than bashing al-Qaeda, because this enemy  was closer, making the hate more real.

I came  into the news business convinced that the traditional “objective” style of  reporting was boring, deceptive, and deserving of mockery. I used to laugh at  the parade of “above the fray” columnists and stone-dull house editorials  that took no position on anything and always ended, “Only one thing’s for  sure: time will tell.” As a teenager I was struck by a passage in Tim  Crouse’s book about the 1972 presidential campaign, The Boys in the Bus, describing  the work of Hunter Thompson:

Thompson  had the freedom to describe the campaign as he actually experienced it: the  crummy hotels, the tedium of the press bus, the calculated lies of the press  secretaries, the agony of writing about the campaign when it seemed dull and  meaningless, the hopeless fatigue. When other reporters went home, their  wives asked them, “What was it really like?” Thompson’s wife knew from  reading his pieces.

What Rolling Stone did in  giving a political reporter the freedom to write about the banalities of the  system was revolutionary at the time. They also allowed their writer to be a  sides-taker and a rooter, which seemed natural and appropriate because biases  end up in media anyway. They were just hidden in the traditional dull  “objective” format.

The  problem is that the pendulum has swung so far in the opposite direction of  politicized hot-taking that reporters now lack freedom in the opposite  direction, i.e. the freedom to mitigate.

If you  work in conservative media, you probably felt tremendous pressure all  November to stay away from information suggesting Trump lost the election. If  you work in the other ecosystem, you probably feel right now that even  suggesting what happened last Wednesday was not a coup in the literal sense  of the word (e.g. an attempt at seizing power with an actual chance of  success) not only wouldn’t clear an editor, but might make you suspect in the  eyes of co-workers, a potentially job-imperiling problem in this environment.  

We need  a new media channel, the press version of a third party, where those  financial pressures to maintain audience are absent. Ideally, it would:

not be aligned with either Democrats or Republicans;

employ a Fairness Doctrine-inspired approach that discourages       groupthink and requires at  least occasional explorations of alternative points of view;

embrace a utilitarian mission stressing credibility over ratings, including by;

operating on a distribution model that as  much as possible doesn’t depend upon the indulgence of Apple, Google, and Amazon.

Innovations like Substack are great for opinionated individual voices like me, but what’s  desperately needed is an institutional reporting mechanism that has credibility with the whole population. That means a channel that sees its mission as something separate from politics, or at least as separate from politics as possible.

The media used to derive its institutional power from this perception of separateness. Politicians feared investigation by the news media precisely because they knew audiences perceived them as neutral arbiters.

Now there are no major commercial outlets not firmly associated with one or the other political party. Criticism of Republicans is as baked into New York Times coverage as the lambasting of Democrats is at Fox, and politicians don’t fear them as much because they know their  constituents do not consider rival media sources credible. Probably, they  don’t even read them. Echo chambers have limited utility in changing minds.

Media companies need to get out of the audience-stroking business, and by extension  the politics business. They’d then be more likely to be believed when making  pronouncements about elections or masks or anything else, for that matter.  Creating that kind of outlet also has a much better shot of restoring sanity  to the country than the current strategy, which seems based on stamping out  access to “wrong” information.

What we’ve been watching for four years, and what we saw explode last week, is a paradox: a political and informational system that profits from division and  conflict, and uses a factory-style process to stimulate it, but professes  shock and horror when real conflict happens. It’s time to admit this is a  failed system. You can’t sell hatred and seriously expect it to end.

Matt Taibbi is one of the only people I subscribe to. He’s one of the few journalists I like because I actually believe he’s genuine.