#like i love how it lends itself to the examination of concepts he deals with like heroism villainy self concept identity and reformation

[ilynpilled]

another thing with spoiler talk is that it is often exclusive to just these #shocking big deaths for some reason. and i dont even think those things are the most “harmful” spoilers. the thing w asoiaf for example is how significant the utilization of pov structure is. like the whole series is built on key moments of recontextualization. we are deliberately given just a small chunk of information from the lens of a specific pov or side and the way a lot of the themes are conveyed is the challenging of that. like there is so much meaning in structuring so i am so glad people are way more focused on “googoo gaga this mc dies” kind of spoilers and a lot of the key directions the series chose to take and how remain relatively unspoiled because no one is really oversaturating those moments. like i love not getting certain key info revealed until it should be as it would completely recontextualize scenes and characters etc. i love having preconceived notions and those being challenged. because that was very much george’s intention and it is sometimes a key part of his characterization or framing or whatever

[liobi]

I've been seeing a weirdly high level of Dungeon Meshi discourse that just. Completely misses the point lately and I'm honestly kinda frustrated about it. So.

First point of address. Laios isn't canonically autistic. He is written in a way that lends itself to the reading of him being neuro divergent, and I think if he was a real person he would be on the spectrum, but the world of Dunmeshi itself does not have the concept of autism (yet). If it did you can bet the human enthusiast Kabru would have immediately pegged Laios as such. As for Falin, she'd also likely be ND but closer to ADHD judging by the relatively small amount we get to actually see her existing as a character.

NOW THAT THAT'S OUT OF THE WAY. Toshiro isn't being ableist with his expectations of Laios picking up on social queues and being angry that he doesn't get it! Laios is legitimately rude to him! In terms of micro-aggressions, he does it constantly and unintentionally. He straight up calls Toshiro strange looking and fucks up his name! But the thing is, Toshiro's biggest flaw is that he applies his cultural norms to his interactions with everyone, regardless of culture. Chilchuck and Mick have a small talk about how Toshiro, with zero indication of feelings beforehand or any romantic involvement, just asks Falin to marry him and expects it to go well, all because she looked at a bug and he thought she was the most unique and different woman he had ever met (small aside, almost all the women he had met at this point are either family, his dad's mistress that is more of a mom to him than his own mom, his retainers, and his uhhh indentured servants/Literal Slaves)(Itsuzumi is a whole ass other conversation that I'm not even remotely qualified to talk about). He's a man of high social status that's never had to think about that fact before, never had to examine the power and privilege he has at his disposal. As a result, his expectations of people to learn his cultural norms, something he's been used to in his homeland, go unmet and are a source of friction.

Here's a real life example. In the US Midwest, if a person slaps their knees and/or stands up, sometimes saying some combination of "Welp/it's getting late..." They're politely telling their guests "get the fuck out of my house." It's impolite to ask people to leave, even politely. This is absolutely arcane and insane, why would anyone do this? Society!

Toshiro has grown up in a place where he's had to be hyper-aware of these things, where he can't verbally state what he literally wants or means. And he's conformed! He's decided to do what's expected of him. Laios, on the other hand, instead chafed against the expectations put on him as the child of the village elder and against the way people treated Falin for being different. He gave up his privilege (assured house, home, fiancee, position and responsibility within their town) in order to pursue a freedom beyond the society he saw as wrong. Laios is fundamentally uninterested in people (as opposed to monsters and demi-humans which is why he's uniquely suited to dealing with the multicultural aftermath of The Whole Thing), but he values his loved ones and personal code of honor enough to do what he needs to protect those things, even if it means going against society.

Anyways this is a long winded way of saying Toshiro and Laios are complex characters and narrative foils of each other in the early narrative and shouldn't be turned into one dimensional parodies of themselves for the purpose of Hot Takes. Thanks.

[chimswae]

BTS Caretaker CH29

Summary: She may think she has Bangtan Sonyeondan wrapped around her fingers. She may think it is easy to love the members equally without hurting any soul. She may think the boys wont fall head over heels for her. She assumes it is okay to show a little love and affection towards the boys, what if she gets it all wrong? What if it only brings more complication to her already complicated life? Can she survive their charms? Will she be able to resist them? What if they just wont let her go?

- Pairing: BTS x Oc ( Yoongi x OC, Jungkook x OC)

- Genre: Fluff, Slight Angst, Romance, Idol!au

- Word Count: 4,753

- Author Note: Mild smut ahead (more to heated makeout session though hahaha) so, you have been warned on my cliche smut writing, i really dont know how to write a proper smut.So sorry for that, u can skip that part :)

Previous | Next

Chapter 29

“Coming!” hurriedly, Hoseok ran to the front door and he’s welcomed by the stack of boxes in someone’s arm. And that someone’s arm happened to be Seul. He pressed his lips together while taking the view in front of him with questionable gaze “wow, someone is planning to move in today?” Seul leaned her body against the wall to stabilize herself.

“Jung Hoseok you better make way for me if you don’t have any intention to help!” her faint hollered was muffled behind the stack of boxes.

Hoseok snapped out of his daze and quickly apologized before lending his hand to help the small girl. “What are these Seul? Why are you carrying all of these by yourself?”

“Present from Armys. I claimed it from the management office” he lifted the first box from the pile, groaning at its weight as he carried it inside. Not even half of the burden were lifted off from her and it really annoyed Seul to the core.

“Unbelievable! Are you really going to take one box from…ugh.. Goodness, you are impossible Hobi!” she nagged. Seul struggled out of her converse and entered the place carefully. When she thought she’d been careful enough, her knees buckled due to the extreme loads which did not match her size.

Seul blamed Hoseok for leaving her with the remaining boxes and chose to pick only one from the piles. Ungrateful Sunshine! She mentally groaned in dissatisfaction. Easing the boxes down on the ground carefully, Seul made sure her lower body could withstand the weight for few more minutes.

Her movements grew sloppy and uncoordinated “Ouff…” without warning, she screeched loudly garnering everyone’s attention. Seul stumbled forward and crashed on top of pile of boxes. To make it sounded humiliating, her face was buried inside one of the boxes and she had to literally hold her breath from sniffing the goodie bags inside.

“Seul?” “Seul what happen!” “Seul-seul are you okay?!” heavy footsteps could be heard from every corner. It seemed like everyone was in rush to the crime scene. A hand reached out to her arms, pulling her from inside the box and examining her body to find scratches on her skin.

Jin patted her cheeks, looking frantic “Did you get hurt anywhere?” finding herself breathless due to the small accident, she finally expelled a soft sigh along with small chuckle.

“Sorry. I am okay, I didn’t mean to worry-Yah Kim Seokjin” she was pulled into Jin’s warm embrace baffling everyone in the room. The members were snickering sarcastically, judging dramatic Jin throwing shades on him.

She palmed his chest, pushing the latter away from her body to create some space for both of them to breathe. “Aren’t you being a little too dramatic?” Jin shot her a disapproval look and trailed her gaze to the rest of the members who had their usual bitch-hands-off-her look across their face.

He knocked the top of her head with his knuckle “ Yah Kim Seokjin? Where is your Jin Oppa? Aren’t you being too informal? ” her nose scrunched up in disgust and turned to others seeking for morale support. Namjoon opened his arm welcoming Seul in his embrace. He grinned widely until the dimple appeared. She rushed to his arms, as Namjoon enfolded his long arms around her earning low protest from the floor.

“Since when you are so touchy with Seul?” said the maknae bitterly.

Jimin shook his head frantically “I cant.. handle more competition. Don’t fall for hyunggie Seul-ah!” he snorted with his whiny voice. She refused to entertain the whiny baby and sealed her mouth until then. The more she showed her response, the longer she had to watch these boys irrelevant mouth fight.

Namjoon paid no attention to others and rubbed her arms urging Seul to come with him to his room “Where are you bringing her?!” Jin shouted from the living room watching their body slowly disappeared from his vicinity. Yoongi rolled his eyes, escaping the commotion to his room.

 -------------------

Seul spent two hours in Namjoon’s room watching English shows though she barely survived throughout the shows, Namjoon was kind and patient enough to translate some difficult terms for her. Hoseok and Jimin would come to check on them every five minutes until the couple had enough and decided to lock the door.

The first 10 minutes, Jin pounded on the door like a mad man demanding the leader to return Seul back to them or else they would call help to open the door. The guys seemed to have so much time in hand today that they chose to pick on Namjoon and Seul instead of minding their own business.

After wasting his energy in persuading Namjoon and Seul unlocking the door, Kim Seokjin gave up and finally they could find some peace.

Nibbling on her chips halfway, she dropped the remaining on her lap as she pointed at the screen with a soft gasp “ Is it even ethical to kill someone and get away from it?!” Namjoon chuckled softly and hummed a soft yes.

“This is so fucked up!” Seul threw her arms in the air and rubbed her pounding head. He flicked his eyes up and down before his left brows shot up in either surprise or disapproval of  Seul’s choice of words “Language. You have been spending too much time with Yoongi hyung” flicking her forehead lightly, the girl pouted in protest.

Namjoon’s forehead creased into a frown “ It is called ‘How To Get Away With Murder’ for this reason duh. The title itself already give away the idea of the story. You are being a drama queen” she curled up beside him and brought her attention back to the television screen.

“I know, but it doesn’t make any sense. If I were Wisse Gribbins, I would tell the police and leave his friends to deal with their own problem”

“It is Wes Gibbins. You sounded so Korean” he corrected and let out an amused laugh. She smacked his forehead softly, scowling in disapproval “The last time I checked, I am Korean, Rap Monster-ssi” he cringed at the way how she called him by his stage name. It was his first time to hear it from Seul and for some reason it created a huge gap in between those words. Unfriendly, yes that was it.

“That sounds even horrible. Just stick with Namjoon. Rap Monster-ssi doesn’t fit you” he glared down at her and ran his fingers in her hair out of habit.

“But, I meant to ask something… Just your view, tell me honestly alright? I have been thinking to change my stage name” he bit his lower lips as if in deep thought.

The corner of her lips pursed up as she nodded “To what? Joonie? O-ri?” he scoffed.

“Joonie is too cute! Stop bringing up O-ri, I am so over my Hiphop Monster figurine which resembles a duck, ugh now I have to live with that”

Seul tilted her head, thinking deeply before responding “ Jji-Mon! (RipMon)” clasping her hand together, her eyes twinkled in happiness as if she just won the big prize of the night.

Namjoon stared at her blankly trying to brain Seul’s words. He regained back his ability to talk not long after.

“What in the world? How did you know about that! It was long time ago, and I thought you weren’t a fan Seul. Or are you secretly my fan since start but you got to hide it because you are too shy to admit it?” he drew his own conclusion annoyed the hell out of her.

Sneering sarcastically, she poked his forehead returning Namjoon to his original position as he had moved a little too close to her “I saw the concept trailer, whereby you and Jimin had to rip off your shirt. You really are a true god of destruction; how could you rip it off at once when Jimin’s shirt was looking fine after the deed, unlike you. Tsk, Rap Monster-ssi” she teased.

“That was wardrobe malfunction. Stop using that against me. I won’t ask your opinion for my stage name anymore, you are a true Army, what do I expect? You will make me use those funny nicknames”

“Hey! I am not your Army. And those nicknames aren’t that bad. I found it is entertaining” he chuckled lightly.

“Alright you are not my Army. However, you are our girl. So, let’s get back to our main topic, shall we? About my stage name. I am thinking of making it official. Instead of using Rap Monster, I want to use RM. What do you think about it?”

Seul beamed “RM sounds professional and cool!”

“And, Rap Monster sounded unprofessional?” he scratched his head.

“I didn’t say that. Rap Monster is good but now that you are moving forward and become bigger, I think RM suits you better though I prefer Namjoon over anything, no offence. But, Rap Monster sounds too teenager-ish to me. I like RM. I am sure Armys will love it too” she patted his head with light giggle.

He chortled “Teenager-ish. That makes sense. I am no longer the Rap Monster who wrote childish lyrics, I wish to be better and thorough in producing music. Do you think Armys will be okay with RM?” he expressed his concern. In all honesty, Namjoon did not want to screw things up especially when it involved Armys. Every decision that he’s about to make, he would put Armys in his thought.

“Joon, your fans will love it. Remember they love you just as much as you love them. Trust them. You are worrying too much. Shall we just use Jji-Mon instead?”

“Absolutely no. You are not in charge in this” he pinched her nose, frowning at her small tease.

They jumped in surprised as a loud banging at the door drew their attention momentarily “Kim Namjoon! Ji Seul! Open the goddamn door now or I swear to god I will break it down in 10 seconds!”. Kim Seokjin was screaming at the top of his lungs threatening them once again.

Springing up, she smoothed back her tousled hair and rose from her feet “I will tame the whiny lioness, stop worrying over the stage name. Let Armys know how you feel, it will make you feel better”

“Thank you Seul..I will think about it” a slow smile worked its way across his face. Namjoon knew exactly what he felt right now. And, he made up his mind about the stage name.

“Kim to the Namjoon! Return Seul safely now!” he pounded loudly.

“Ugh Jin is so annoying. Give it a thought alright?” she winked as she hurriedly went to open the door “Coming! You can stop pounding the door now Jinnie!” Seul hollered in response to Jin’s wrath.

 ---------------------

The next day Seul arrived at the boys’ place to work a little later as she had to accompany Mrs Hwang for routine check-up. She went straight to tend her job as soon as she sent her mother back safely. Upon her arrival, the place was empty. They must be out somewhere or most probably at the company practicing for their next tour. In few days they will be leaving Korea and this time it’d be Wings Tour Japan Edition.

In the middle of preparation for their tour, the boys had started going in and out from the studio for their upcoming comeback which was expected to be in September. The second half of 2017 had already drained fifty percent of their energy. Hence, the thought of surviving the rest of the year until their comeback was torturing them.

Seul walked along the hallway, picking up dirty laundry in process while humming to some random songs. She stopped halfway in front of Yoongi’s private study room or more like his mini studio. He had one at the company as well as in their dorm. Yoongi would use either one of his genius lab depending on his mood. However, most of important and private stuffs would be secured in his main genius lab. The one that he had at home was a casual thing, he didn’t really put passwords to the door.

There was a small voice coming from the room, and out of curiosity she pushed the door slowly scanning the room in hope to find familiar faces like Min PD. Smiling to herself, she was over the moon to see Yoongi in his seat engrossed in his work. He didn’t even notice her presence there.

She took the chance to enter the room stealthily just to scare him a little. Chewing on her lower lips, she stifled her giggle settling the dirty laundry outside. Seul crept into Suga’s Genius Lab, shutting the door behind her silently. She stood behind him waiting to jump out or to creep up, startling him.

Seul chose the second options to appear more daring. It was Suga not Jungkook. This guy deserved a little scare just to tame him. To put it off this way made it sounded so wrong. She shook her head to get rid of the weird thought and getting ready to execute her so called guerrilla attack.

Before she could make a move, Yoongi swivelled his chair around facing the girl. Seul gawked in bafflement, giving Yoongi upper hand to pull her into his lap. “Got you” his low voice sounded awfully deep today, and it almost made Seul losing her shits.

“What are yo-“ she struggled to stand up but Yoongi tightened the grip around her torso, running his thumb in circular motion along her waist line.

“I miss you” he murmured.

She softened in his hold. “I miss you too” she encircled her arm around his neck. Seul looked startle by her own action but drawn as he inched close to her face. It was only a matter of time before their lips reunited again. Yoongi brushed his lips against her, holding her cheek in his hand drawing her closer.

He kissed her gently, cradling the back of her head, relishing the feel of her soft hair and delicate bones. Their lips moved in the same rhythm, ravishing each other lips. She stroked his chest, allowing the latter to push his tongue inside dominating this battle.

To be frank, she never expected kissing Min Yoongi would be this hot and it triggered her desire to feel more of it. He roamed his hand around her body, feeling every inch of her covered skin adding the fuel in their already heated moment. Aching for more, they pulled away from the kisses panting for clean air and before she could regain her normal breathing completely, Seul let out a small moan in his earlobe.

She clung to him, emitting a low groan as he sucked on the tender area at the base of her neck. Her voice encouraged him to explore her body further. Yoongi’s temperature rose and he went to kiss her again with so much passion. This time Seul responded to the kisses as passionate as his.

Carefully, he ran his hand to her buttocks switching her position. She straddled him on the seat, her knees on either side of his legs, wrapping herself deliciously close to his body. His fingers fiddle with the button of her blouse, when she made no move to stop him, he took the chance to unbutton them halfway down enough to reveal her chest.

Yoongi breathed softly against her lips and nuzzled her face. Their gaze met as they communicated silently with a single stare that they exchanged. Chewing her lower lips, Yoongi kissed her briefly before running his lips along her jaws. He slipped her hand under her blouse, feeling her tender skin against his hand.

Seul’s body went rigid with surprised as trembled shook her body. The euphoric warmth blossomed within her once more when she felt his hand caressing her chest inching close beneath her cleavage. His lips returned to ravage her neck knowing what it did to her. She arched towards him, holding back the moan in her throat. He nipped at her neck slowly getting harder and more insistent as time passed.

Her hand clutched onto his shoulder for support, as her free hand ran freely in his brown lock. Yoongi’s action rendered her breathless. She unconsciously moved a little creating small friction against the dangerous zone. It was supposed to be untouchable, yet as soon as she heard Yoongi deep groan. She knew she had done something inappropriate to it.

“Darn it Seul” he nibbled on her earlobe as he picked up the confuse girl, making his way to the couch behind them. He laid her down and found himself on top of her. Yoongi was not rushing into doing anything intimate with her, in fact he had been monitoring her response. If she didn’t push him away, meaning he got her permission. Up to this stage, Seul showed no sign of protest.

She slid her hands under his shirt, signalling him to take it off. His breath hitched at the sight of eager Seul beneath him making Yoongi wanted to take her right way. She took a moment to stare at his body without blinking. Seul pictured the image of shirtless Yoongi in her head, admiring his fine body that matched the perfectly milky skin. Yoongi looked effortlessly beautiful without his shirt on.

“You seem impressed baby girl” said Yoongi teasingly.

Her cheeks reddened realizing that she’d been taken a long time to admire the fine man on top of her. However, when Yoongi lips captured her once again in another long and endearing kiss, it washed off all the shyness in her.

She closed her eyes and felt the passion swelling in her. He broke the kisses and looked into her eyes “Baby, tell me when to stop” she was moved by his soft side. Despite in this situation Yoongi put her feelings above his raging hormone.

Nodding with a smile, Seul pulled his neck down and made the first move. She kissed him on the lips, using a little tongue before trailing the kisses to his neck. She knew what was she doing causing the older guy to emit a long moan while his hand gripping her hip.

Chills bumps across her body as Yoongi pressed against her, as he pinned one of her hands abover her head. He interlaced their hand together and he kissed his way down to her chest.  Reaching her back, he unclasped the fabric that had been hiding the beauties in front of him. Seeing Yoongi’s lustful stare, she blushed madly and threw one of her arms to cover the twins from his prying eyes.

Their eyes locked, as he removed her hand uncovering the two beauties. He breathed sharply and mumbled “You are beautiful baby girl. Too beautiful” she anticipated what he’s about to next. She chewed her lips nervously but soon the feeling was taken over by one of the greatest pleasure in her whole life. One at a time, he just kept on and on kissing and sucking on them turning Seul into a moaning mess.

Arching her back, she pushed her chest forward letting him to have them, giving into the pleasure that he gave her willingly. While he’s working on pleasuring her, he unbuttoned the remaining button of her blouse and slipped it off her.

Yoongi held both sides of her abdomen as he moved down, pushing her legs apart. Watching her hesitation, he took the cue to trail his kiss back to her stomach, kissing it all over. He was so gentle with her, every kiss that he showered were made of love.

“Yoongs…where is everyone” she bit her tongue from expelling another loud moan.

Stroking her hips deeply, Yoongi kissed her inner thigh playfully and mumbled against her skin “Out. They won’t be back until tonight” kissing and licking her, he teased her into a frenzy. Seul grabbed the sheets tight, grunting sexily which drove Yoongi mad.

The couple continue undressing each other skilfully.

Clothes scattered on the floor leaving her with only thin fabric covering her most fragile area and so did Yoongi. He glances at her once again seeking for permission. A faint blush crept up her cheeks, and that was enough to convince him that she’s alright with this level of intimacy.

She exhaled as if to steady her nerves when he finally freed her and continued to shower kisses there, earning a deep grunt from Seul. One of her hands was locking his hair, Yoongi worked his way in between with passion.

“Yoongi..” her breath hitched. Seul was reaching her peak and he knew it, just how he intended it to be. Still not stopping, he kept on with his skilful tongue. Her body tense up as she exhaled a deep breath feeling the ecstasy from his sinful tongue love making.

The sensation from his warm tongue drove her insane.

Only soft and erotic groans could be heard across the room. Just how much they longed for each other this way? They were drowned in a sea of lust and love.

 ------------------

Sitting in between Yoongi’s legs, he snuggled her closer to his body. “I want you to listen to this song. It is a demo for our new album” her eyes gleamed in excitement. “Is it alright to let me listen to it? I mean I am not a BTS member” she mumbled confusedly.

“No, it is alright. It is just a rough version of the song. We haven’t confirmed anything yet” Yoongi chuckled softly as he reached out the ipod on the glass table and adjusted the headphones over her ears.

“Ready? Tell me what do you think of it alright?” Seul nodded with a thumb up. His thumb glided over the screen, and the first strain of a smooth alternative hip hop with a light touch of jazz echoed through the headphones. She found herself enjoying the soft beat as her head tilted by its own to right and left in response.

There was not much lyric in it since they may need to come up with new changes now and then. However, she could catch small lines that they already included in the song. It was poetic and catchy.

All of my wonder You’re the answer I call you her, her Cause you’re my tear, tear

Yoong ran his thumb along the side of her waist anticipating Seul’s reaction. He had been working the songs with Namjoon and Hoseok, though the leader had already come up with the full lyrics of the outro, he still had to make sure the beat matched the lyric perfectly.

When the song ended, Seul removed the headphones and turned her head facing the handsome rapper. “That was beyond amazing Yoongi!” she grinned, planting a soft kiss on his cheek. He watched the girl cracking his gummy smile “Really? I wanted to submit this last touch to Joon, so he could record the rest of the lyrics” Seul tapped his small nose.

He scrunched his nose cutely “You did great! Can’t wait to hear the full version of the song. I can feel it in my bones that it is going to be my favourite songs from your new album” just by watching her giddiness boosted his confidence.

“Don’t decide that now. There are more cool songs in the album. Wait for it. It is going to be a new side of Bangtan Sonyeondan” he brought her to his arms again, resting his chin on the top of her head.

She nuzzled her face at the crook of his neck “I am with Bangtan till the end” he caressed her hair lovingly and placed a kiss on her head.

“Of course. You are our girl” he soothed her with a deep murmur.

Their girl. Namjoon said the same thing. Her feelings were a mixture of happiness and guilt. Sometimes she was scared of her future though she promised to live the present without worries.

She couldn’t simply wash off this insecurity in her, just because it was impossible to forget. Seul had to handle her present with confidence and face her future with no fear.

Just, never let your fear decide your future.

Yeah, she’s holding onto the principle.

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

“Someone trashed our practice room!”

“The culprit tried to break into Hoseok’s hyung studio, but they didn’t get through it. I bet they or he or she whatever were in rush. They left right after they broke into Joon hyung and Yoongi hyung studios” Jungkook explained to Seul with heavy pant. He was just so mad that his veins started to appear on his skin.

Seul felt angry to hear the news, the girl clenched her teeth together “Did they take anything from the studios?” Yoongi pinched the bridge of his nose with a harsh grunt.

“My works were all gone. Those assholes! OUR HARDWORKS WERE ALL GONE! SCREW THIS” he yelled venting his frustration. Namjoon expelled a heavy sigh “They didn’t take anything from my studio, but the equipment was ruined. Ugh, I really want to kill the person who did this” his brow creased and he pressed his lips into a thin line.

“CCTV?” she inquired.

Shaking his head in defeat “Someone tampered with the surveillance camera. The footage was deleted. I had no idea how they entered the building” Seul frowned in disapproval.

“It was odd how they trashed Joon and Hoseok studios but wiped off Yoongi’s works. The furniture and equipment in his room are untouchable. There is no sign of robbery. Could they be after Yoongi?” the eldest of the group spoke up with a deep furrow.

She sent Yoongi a sympathy glance knowing all his hard works being erased overnight, that must be upsetting. Who would do such things to him? Yoongi might appear unfriendly but he would not hurt anyone. He could spit the nastiest remarks on others who provoked his anger, yet that only happened when you tick off the Min Yoongi.

“Did you make any enemy outside? Anyone that rings the bell?” Jimin shifted his gaze back and forth from Jin and Yoongi. Then he pursed his lips, feeling defeated.

Yoongi watched him, while he narrowed his eyes in a deep thought. To think of the possibility, Jin assumption could be right. However, he couldn’t think of any names that could possibly do this to him. After he became a trainee and debuted as BTS member, he rarely got the chance to meet someone new and make new friends.  

He dedicated his life for his work and Bangtan, not that he remembers making any enemy outside. Maybe few people who loathed him from choosing the easiest path to become artiste. It was a long time ago since he used to be an underground rapper. Namjoon and him were hated for being an idol so they had cut off their ties with them. That was the last time they ever met the crews and to think someone would do this to him after years sounded unreasonable.

“We found the culprit! Lets head to the company now!” their manager popped out from nowhere surprising everyone.

“What? How? Who?” Hoseok and Jungkook said in sync, as they were already on their feet.

The tall man nodded while grabbing the keys “He turned himself in. We will get our answers soon. So, let’s go now” Seul eyes widened at the revelation. If the person really turned himself in, then why would he waste his energy to commit those crime.

“Do you want to tag along?” Yoongi touched Seul shoulder “I can make use of your presence beside me, please” his eyes bore into her. Seul hesitated to know she was in no place to be around the boys publicly.

They heard their manager emitted a deep sigh, “Seul, come with us. You may need to stop someone from causing a scene” his eyes were fixated on Yoongi. He knew exactly how the guy would react, Yoongi’s anger was not a joke.

“Sure…” Yoongi grabbed his extra mask and helped to put it on her. It was needed to protect the girl from being exposed to medias or Armys. At least, they might see her as one of the staffs instead of spreading false rumours.

For an odd reason, she didn’t feel good about this. She just couldn’t rid this uneasiness in her. Was she overthinking about the whole thing?

  This work belongs to  Chimswae © 2020. All Rights Reserved

[bobbyshaddoe80]

Liberated Audio Reviews

Introduction:

The cult Sci-Fi series Blake's 7 has seen great admiration and appreciation in the 40 plus years since its initial broadcast in the UK., continuing to enthrall audience old and new alike. Despite its rather low budget, it possessed some pretty impressive writing and acting from its rotating cast of characters. Despite it being yet another Terry Nation brainchild, the series would evolve beyond the initial proposal/concept of 'Robin Hood in Space' under the direction of Chris Boucher to become something more than just a Star Wars clone.

Over the years, the show's devoted fanbase have poured over the show's 52 episodes and have long clamored, demanded, begged and pleaded with the Powers That Be for some sort of continuation or revival... In spite of the show's rather unorthodox and controversial ending.

After numerous rumors and false starts, which even included a full on audio reboot/reimagining by B7 Media back in late 2007/early 2008, it would be Big Finish Productions that would take up the daunting task of reviving and expanding the Blake's 7 universe starting in February 2012 with the Liberator Chronicles and the Classic Audio Adventures in January 2014.

The Liberator Chronicles are essentially enhanced audiobooks often told in the first person by whichever character is chosen to be the focus of the story. Often they are supported by one or two other cast members in order to help keep things from falling completely into standard audiobook monotony. Before tackling the full cast audios, I shall endeavor to present my thoughts and views on all twelve volumes of the Liberator Chronicles.

Please bear in mind that these reviews are based on my own opinions and no one else's. While I shall endeavor to be as fair as possible, I am not claiming that my opinion is the only one that matters and you are free to agree or disagree with me as you see fit. Just try to keep it civil. So, without further ado, let's get started by examining volume one.

Blake's 7 - The Liberator Chronicles Vol. 1

RELEASED FEBRUARY 2012

Recorded on: 23 September, 11 and 14 October 2011

Recorded at: Moat Studios

Review By Robert L. Torres

The Turing Test by Simon Guerrier

'After evading an attack by Cassini Pirates, the Liberator heads to the rogue moon of Quentil, where Avon and Vila infiltrate a top secret Federation science facility. 

Vila assumes the guise of Dr. Yarding Gill, an expert in digital memory. And Avon is his "creation" - a super-advanced android that could pass for human. In fact, he does...

Can they maintain the ruse long enough to complete their mission? And will the Cassini Pirates catch up with them?'

Chronological Placement:

Series A - set after the events of LC Vol. 7's Disorder, between episodes Mission To Destiny and Duel.

This is a very well written story starring the late Paul Darrow as Kerr Avon, ably supported by Michael Keating as Vila Restal.

I love how the story is structured with Avon recounting these events AFTER the fact, like he was recording then for posterity into a dictaphone. I loved that Guerrier's writing didn't fall into the trap of having Avon try to do other voices or say 'said Blake', 'said Jenna' and so on. Nothing felt disruptive to the narrative and having Vila around never felt intrusive.

Kudos to Michael Keating for slipping back into the role of Vila Restal with relative ease. He will be quite reliable in a support capacity during many of these audios, and even get a chance at the spotlight... Which we will examine in due course. Right now, he lends his exceptional charm in this undercover mission posing as the scientist responsible for "creating" Avon.

Still, this story belongs to Paul Darrow, and he does a great job. It was a great story about what it means to be alive, what it means to be human and even serving as an examination of Avon himself. It was a nice inverse of the usual sort of questions regarding machine life wishing to be more human. Here we have a human considering himself to be more machine than man.

That is the interesting thing about Avon. Most scifi programs that deal with space travel tend to have an archetypical character known as the 'royal smart person'. For Star Trek TOS it was Spock, for Star Trek TNG it was Data, for DS9 it was Dax (and to a certain extent Bashir), for Voyager it was Seven of Nine, for Enterprise it was... Who the hell knows since everyone on that show was an idiot. As for Discovery... I honestly don't know cuz I haven't watched Discovery yet, but that's beside the point.

Avon is exceptional in his characterization only in that his desire to focus on pure logic and suppress his emotions does not come without its own drawbacks. Despite his intellect and skill with computers, he is someone that is also socially and emotionally cut off from others due to an inability to trust. He is also someone that sees the futility in giving over to emotional and irrational hysterics in order to showcase that he cares. Avon's intelligence also comes with a certain amount of ego, as he knows that he is smarter than many of his contemporaries, and much of the logic he embraces stems from a certain degree of self-serving self-interest.

His desire to assist in the situation with the AI android 14 stems from having an affinity with another creature of pure logic, and not wanting such a creature to be exploited and corrupted to further the aims and agendas of the Federation. This story is a great reminder of why Avon is a great antihero, as he is still willing to do the right thing in spite of himself.

Final Score: 8 out of 10 Plasma Bolts

Solitary by Nigel Fairs

‘Vila is in solitary confinement. His friends have abandoned him, his only contact with the world outside is Nyrron, a scientist from the planet Auron.

Amnesiac and confused, Vila attempts to piece together recent events... A mission to Dulcimer 4. An important meeting. And a visit to the jungle world of Terrulis Major.

In the depths of the foliage, the truth is waiting. And it's more terrifying than Vila could possible have imagined...’

Chronological Placement:

Series B - between episodes Redemption and Shadow.

I really do not have much to say about this story as it is profoundly unremarkable and is a major clunker in terms of execution of its concept, as well as the first person narration.

It has some interesting ideas, there is a central mystery that is interesting, with Vila finding himself in solitary confinement and abandoned by his friends, and we are introduced to a semi recurring guest character in the form of Auron scientist Gustav Nyrron, played by Anthony Howell ('Dr. David Keel' of the The Avengers: Lost Episodes range). 

Nyrron himself is an interesting character as an ally for Blake and the Resistance, which begs the question why Cally wasn’t involved in this story as well.  Because for an Auron scientist, he actually spends most of the time acting like either a reasonable interrogator or a benevolent psychiatrist for the imprisoned Vila. 

The whole story itself is not executed terribly well.  The Vila character spends a good chunk of the first few moments talking to himself, and then when Nyrron comes into the narrative, Vila spends the rest of the runtime being asked if he remembers certain events, and then goes on to basically recount events that lead up to meeting Nyrron and then goes on to tell Nyrron things that he already knows about. 

As a Vila centric story, its also not terribly good, not even with certain unexpected revelations made. This story does Vila no favors and we don't learn much about Nyrron either.  Fortunately, those are issues that would end up being rectified in later stories.  Definitely give this one a miss.

Final Score: 4 out of 10 Plasma Bolts

Counterfeit by Peter Anghelides

‘The Bovee Mining Facility: A Federation slave camp worked by disgraced scientists.

The planet shouldn't be of interest but it is: Avon's investigations reveal that it's rich in Illusium, a mineral that can change from one substance to another. With it, the Federation could be invulnerable...

Blake teleports down to Bovee, but gets more than he bargained for. There's another visitor to the facility - and his presence changes the whole game...’

Chronological Placement:

Series A - set after the events of LC Vol. 1's The Turing Test, between episodes Mission To Destiny and Duel.

This is not a bad Blake focus story, with added support from Avon. However, what we get is a pretty standard adventure with Blake hoping to obtain certain materials and destroy the means of that material being reproduced in another effort to cripple the Federation's power. We even get in an appearance by Travis, Blake's personal nemesis, to lure him into a trap.

There isn't a whole lot to say about the story because of how standard and basic it all is. The fact that the story is done on audio does play in well into certain revelations and surprise twists made within the narrative. Many of which I will not speak on as it goes into spoiler territory. Other than that, the story itself is not bad, it is definitely worth a once-over. Its just unfortunate that it is also pretty average and fairly unremarkable.

Final Score: 5 out of 10 Plasma Bolts

Final score for Volume One of The Liberator Chronicles in its entirety is 6 out of 10 Plasma Bolts.

It isn't the best start to the Blake's 7 audio range as it really only has one story out of three to recommend it. Its great to hear the original actors back again, and thankfully they will be served better stories in the volumes to follow.

Special thanks to Craig Brawley of the Big Finish Listeners Facebook Group for his tireless efforts in mapping out the chronology of the audios and determining how they fit in with the established TV continuity.

[rosecorcoranwrites]

Villain Motivation and the Banality of Evil

Motivation in Fact and Fiction

As you know by now, I am a huge true crime fan. I've read books by FBI profilers and crime historians, am addicted to the Investigation Discovery channel, and have even attended a semester of my local police departments "citizens police academy". This is a professional as well as a personal interest, given that I am currently outlining a mystery WIP set in an alternate version of our world. Thus, I want to understand crime investigation, different types of evidence, and, of course, motive. It's this last one—the motivation behind a villain's acts—that many authors, not just those who write mystery—concern themselves with. And, after examining hundreds of real-life crimes, I'm here to tell you that it's not that important.

Ok, it's a little important, in that a villain needs a motive, but it's not important that it be extremely groundbreaking, or extremely relatable, or extremely anything. Motives tend to be common place, not extreme, no matter how shocking the other aspects of a crime.

For example, the excellent book The Father of Forensics: The Groundbreaking Cases of Sir Bernard Spilsbury and the Beginnings of Modern CSI, which I raved about previously, contains a number of sensational cases where the bodies were either hideously mutilated or, conversely, found without any scratch on them. To add intrigue to injury, the murders happened in the early days of forensics, when procedures for dealing with evidence were still being worked out and when more modern investigative tools like AFIS, DNA testing, and psychological profiling were still decades away. Every case was fascinating in its details and in its eventual solution. Almost every case had, as a motive, either money or getting out of an unwanted relationship. That was it. The oddities of the bodies were the killers' attempts at not being caught, but the reasons for there being bodies in the first place were as average as could be.

In fact, the three main motives, according to Lt. Joe Kenda, of ID channel fame, are money, revenge, and sex. The more headline-catching serial-killer crimes happen, it seems, due to a desire for power or a thrill. I would say these five motives sum up most murders, maybe even most crimes. Once you cut away the mystery and the gore, all you're left with are some pretty average human desires: money/stuff, vengeance/justice, sex, power/control, and thrill/excitement. When people talk about the banality of evil, this is what they mean.

Take the motive of "money". We're all familiar with the idea, in real and fictional crime, of robbing banks or killing someone for their life insurance. Writers seem to find this an acceptable plot point: villain wants a lot of money and thus does very bad things. Yet, if you watch enough crime TV, you will know that real murders happen for sums as low as $400 or even $40. There was an episode of Homicide Hunter: Lt. Joe Kenda where a man was shot and almost killed over an argument about 25 cents!

It also needn't be money, but material possessions. In one of the citizen's police academy classes, we learned about a local case where three teenagers broke into a man's house and stole, among other things, his corncob pipe. This pipe was the item he was most upset about, and often discussed in subsequent weeks. So the man lured one of the teenagers out to the woods and shot him execution-style. He was planning to do the same to the other two, and blame the whole crime on his teenaged lover. So that was one life ruined—and it would have been three others, had he not been caught—with the motive of revenge for a lost corncob pipe!

The Gap Between Good and Evil

I thus wonder why it is that we, as writers, tend to overlook such commonplace motivations. There's an unspoken assumption that the motivation of a villain must scale with their actions, so while sub-bosses or henchmen might get away with being in it for the money or the thrill, the Big Bad needs a more exciting or deep motivation. There's also a more recent idea being bandied about in internet circles that the villain should think he's the hero. I think both of these concepts are flawed, but let's take them one at a time.

Although I personally love "True Believer" villains that really do believe they are doing what is right, I don't think it's fair to say that all villains must be this way. After all, a great many real-life villains don't think they're doing something good; they just don't care. They want what they want and do what they can to get it without worrying about morality. I think the reason that this second sort of villain--the thrill-killer, the evil sorcerer, the bully--get a bad rap is that people (both readers and writers), don't understand evil. Yes, a villain who only desires evil is unrealistic, because, in fact, it's impossible to desire evil. But maybe I'm getting ahead of myself.

In the Catholic tradition, we hold that evil doesn't exist; it has no metaphysical reality. Evil is a privation, or absence, of good, similar to how a shadow doesn't exist, but is a privation, or absence, of light. Thus, a person cannot desire evil in and of itself, because they would be desiring nothing. Every evil act is done because someone is desiring something good, but disproportionately, or in a way that removes part of the good from that thing. Again, look at the five motives for murder. Each of those is a good, in and of themselves, but none justifies violating another person.

And thus we come to the other assumption about villains, that their actions must scale with their motives. I think, in fact, the opposite tends to make a more interesting villain. The motive can be something small--wanting revenge for some slight, or a peaceful life, or to be like everyone else. These might even be the same goods that the hero desires. What makes the villain villainous, and what can make them even more interesting, is what they are willing to do to fulfill these desires. Who or what are they willing to throw away? What rules are they willing to break? That distance, between what they want and how they get it is what separates them from the hero.

Types of Villains

This principle, that a villain must desire a good, but desire it disproportionately, can work for any type of villain.

Take the True Believer types: those that believe they are doing what's right. In this category, I would put people like Thanos (Avengers: Infinity War), as well as A.I.s like Agent Smith (The Matrix), VIKI (iRobot), and the Terminators (Terminator... obviously). Thanos is widely lauded as one of Marvel's best villains because he really does think he's doing the right thing. He is willing to throw away half of all sapient beings, plus the one person who he actually cares about, in order to save the other half. What he wants--peace and prosperity--is understandable, but while the gap between that and his genocidal actions is mathematically non-existent, it is morally huge. Similarly, the three A.I.s I mentioned are trying to save either robot-kind or human-kind, but are willing to murder thousands or even billions of humans in order to do it. Essentially, these villains are doing the classic Utilitarian trolley problem, but on a massive scale. They think they are the heroes, and truly do desire a good outcome, but the actions taken to bring that about are inexcusably evil.

Similar to the True Believers are a type of villain I will call the Desperate. These people are also trying to bring about good, but know that what they are doing is wrong. Mr. Freeze (Batman) is a classic example, as he commits crimes to get money and technology to save his wife. Actually, there are a whole slew of villains, mostly in anime and JRPGs, whose entire motivation is to save or resurrect a dead wife or girlfriend. They're trying to save someone they love, but they rarely brand themselves as saviors or heroes; Desperate types hold no such illusions. Sebastian, in my own series, is such a villain, in that he is willing to betray his friends and ally himself to bad people in order to save Chiaroscuro and make up for his past sins. He's willing to do evil that good may come of it, and actually uses the "I'm a bad person anyway" excuse as a justification for his actions.

On the flip side are those who don't care about whether or not they're doing good, which I will divide into three types: Dark Lords, Thrill Killers, and Egoists.

Dark Lords, obviously, include literal Dark Lords, such as Sauron and Voldemort, but I'm also going to throw in your average serial killer into this category. Why? Because they all want the same thing: power. The books I've read by FBI profilers chronicle the most gruesome crimes with motives ranging from rage to lust, but there is an ever present need of the killers to control, whether that's controlling their victims, the situation, or the police and firefighters (in the case of arsonists). Control is related to power, and power, in and of itself, is a good. This, in fact, is why it's wrong for these villains to take away the power or freedom of their victims. While a True Believer like Thanos sought balance, Dark Lords seek an imbalance, and want everything for themselves in an attempt to prove to themselves that they are more powerful, and thus better, than everyone else. These types of villains are, sadly, very realistic, but don't lend themselves to stories requiring a strong interpersonal conflict between hero and villain. They tend to act as a force of nature the hero must work against--whether in a fantasy against a Dark Lord or in a thriller against a serial murderer--and thus don't do much in the way of interpersonal conflict.

Better, in my opinion, are the Thrill Killer types, who see the world as a game, and are willing to do whatever it takes to have fun. Example of this are The Joker (Batman) and Mr. Sato (Ajin). Though The Joker is a bank-robbing thug, he's mostly in it for the laughs, and cares very deeply about whether or not things are funny. That doesn't make him any less abusive or violent, but the gap between his humor and his barbarity is what make him an interesting character. Mr. Sato, similarly, sees the world like one huge videogame, in which he has been given extra lives. Fun and games are a normal and natural good, but his villainy stems from what he is willing to do in this "game". Mr. Sato has absolutely no concern for human life, even his own, and kills hundreds of people (including himself, on multiple occasions!). The interest in this type of villain comes from watching their crazy schemes and then trying to figure out how the hero can possibly beat them. These villains are similar to Dark Lords in that they are something like a force of nature, but different in that the hero usually has to face off against them personally, outwit them, and deal with them as an individual person.

Finally, there are those who want something personally good, but have no regard for others. Technically, this could also describe Dark Lords and Thrill Killers, but here I mean really personal, as in specific to that person. Rather than something big like power or a crazy thrill, they tend to desire the utterly ordinary. Take the robot in Ex Machina. I'm not sure everyone would classify her as a villain, though she certainly did some evil things (it's up to interpretation whether she understands good and evil, though). What was her motivation? She wanted to go watch a crowd. She was, essentially, created to gather information, so that's what she went to go do. It makes sense that that's what she wants, but it doesn't justify what she did to the main character (even if he was kind of a doofus). Or Rezo the Red Priest (Slayers), who, in my opinion, has one of the best motivations of any villain ever. He was born blind and wanted to see. That's a totally understandable motivation. But he's willing to sacrifice the entire world to a demon lord in order to get that wish. Now that is a heckofa gap between a good desire and an evil action! And yet, is it really all that different from the sort of selfishness present in a man who would murder three teenagers over a corncob pipe? Real evil motivations are banal, and real evil actions are completely disproportionate to those motivations. Art, in the case of these last villains, is simply imitating life.

Asking What the Villains Want

Obviously, there are a million different ways of combining these villain type and motivations. Some villains want money so they can save a dying loved one. Some villains desire revenge because they truly believe they have been wronged. A Thrill Killer might find excitement in killing criminals. There is no one right way to write a villain, and there is no one motivation that is the only interesting kind. To anyone trying to write a villain, I suggest reading about or watching shows on real life criminals, from the Big Bads like Hitler, Stalin, and Mao to famous killers like Jack the Ripper and Ted Bundy to run of the mill criminals in your local newspaper. People don't become mass murderers or even petty thieves for no reason, but they also don't just do evil because it's the evil thing to do. Even the most gruesome atrocities were rooted in the desire for misplaced revenge, or disproportionate control, or a false belief in some so-called greater good. Then, I suggest reading and watching your favorite stories and asking what makes these villains tick. Is it the same as in real life? Is it different? What makes a great villain so great? You'll may just find that it's simply a matter of proportion.

[didanawisgi]

What Nietzsche really meant: The Apollonian and Dionysian

One God stands for order, logic, and reason. The other stands for chaos, madness, and drunkenness. Nietzsche thinks you need both.

SCOTTY HENDRICKS 27 August, 2018

We all know the kind of person who likes to impose order on every situation. They want reason, logic, precise definitions, and despise chaos. Likewise, we all know people who throw order to the wind, follow every impulse they have, are drawn to chaos, and hate restraints on them.

While most of us would look at these kinds of people and see nothing more than personality differences, Friedrich Nietzsche saw an enduring dichotomy inside all of us which emerges from nature itself and can be applied to art, psychology, ethics, and politics.  

The Apollonian and Dionysian

In his first book The Birth of Tragedy, Nietzsche examines art, particularly ancient Greek plays. While he didn’t write the last word on the subject, he did use the book to introduce a concept which would continue to appear in his thinking long after he dismissed his earliest work as “badly written, ponderous, embarrassing, image-mad and image-confused.”

The two forces of nature he introduces show up everywhere. While their most famous iteration was as pillars of Greek culture, they can also appear as drives within us and even as historical forces. He names the two halves of this dichotomy the Apollonian and the Dionysian, after two Greek Gods.

Apollo, the God of the sun, truth, light, and logic, is the namesake for the first, ordered, half. This is the half that covers everything which is structured. Sculpture, an art which is pure form, is the most Apollonian art.

Rational thinking, which is based on logical structures, is also Apollonian. Since this drive tends to put things into their place, it also tends to individualize and distinctly separate people and ideas from one another.

Nietzsche thinks dreams are the most Apollonian state we can experience. He bases this on the idea that we understand what we see when dreaming isn't real, but merely an image. It has been suggested that he was a lucid dreamer to explain this strange notion.

Dionysus, the God of wine, festivals, and madness lends his name to the later, frenzied, half. Music is the pure Dionysian artform since it doesn’t appeal to our rational mind but rather to our emotions. The Dionysian doesn’t categorize and tends to blur the boundaries between the self and nature.

The esoteric and mystic cults of the Greeks, many of which were dedicated to Dionysus, offer an alternative to the rationalism of the Apollonian and were noted for their “sexual licentiousness.”

Drunkenness is suggested as the pure Dionysian state. He gives us a fantastic description of the Dionysian when he explains:

“Transform Beethoven’s ‘Hymn to Joy’ into a painting; let your imagination conceive the multitudes bowing to the dust, awestruck- then you will approach the Dionysian.”

Nietzsche suggests that folk music is especially Dionysian and that “it might also be historically demonstratable that every period rich in folk songs has been most violently stirred by Dionysian currents.” This explains a lot about the 1960’s.

Two men ride home after the Woodstock Music Festival; three days of music, free love, and drugs that dissolve the boundaries between self and the cosmos. A more Dionysian event is hard to come by. (Photo by Three Lions/Getty Images)

How can these drives ever be combined?

Getting these two drives to work together is difficult, but not impossible. Nietzsche saw their fusion as ideal, as it allowed the tremendous frenzied energy of the Dionysian to be applied constructively inside an Apollonian framework. He thought the ancient Greeks, perhaps uniquely, were able to blend the two drives in their culture.

In Greek tragedies like Oedipus Rex, dreadful concepts like death, fate, and unfairness were expressed in a beautiful and ordered way through plots and dialogue. The audience viewed these concepts in a Dionysian way since they were watching an unrelatable main character experience them as explained by the chorus.

The chorus' unity and detachment from the action helps the audience to separate from themselves and consider the ideas in the play in a depersonalized way. This allows the viewer to deal with unpleasant ideas in a way that is gentler than frank, Apollonian discussion.

The ability of Greece to fuse the two ideas didn’t last forever though, eventually, the Greeks drifted towards the Apollonian again, to Nietzsche’s disappointment.

He argues that the movement from plays which focused on great heroes towards subjects that the audience could relate to allowed audiences to judge the people on stage and restored their self-consciousness when watching plays. The audience, now individualized, could no longer get the same comfort from theatre as they could before.

Is the Apollonian bad?

It’s not bad at all, but Nietzsche knew that we need both. The loss of the Dionysian in drama and society is, therefore, a loss to our own ability to be complete people- let alone the effect it has on plays.

The Apollonian gives us reason, order, law, and harmony. These are often very good things.

How can I use this?

Even if you’re not a playwright or a classical scholar trying to make sense of Greek Civilization, these concepts can still be of use. We all have both an Apollonian and Dionysian side to us. While many thinkers have downplayed the Dionysian and sought to promote only the rational, structured parts of us, Nietzsche thinks this isn’t just folly but detrimental. He mocks those who try and avoid the Dionysian, saying they :

“turn away from such phenomena as from “folk-diseases,” with contempt or pity born of the consciousness of their own “healthy mindedness.” But of course such poor wretches have no idea how corpselike and ghostly their so-called “Healthy-mindedness” looks when the glowing life of the Dionysian revelers roars past them.”

But this doesn’t mean that you should utterly give into the drunkenness, madness, “sexual licentiousness,” and boundless chaos of the Dionysian. Instead, it means that you should accept that part of you wants those things and strive to harness that energy towards a more constructive goal.

Does this have use elsewhere?

Ruth Benedict has used the dichotomy to describe different cultures in her anthropological work. Camille Paglia wrote a controversial book suggesting men and women embody the archetypes and that there is a biological cause of this. Freud, whose ideas covered similar ground as Nietzsche's, described the Id in Dionysian terms.

While Nietzsche later dismissed his first book, the ideas he put forward in it are still of great interest. His understanding that we all have forces of reason, irrationality, structure, chaos, individualism, and cosmic unity within us all would later inform his psychological insights.

While his theories on aesthetics might not have been the end all answer he was looking for, the Apollonian and Dionysian dichotomy remains a useful way to view art, psychology, and society.

[thankyoumskobayashi]

The symbolism of changing clothes: Hualian and color schematics. (Spoilers up to Tian Guan Ci Fu Chapter 109).

In the most recent chapter, Xie Lian, Hua Cheng, Wind Master, and Earth Master all go to a small town where their flamboyant attire stands out. Everyone changes except for Xie Lian, who dresses casually because he has spent most of his immortal life wandering the mortal realms and therefore he is better equipped to handle them. During the protagonist's backstory, author Mo Xiang Tong Xiu states that Xie Lian has always like to wear white clothes, and reminds the reader of this fact throughout the previous two cases Xie Lian handles. In this case, Xie Lian's choice of clothing remains pretty static.

He had gotten wiser throughout the years, and grown to see (perhaps) the folly of his younger ways. He had grown resigned to misfortune to the point that he scared away Venerable demons because they couldn't feed off of his broken dreams. This is some serious depression right here. Even though his consistent choice of clothing paralleled his consistent personality traits, Xie Lian's clothing choice is perhaps symbolic of more meanings.

Taoism is the cultural paradigm pervading Mo Xiang Tong Xiu's cultivation novels (or probably cultivation novels in general, but I have only read hers thus far), and some of the things it emcompasses are the concepts of yin and yang energy. White, or Xie Lian's chosen color of dress, represents the masculine yin energy. It is, as Mo Xiang Tong Xiu states many times in Mo Dao Zu Shi, the energy of life, an active energy, and a force for good. This "force for good" was shown as Xie Lian modeled the perfect cultivation student as a Crown Prince, and it became his driving motivation when he reneged against the divine rules of interfering with mortal matters.

This active energy means he is by nature a proactive person. He created a sign saying "renovation needed" by his latest tiny temple, he didn't wait for reinforcements when he learned his idiot cousin was kidnapped by the rebels but left to rescue him anyways, he volunteered to help the noble family when they threw out a doctor to gain a chance at feeding the two kids. From the time he was mortal until Xie Lian's present day, he has seen a need and strived to meet it. Giving rain, saving the child Hong, helping the merchants in their caravan. He has a desire to provide for and protect others -whether from royal duty to the people or compassion matters not- which has become innate over 800 years. It's instinctive. He has become the model of yin energy personified, although his portrayal of leadership is not what one might expect.

The "leaders" one could think of are loud, commanding, in control of everyone and everything. However, that level of micromanaging may produce hostility, helplessness, and resentment among the subordinates. Xie Lian steps in as a leader only when no one else knows how to or even wants to handle it. His main goal is calming people during times of paranormal crisis, like his many attempted directions to the mob on the mountain, or the directions to the soldiers not to jump into the pit. He also wants to keep the others safe, which lends itself to his self-sacrificial tendencies. He understands that even his subordinates have a right to run away from the case, even if that strands him in a precarious position. He listens to their concerns and mediates their fights. Although this may seem like the caricature of the "weak" leader, Xie Lian's leadership methods show the people he works with that he is dedicated to providing their safety and peace.

Rather than proclaiming he will protect them, as he did when he was the Crown Prince of Xian Le, Xie Lian tells the merchants he will go with them and demonstrates through actions that he will protect them along the way. He used this method of showing before telling as he protected the child Hong (whom he'd first saved when Hong fell from the sky) from his evil cousin's murderous schemes. He ordered the carriage stopped, carefully picked up Hong, did some crowd control, then marched that kid right up to the palace healers. He showed Hong he was there to protect him, murmuring comforting things to him along the way.

That child, as you may suspect from Mo Xiang Tong Xiu's love for creating many identities for her characters, likely will turn out to be the devotee at the run-down Temple of the Flower Crown Prince, aka the Temple where Xie Lian first noticed and appreciated the white flower in his statue's hand. It was implied that Hong, touched by Prince Xie Lian's rescues of him, looked up to him even after Xie Lian ascended to godhood. Hong looked up to him enough to do something different than the rest of the followers: establish his own personal symbol for Xie Lian in the white flower, and actually listen to Xie Lian's instructions to his worshippers on how to worship him. Touched by these two things, Xie Lian protected Hong from the children bullying him and invited him to sustain himself from the fruit offerings given. Hong confessed that he didn't know what to live for and Xie Lian told him "Live for me."

With all the political unrest, drought worries, and epidemic to worry about, Xie Lian didn't remember this child was Hong, who he'd saved from falling and from his cousin before. He merely saved him again and left to do more martial-godly stuff. Eventually, Hong heard through gossip that Xie Lian was on the battlefield fighting the people who wanted to escape the droughts. That, I believe, was when he first began pursuing Xie Lian, probably beginning as a form of hero worship. He snuck onto the wall guard then, and caught a glimpse of Xie Lian and his assistants as they guarded the royal capital. They got notice that Qi Rong was kidnapped and Xie Lian, ever a man god of action, left alone over the wall to fight them.

Hong siezed his chance then and followed him to the mountain, even after he was vastly outstripped by Xie Lian. He still caught up eventually to help Xie Lian deal with the plants, and sliced them down in a fit of anger while they tormented his hero. At this point Hong only ever wanted to pay back his hero for saving him, but was forced to watch Xie Lian harm himself rather than injure the child nearby. Indecency aside, Hong was probably enraged by having to watch his idol stab himself under the influence of demon plants. From there, it isn't hard to imagine Hong learning, perhaps as a young god himself, the exact effects of those demons. He would have learned that Xie Lian would rather sacrifice himself than kill another person. And even if he wouldn't die, he had been prepared to make that sacrifice. It isn't hard to imagine Hong becoming enraged at those demons Xie Lian had faced, before he had known what they would make him do. It isn't hard to imagine Hong, a nascent Demon King, seeking out and destroying all of those kinds of demons in a form of vengeance.

By this point you have probably arrived at the same conclusion as me: Hong/Hua Cheng/San Lang is in love with Xie Lian. He is pursuing him romantically (as well as sexually, though I'm not writing this essay about that) throughout the eras. Yada yada, this was in the summary Mo Xiang Tong Xiu provided with her novel, stop telling me this. I get it. But she likes to take an incredibly roundabout approach to storytelling, not addressing these things until at least 20 chapters later. As of right now the part(s?) when these things are discussed by the characters in-universe have not yet been translated. So forgive my redundance.

Mo Xiang Tong Xiu likes to give color schemes with her main pairings. This was true with Wei Wuxian (red and black) and Lan Wangji (white and blue). It also goes for Xie Lian and Hua Cheng as well. Xie Lian is white, and Hua Cheng is red and black. There might be other colors mentioned for both which I haven't picked up on, so I will only focus on those three. This essay began with everyone besides Xie Lian changing clothes. Hua Cheng changed into black clothes from a previous outfit which was a white robe beneath a red one. Let's examine how that color psychology helps him pursue Xie Lian's affections.

First of all, the red and white. Red is the color of passion, anger, excitement, and danger. It is attractive and alluring. These adjectives all describe the person Hua Cheng became over his 800 year existence. They were shaped by his determination and drive, his tenacity and his passion. His love for Xie Lian shows in his fixing the door, kissing him in the lake, sending up 3,000 lanterns. His love is the kind of unbounded, head-over-heels timeless love we have heard about in the Odyssey: he is the one seeking to find his way back home, back to the person he belongs with. He said so when he told Xie Lian (paraphrased) "Paradise Mansion is a house but not a home. It doesn't feel as much of a home as your tiny cottage does." When he is at the shrine with Xie Lian he is laughing and joking, offering to do domestic things simply because he is content. Here, his red is affection.

When Xie Lian is in danger, his red becomes the red of power and anger. After Xie Lian got stung by a scorpion snake, Hua Cheng immediately stopped the swelling by cutting the wound with a borrowed cauterized knife and sucking out most of the poison. When Xie Lian jumped into the pit after him, Hua Cheng had already killed all the wolves and was waiting to catch him at the bottom. Heavenly officials all told tales of how he caused only death and devastation in his wake.

Perhaps, if he hadn't had someone to look up to, he would have already fulfilled that prophecy of destroying the world.

But with Xie Lian's influence, he had someone to look up to. He had some model of morality in the Crown Prince who had saved him three, four, five times without even demanding thanks in return. Hua Cheng had plenty of time to learn about Xie Lian's compassionate and just lifestyle through hearsay and word-of-mouth news. He had plenty of time to analyze on the actions he'd seen Xie Lian perform firsthand and gain a reasonable grasp on his personal morality. By adopting some form of Xie Lian's moral code, Hua Cheng chose not to kill the entire world. He fought his so-called destiny with Xie Lian as assistance. Or perhaps? Perhaps his evil fate, bound far in the distance like a train stop down the track, was entirely shifted, a shifting of the rails so to speak, the moment he heard Xie Lian, the god who didn't appear to mortals anymore, whisper those words: "Live for me."

He truly took them to heart, although in a different way than Xie Lian probably intended. Rather than living out his life to make Xie Lian proud of him, he strove to become someone on equal footing to the pedestal in his mind he had created for Xie Lian. He strove to become someone who could properly charm Xie Lian and earn his trust. He wanted to be as powerful as Xie Lian was in his heyday. He wanted to have Xie Lian see him as a dependable and trustworthy person, but he probably ran into trouble finding the Flower Crown Prince after Xie Lian descended to the mortal realm for the second time. Everyone may have either made fun of Xie Lian when Hua Cheng asked after him, or flat out didn't care to learn or pass on his location. And so Hua Cheng made his own fortune, embraced his own power, became the Demon King who would kill everyone except the two gods who had formerly assisted Xie Lian.

If there is some plot to Xie Lian's second fall which complicates this somewhat--and knowing Mo Xiang Tong Xiu there probably is what with 135-6 chapters untranslated-- please know that it hasn't been translated yet, and that I am not a psychic. Anyways, when Hua Cheng 'first' appeared to Xie Lian, his clothing was crimson maple leaves on a white background. This shows that his own personality, vibrant and powerful, has been affected profoundly by the gentle, compassionate, noble personality of Xie Lian. He keeps Xie Lian's personality closer to his heart- and shows it to fewer people -than he does with his own personality. Hua Cheng said earlier on in the novel that he would give his ashes- his own biggest weakness- to someone worthy, someone kind who would guard them and do with them as they wished. And that if, at any point, he did something that person didn't like, that person could end him right then and there. Then he left the next morning, leaving Xie Lian with a ring on a silver chain. Suspicious? Hm. Coincidental? Very.

He has known Xie Lian for almost as long as Feng Xin, and nearly as long as Mu Qing has. He has known Xie Lian better than most other followers, since before he was a god. Hua Cheng even defied Xie Lian's orders of forgetting him, as well. That QianDeng Temple was probably built hundreds of years ago, as soon as Hua Cheng became a Demon King, and just sat there waiting for him to bring Xie Lian to see it. Since no one in the crowd was talking about it, and no one ever suggested going near it as a dare, it is reasonable to induct that Hua Cheng built it awhile ago, and Hua Cheng enforced strict punishments towards anyone who dared go near it. He probably tested out E-Ming on whoever tried to visit it, whoever commented on it, etc. Then the rumors got around that you'd be tortured for looking at it so everybody in Ghost City stopped. Once Hua Cheng showed QianDeng Temple to Xie Lian, he was probably nervous that he defied those orders, to forget the god whom he'd idolized, but luckily for him Xie Lian has a shitty memory and was impressed instead of embarrassed or angry at him. Xie Lian has mostly been ostracized from the Heavenly Community due to his infamy and wandering the mortal realms. He doesn't have people with a similar sense of humor to talk to, he's mostly lonely. Which brings us to the black robe: the role Hua Cheng dons in an attempt to win Xie Lian's favor.

In the yin-yang symbol, the two tapering swirls of black and white have a dot of the opposite color inside them. The white is the yin, and the black is the yang. Those two are eternally matched with each other for eternity, a profound meaning not lost on Hua Cheng when he chooses his clothing next. Since Xie Lian has no need to change his outfit, as he already blends in, Hua Cheng changes his own outfit to complement that. Yang energy in Mo Xiang Tong Xiu's novels is typically the energy of the dead, malevolent energy, the resentful power which a certain necromancer harnessed for personal gain. This kind of energy is what ghosts, demons, and the like all share, and as King of Demons it fits Hua Cheng to change to an outfit of its color.

However, the inherent paradox within their relationship is that fundamentally, Xie Lian and Hua Cheng are pitted on opposite spiritual axioms. This is much more complicated than the "opposites attract" adage; Hua Cheng has similar strategies and theories to Xie Lian about the cases they solve together. Xie Lian is happy that his funny password made Hua Cheng laugh. No, there's parts of their personalities picked up by the other and folded into them, whether consciously or not. Hua Cheng's persistence at following Xie Lian during the Qi Rong's rescue becomes Xie Lian's persistence at hunting the fetus spirit, even if he has to swallow it AND his sword to do so. Xie Lian's intervention on Hua Cheng's death becomes Hua Cheng sending "greetings" to tyrants because he has standards for who's allowed to be on the throne, you know. They reflect each other, both looking in a puddle of water, both dripping from the blood of their casualties, accidental or not. The difference is, Hua Cheng can bear that weight of casualties differently than Xie Lian.

Xie Lian considers himself a has-been. He was great once, but not anymore. He failed to do what he'd said he'd do, and paid the price with followers and powers. Hua Cheng, after getting back into contact with him, is just as smitten now as he had ever been before. He showed Xie Lian a roomfull of swords just to hear him ramble for hours about how cool all the swords were and then told him, point-blank, "You can have all these swords." This Demon King wants to give Xie Lian reasons to be happy and excited again. He wants him to go on rants about the stuff he enjoys just so he can watch and listen to the Flower Crown Prince talk, his eyes sparkling, his expression unguarded and happy like he once was.

After they visited QianDeng Temple together, Hua Cheng explained to Xie Lian that none of his things could be stolen from Paradise Manor without his permission. Elaborating further with "...once something is in my hands, it's mine," Hua Cheng might be simply making things up sarcastically. Or, it could be one of the times when he is deadly serious and every word is accurate. We as a reader can't quite tell if Xie Lian is fully processing this, but he thinks to the first time he met Hua Cheng in the Ghost City. There, Hua Cheng had placed his hands carefully over Xie Lian's to help him roll two sixes on the dice. Did that mean he had already claimed Xie Lian as his? Does Xie Lian know the romantic implications behind that? Did he recognize the romantic intentions behind Hua Cheng's kiss? Mo Xiang Tong Xiu experience says that he didn't, but the clues are blaringly obvious to the reader.

Xie Lian has never left Paradise Manor through a door without Hua Cheng by his side. He has left through the roof, but that was one time. It will be interesting to see whether he can leave by himself later. Casein point: Hua Cheng built Xie Lian's door. Did he use the same spell on it that he did with Paradise Manor doors? If so, how can Xie Lian use it when he's not around? A viable explanation is that by giving Xie Lian his own ashes, Hua Cheng has granted Xie Lian co-ownership of Paradise Mansion and he will be able to go wherever he wants at any time. Either way Mo Xiang Tong Xiu chooses, this will be an exciting result. Through all of these cues and more, Mo Xiang Tong Xiu has shown us Hua Cheng's dedication and loyalty to Xie Lian, with his words, actions, and clothing choice. His name, however, as a Demon King: Crimson Rain Sought Flower, is incredibly obvious. The white flower is a symbol he personally gave Xie Lian after he ascended the first time. In QianDeng Temple, Xie Lian even holds it up and asks if "...this is the kind of flower [he is] pursuing," to which Hua Cheng, delighted that Xie Lian finally realizes his romantic feelings, replies that he has the premonition of gods. Xie Lian had only asked about the flower, not himself. It is unknown whether Hua Cheng understood that, but either way his tone reads as teasingly sincere.

One last thing: the whole "falling" in love thing. Hua Cheng fell from the sky in order to first meet Xie Lian. He was probably chock full of adrenaline and scared to death, but once those strong arms caught him and held him away from danger he felt safer than anywhere else in the world. He probably wanted to know more about the person who had saved him. I bet he manipulated the info of who saved him out of Qi Rong when Qi Rong's five hitmen showed up to kill him. I bet just knowing the name of the person who'd saved him was what drove him to fight like a madman to avoid dying by Qi Rong's interference. That led him directly to the carriage's path again, and then to Xie Lian's arms again. He was calm when Xie Lian was holding him, but no one else. He didn't give a shit when the Head Priest predicted a future of only destruction, but heard Xie Lian insisting that he was capable of doing good. This fundamentally changed him as a person, even if Xie Lian didn't remember it later. This, I believe, is the reason why Hua Cheng left the world largely intact. Plus he didn't know where exactly Xie Lian was, so he couldn't just destroy large areas without possibly creating a most unwanted casualty.

Falling from the sky, beaten and dragged behind a cart, accused of bringing doom, watching Xie Lian stoically face angry crowds, asking the god who no one heard from anymore why he should live. Watching the flower demons torment his hero. Although many assume Hua Cheng decided to become strong enough to protect Xie Lian at this point, it could have been a resolve building up since their first interaction. Whatever the case, suffering through watching Xie Lian deal with the outbreak, face the angry mob, get heckled as he held up the Pavilions day in day out, that was the acute torment which fueled Hua Cheng's determination to become powerful. That this remains his worst fear, even after he now is at LEAST as powerful as Xie Lian in his heyday, says much about how much he loves Xie Lian.

Pursue his affections, he's the kind who loves with his entire heart. And since you wear a white robe, his color, close to your heart, perhaps he is the person nearest and dearest to yours...

[hellzyeahthewebwieldingavenger]

Here is the thing about Ben Reilly in Clone Conspiracy.

Hypothetically the idea of someone who has to an extent led Peter’s life but who’s been so damaged that they are now a villain, but their villainous acts still come from a place of misguided altruism is an interesting idea. It really is.

But there are several problems with the way Slott realized this through Ben Reilly (for the sake of argument lets pretend Ben27 is the legit Ben Reilly) in Clone Conspiracy.

First of all the most glaring problem is that whilst this was not inherently a bad idea for a villain the fact is the character was being set up to be what all observations indicate to be a redeeming hero or anti-hero. Ben Reilly Scarlet Spider the series appears to be about someone not actually being a villain but at worst someone who’s doing bad things for good reasons.

And we’ve already had that before in the past with Spider-Man.

Superior Spider-Man.

Venom.

Kaine.

Some were better than others and they might’ve been different to Ben but the point is this is not a fresh idea, at least not entirely.

Worse is the that whilst up top I said this wasn’t inherently a bad idea for a villain, giving him his own series removes him as a villain in Spider-Man’s world. Like even if he is an outright villain it is meaningless unless he is actually actively going up against Spider-Man himself. 

Its one thing to follow Kaine on a redemption tour it’d be another thing to follow the adventures of Ben Reilly who is a bad guy but is deludedly thinking he is doing the right thing. That’s basically 90s Venom sans Marvel outright pretending he is actually a good guy. With Kaine, there was no delusion, he was genuinely trying to be good but stumbled and struggled along the way.

Then you have the fact that Ben in Clone Conspiracy just went full on evil mad scientist and tried to mass murder a lot of people. At best this is cliche, at worst this is a rip-off of the Jackal from Maximum Clonage, ever a good thing. It is also way too MUCH of a leap from who Ben was to how he is now. Maybe you could justify it on the grounds that he’s insane and therfore it is not unrealistic. But is it not a lot more interesting and rewarding if you can draw a clearer line between his life and experiences and his actions even if they are crazy.

Case in point. Doc Ock was bullied and belittled by many people growing up but his mother hammered into him how special and intelligent he was. And in fairness he was immensely smart lending validity to her claims, claims which would be taken to heart not just because he was a kid but because she was his mother and the person who gave him the most unrepentent affection throughout his life. Consequently Doc Ock is mentally and emotionally unhealthy because he is walking around beleiving himself to be superior to everyone else, has some proof that validates that belief, and has a burning desire to prove it to everyone who ever hurt him. When he loses his fiancee and his mother and is hurt in an explosion and on top of that gets clear PHYSCIAL power too he goes over the edge and lets his ego run loose. You could even argue his inhibitions are gone now. He wants to hurt the world as he has himself been hurt but also wants them to appreciate his genius and respect his power so he is never hurt and bullied again. This leads him to doing stuff like causing a nuclear meltdown in order to stop it or detonating a nuclear bomb to prove how dangerous he is even if it’d kill him too.

These are insane and irrational but by looking at Doc Ock’s life and by extension getting into his head you can understand how and why from his warped point of view he would do those things even if they do not entirely make sense.

Similarly you can understand why Ben Reilly would clone a load of dead people and even insist they are the real deal. MAYBE you could even understand why he’d try to kill Peter upon his refusal to ally with New U. But mass murdering people? No. That is just evil crazy bad guy does evil crazy thing because he is evil and crazy. 

And that isn’t the only example of that with ben. A shitton of his actions honestly do have to be explained via ‘he’s crazy’. Now arguably given his experiences this is not unrealistic but for the reasons I outlined above it is bad writing. 

From a creative perspective having a character be crazy generally isn’t enough as a justification for them doing anything and everything. You have to both be more specific and at least allude to a clearer line of reasoning between their mentality and their actions. You can even do that with the 1990s Jackal in Maximum Clonage. The idea and execution might’ve been godforsaken but it wasn’t like it made no sense for the Jackal to try and pull that plan. Miles Warren obviously has a God Complex and through his cloning can to all intents and purposes create and manipulate life itself. He effectively brough back a dead person, replicated a living person, replicated himself the very being who created those people and in characters like Spidercide he even managed to create something more powerful and dangerous than the original being it was based upon. The idea that he’d thus want to eradicate life and replace it with his own creations actually seems entirely logical from his own warped point of view. You can follow the line of reasoning once you understand the context of where he is himself coming from and the beliefs he holds.

However that doesn’t change how it was still a reductive direction to take the Jackal in both because of the concept he was originally created for and also the context of Spider-Man’s world. This applies to Ben as well.

To begin with the notion that Ben would attempt to make Peter feel better by bringing back all the people who’s died in his life is far less powerful coming from a place of twisted brotherly love as opposed to if Ben did in a sense think of himself as the real deal Peter Parker. If this was essentially yet another clone of Spider-Man, or maybe even someone who’d somehow come to beleive themselves to be Peter Parker and their actions were coming out of a warped perception or misinterpretation of who Peter was and Peter’s own thoughts and feelings that’d be a powerful examination of who Peter is. It’d highlight the guilt he feels but also showcase his ethics as this warped version of him crosses boundaries the real Peter never would.

But in the story as presented Ben Reilly basically ‘resurrects’ everyone for Peter’s sake not his own. His goal was to alleviate Peter’s guilt and was thus a step removed from being truly powerful. After all there is little to no emotional resonance to Ben Reilly resurrecting Jean DeWolff, someone he never even met, because he knows someone else feels sad that she died. Compare and contrast to the hypothetical that a clone of Peter believing itself to be Peter or at least acting out of warped emotions inherited from Peter brings back Jean DeWolff due to the tormenting memories he has of her? Way more poignant right? This isn’t even getting into how it makes little sense for Ben to resurrect VILLAINS who’ve died in Peter’s life like Bart Hamilton or Jason Macendale. These were not people Peter OR Ben had much of an attachment to, nor were they people who’s deaths’ either one felt guilty about.

But moving on perhaps the biggest problem with CC Ben Reilly is how his portrayal throws away everything Ben was before, aside from the vague idea he has a brotherly bond with Peter.

Sometimes these radical departures can work, but only when they are egrgiously additive, or because the original concept was so weak or things of that nature.

But compare this to Mary Jane’s character development from the 1980s. That worked with some ideas that’d been hinted at as early as ASM #122 at the very least. It also didn’t ground up change her to the point of her being unrecognizable. The development was a slow burn that came from realistic, common and organic stimuli. 

For Ben even if you take his experiences to be metaphorical for something that could happen in real life, he was essentially tortured into madness whereupon he acted little-nothing like he did before. Torture was more or less an in-universe soft rebooting of the character. It was too quick, too abrupt and at the same time too uncommon in real life to carry any true meaning. Even Peter Parker’s own change in personality in the pre-Clone Saga era (where he ran around referring to himself as ‘the Spider’) was a slower and more justified change from an execution point of view. 

To go back to Mary Jane, whilst she acted somewhat differently after we learned her backstory than she did before or back when she was originally created she could still do all the things she did before that made her popular but now with added dimensions. Dimensions which made her an even better match for Peter in all the ways she was before and more, thus adding to the narrative and enhancing the point of the series. It wasn’t a soft rebooting of her character as was the case with Ben.

But let us look at another point of comparison: Harry Osborn.

A good supporting character turned into a  great villain before that led to his destruction.

Why, might we ask, is this acceptable but Ben’s turn is not? To do that let us examine Harry’s character for awhile.

Well for starters Harry was not an invaluable supporting character and his history dating back to the 1970s and arguably even before that very much invited the idea of him going on a path of self-destruction. Thematically this made for a POWERFUL short term story arc that not only added more dimensions to him as a character and briefly provided peter with a true Goblin nemesis after so long (and one aruguably better than any before him). It also enhanced the overall mythology of the Spider-Man storyline as it paid off seeds planted long ago with Norman’s character.

Now sure, we briefly got a great villain with a fitting end, but lost a less good but still good supporting cast member. So was this not a reductive trade off? Or are villains just more important than supporting cast members. 

To the latter the answer is that some villains are more important than supporting cast members and some supporting cast members are more important than villains. Good villains are worth their weight in gold but Flash Thompson isn’t as important as Doc Ock and Otto isn’t as important as MJ. More on this later though.

For Harry his role as supporting character whilst good was not something invaluable to the series the way Peter’s relationship with MJ or Aunt May was. Harry’s primary role was that of Peter’s best male friend who had Daddy issues from his old man being a psychopath. Issues which by the way were hardly a constant in his history. Such a role could’ve been filled pretty adequately by Flash Thompson, especially after DeMatteis established he was abused by his father and like him had become an alcoholic. Substance abuse+Daddy issues+animosity turned friendship with Peter Parker. It sounds an aweful lot like Harry, even down to the idea of there being a cycle of abuse, something which was introduced to Harry’s story only in the mega arc which resulted in his destruction. And of course Harry’s ghost loomed over the series therafter and could’ve done so more had the writers made better use of it.

Although they weren’t really slouching as Harry’s death was a massive motivator for Norman Osborn’s return and renewed rivalry with Peter. Norman is the best Spider-Man villain there ever was so Harry’s death bringing him back is a pretty good trade off.

Furthermore Harry’s progression into villain (and by extension removal as a supporting character) and MJ’s own development were very much earned by the writers through a slow building narrative.

Now lets compare this to Ben’s case.

For Ben the change from what he was to what he is now was abrupt. Essentially one issue’s worth of torture broke his mind to allow him to be whatever the plot demanded of him. This is not an earned change.

But moreover it does not add to Ben’s character so much as wholesale changes it. 

Ben Reilly as well meaning yet ultimately unethical super villain seeking to take Peter’s mantra to extremes is an entirely different concept to Ben Reilly man who’s Peter Parker had his life gone down a different road, man who’s struggled to balance being Peter Parker and his own man and accept that he is entitled to his own humanity despite the circumstances of his birth. And above all man who truly loves Peter as his brother.

You could argue the same is true of Kaine but not really when you break his character down. Kaine was driven by physical pain and inadequacy to help Peter in violent ways and to hurt Ben out of spite. But he and Ben grew closer over the course of several stories and accepted one another as brothers. In a sense this is a great reverse pay off of Peter and harry’s relationship and makes a lot of sense to do when you consider Kaine’s animosity was wrapped up in Ben being the real Peter Parker and he himself just being a pale imitation of him. In light of Ben ACTUALLY being a clone after all Kaine and Ben’s relationship changing makes a lot of sense and is justified by virtue of Kaine originally being conceived of as an ongoing villain for Ben Reilly when Ben was going to be the lead character of the franchise. Since that wound up not being the case there is greater justification for Kaine’s role changing. And in a narrative where Ben didn’t even exist having Kaine become the Scarlet Spider is incredibly fitting.

Returning to ben though, not only does Clone Conspiracy radically alter him but it does so in such a way that really is unnecesarry.

The interesting and poignant character moments and ideas behind this villainous take on Ben Reilly could’ve been achieved as effectively had he been substituted with another character, perhaps another clone of Peter’s, perhaps even Spidercide, or perhaps someone who simply has come into the possession of Peter’s mind, memories and emotions.

Through all these methods you’d come out with the same interesting conception for a villain, that of someone who has a warped interpretation of Peter’s beliefs and is willing to go to unethical extremes to achieve them, not unlike Jason Todd when he was first brought back to life as the Red Hood. But you come out with this conception without throwing away Ben Reilly as we knew him.

Looking at Clone Conspiracy there were seldom any moments of true poignancy which required it to be Ben specifically rather than a generic clone of Peter’s. If the Anubis style Jackal had unveiled himself as simply another clone of Peter’s and explained his life of never ending death and abuse at the hands of the Jackal Peter might still have been sympathetic to his cause and briefly been tempted by his offer. After all it wasn’t really the fact that the Jackal turned out to be Ben that tempted Peter so much as the idea that he could bring back Uncle Ben. This hypothetical other clone of Peter might even have struck a chord with Peter by appealing to him as a brother reminding Peter of Ben, or perhaps might even have deliberately brought up Ben in an effort to make Peter sympathetic to him.

Now true, this would water down a dramatic reveal and reader’s emotional investment in the character since it is not one they already know. Similarly there would be less irony to Ben Reilly affecting a scheme not dissimilar to Miles Warren’s his creator.

However these aspects as presented were poorly executed, unnecessary or indeed could’ve still been dramatically effective even without it being Ben specifically in the role he was in.

Revealing Jackal to be a clone of Peter would still be a shocking twist even if it was a new clone instead of Ben. Indeed revealing this to be a reformed (in more ways than one) Spidercide could’ve still carried a shock for older readers.

The disintegration of Ben’s brotherly relationship with Peter and Kaine would’ve been mostly lost but few readers liked that in the first place and to make that point as an argument in favour of this being Ben is the equivalent of arguing there would be no weight to One More Day if it was not Mary Jane who Peter was parting ways with. 

Finally the irony of a clone of Peter affecting a plan and methodology not dissimilar to Miles Warren would not be devoid of irony even if it was not Ben Reilly. Like Ben this new clone could’ve been abused by the Jackal (Ben was abused in the back up stories of Power and Responsibility) and would still have a metaphorical father/son relationship with Warren. Potentially this new clone of Peter’s would also have Peter’s memories of the Jackal thus acting like him would still carry weight to it.

Indeed in this scene we see little reference to Ben’s own life rather than the memories and experiences he has in common with Peter.

Even if one were to argue that not making this villain Ben Reilly would nevertheless not be AS effective as going ahead with the story as was could one hand on heart say that the Ben Reilly we got in this story was worth trading in the one we used to have.

I already talked about what Ben was above but nothing else is it not more poignant to have a character who is a true brother figure for Spider-Man rather than another villain?

Spider-Man has lots of villains and lots of good ones at that. And whilst good villains are invaluable, the series clearly has never NEEDED one of the variety Ben provided in Clone Conspiracy, as potentially interesting as he was conceptually.

So the question is do we supplant an established well developed and multifaceted character with a unique and irreplaceable relationship with our hero with a mentally deranged yet interesting villain to join the ranks of Peter’s already substantial rogue’s gallery?

Or to put it another way should we get rid of Spider-Man’s one and only legitimate brotherly relationship and supplant it with another villain who knows his identity and who represents a corrupted friendship?

The answer is patently obvious.

[elizabethrobertajones]

9x20 rewatch

@justanotheridijiton sent me a reminder that there are at least some small ways this isn’t as terrible as it could be, I think:

(http://leethomson.myzen.co.uk/Supernatural/Supernatural_9x20_-_Bloodlines.pdf)  

Of course Mel could have just been tormenting me by making me read the whole script right after I watched this..

There’s no recap on this, and we jump right in with jazzy music and a city skyline. 

I think one thing that was interesting about this was that with the right premise, this could have been a pretty great way to branch off the show, by taking it into the city as a permanent location, since the source material is very very rural. Along the way in this rewatch (and bearing in mind that this episode was eventually coming) I’ve talked about how Taxi Driver and 8x15, among others but mostly Buckleming, fuck up the show’s aesthetic by going inner city or delving into settled subcultures of monster stuff or just generally bringing in an urban fantasy slant to what is basically a cowboys vs monsters show. It really doesn’t fit :P This could have been a fascinating way to explore how to make the same aesthetic FIT. But as I mentioned, the above episodes plus years of drifting since like, season THREE, have taken us so far from the show’s original aesthetic/genre it’s hard to analyse this as a shift and more like an inevitable grim outcome, which doesn’t taste as good at all, since there’s not much sense of subversion of the source material going on (because this needed to happen like 7 years ago at this point to work like that) and sadly even Dabb, who has been demonstrating with season 12 he CAN subvert the story from its origins, could not pull off the work needed to salvage this idea from the trainwreck concept...

Anyway before I dive in, all the dreading watching this episode made me think a lot about genre. There’s a difference between episodes which are set in cities (e.g. Dean going to Death to stop him wiping Chicago off the map, or the MotW we’ve seen that have city settings) ... Urban Fantasy had a big trend of popularity in mainstream culture, soaking up a lot of themes I noticed, which I guess was really hitting its stride around season 8 & 9 (this is based mostly off my window on the world but it did seem this was totally in line with the amount of urban fantasy I was seeing discussed or stories I came across - my friend who had been churning through dark fantasy romances started lending me urban fantasy novels instead :P). But yeah, not like this show hadn’t gone corporate or done stuff in cities before, but they didn’t really make a big deal of being in cities? This being filmed on location allows them to use the waterfront skyline as an establishing shot and to play with the city as a location, and to develop those urban fantasy ideas. 

Obviously, urban fantasy is popular and interesting and there are some brilliant stories in the genre. But it’s not Supernatural’s area and the best it does with cities is when they are a sort of landscape or vague presence, but the alleys and dark nooks and crannies and dank little hotels are the sort of ways they can use the city as a fairly “rural” setting in the sense that people aren’t around or it’s on the fringes without engaging. Even stuff like the Leviathan storyline is often dealt with by visiting warehouses and complexes which seem to be on the edge of towns - Charlie’s skyscraper job I think was the only time they actually went inner city, and again that was a change of genre to a heist movie one off (which worked well with the themes of the season but moving further and further from horror because even as a gimmick it’s dropping the format completely for a major plot episode) 

As soon as a city landscape is more than 1 lonely person walking in a dark alleyway with something bad following them, but starting to explore what the city MEANS or how the supernatural takes up residence in it as a sort of landscape feature instead of a horror that’s not meant to be there, we’re in to a sort of genre-shift where the themes of urban fantasy take over from the horror (and SPN really struggles with being a horror show still from season FOUR onwards, and from Carver era, basically just gives up anyway :P It has horror-y episodes within a different sort of framework entirely.) 

In Urban Fantasy it’s always about the people and cultures. The good stuff basically feels like it takes you on a walk around the city and shows you stuff you see all the time but with new eyes - turns random things like graffiti and gargoyles into fantastical elements and adds a mythology and magic to stuff you interact with all the time. It sort of invites you to go to the city and look around you and think that some magical underworld/otherworld is existing right alongside you. And it’s a LOT more about the sort of awe and intrigue of that and the normal coming up against the paranormal in an exploratory way. Including subcultures of monsters living among us or just out of sight or with a sort of speak-easy secretiveness of their lives. 

That is a major trope to mark the genre and as Bloodlines is a new show, basically, it actually does get to USE these tropes honestly. Like just looking at it as an urban fantasy, it does the job. It just happens to fit in a trend of pretty unlovable SPN episodes by Buckleming exploring deepest this genre shift in the Buckleming way of totally failing to sell it, so the history of urban fantasy on the show has been tainted by the only writers who actually were interested in it enough to start messing with genre in that way. It just... I don’t know, doesn’t *feel* good mixing with the other elements of Supernatural. This isn’t a formal essay :P

I still can’t think of other Urban Fantasy spn episodes that aren’t Buckleming, because they love their witches and messing around with developing that lore. I suppose season 10′s teasing of Men of Letters vs Grand Coven would have been a more urban fantasy story and stuff if there was any actual development of it like 8x12 also plays on these tropes, with a secret society in the middle of the city, so other MoL related episodes do similar (though, like, 9x16, Cuthbert’s house is in the middle of nowhere, deliberately). The BMoL’s little snippets of life in Britain are similarly in this trope so we have Urban Fantasy style enemies in season 12... Hm. Hi Dabb :P Anyway since Carver era the show’s completely shed its original genre save for in the MotW episodes, when it comes to format (I saw it best described as action-adventure) and setting (hi Bunker as a home base instead of Bobby’s or dusty cabins & decrepit houses) and feel (so garish) and I guess it’s interesting to look at the way this has changed. (I am not so fascinated with this idea that I’ll do the rest of the rewatch analysing everything by these standards, but I guess I’ll keep on mentioning it when the show goes in this direction and eventually have a clearer list of episodes with this feeling to explore...)

Back to Bloodlines... They make a good start by having an actual city here, and apparently meaning to film on location and to use it in the story. 

Sadly then pretty much everything else in the premise lets this episode down, as far as I remember, and, well, the entire world judged it when they watched it. :P I think I stumbled once across a confused and sad Tumblr user who really loved this episode and wished for more, and I think there’s some really good points like the main character being a black kid, that WOULD have made it a good show and worth a chance, but... eh, the story didn’t have any bite to it. It wasn’t picked up. And now it sits in the middle of this season like a lead balloon.

Starting with, the kid having his girlfriend fridged in the first scene in typical Supernatural style, because of clinging to the old tropes and trying to replicate the old show on top of the new one. This is something I saw described repeatedly as the biggest weakness with this episode - especially coming in season 9 carver era fatigue about the emotional loops (that will only get more tiring), people were just not interested in repeating the same old story over and over... When this aired I was still reading reviews and articles more than fandom to try and figure out what the reaction was supposed to be, but I seem to remember a pretty universal agreement here :P

This does, however, give us our first “in” on examining wtf Dabb is doing... He has been sitting fairly quietly since he joined the show and honestly when I joined fandom I saw posts explaining who he was and why he would have been the right pick to take Bloodlines away if it had been picked up (and no one had noticed he’d already written I guess at that point the second most number of episodes of anyone but Gamble, who he overtook some time in season 10 and is of course still going strong :P) - a lot of the writers like Robbie and Edlund and Carver were discussed fairly often as well as constant mentions of Kripke and Gamble. I found it pretty amusing that 3 years later people were still having to explain who Dabb was when he suddenly got handed the entire show, never mind any time one of his episodes came up and everyone was like !! who wrote this!!!!

Anyway, this is really giving us the example of how he works with mirrors and character re-use and basically repeating elements of the old story anew and as Mel says, “the only certain things in life are death, taxes and Dabb mirroring himself”.

And THAT is relevant to the story now, because now he has his hands on it, and ALL the story belongs to him, everything is picking up the old elements of the story and subverting them completely. The deeper we go into season 12 the more the old story is pretzeled in on itself... (I’m so in love with this article, and read the stuff after the initial episode recap, listing like 30 Cas episodes and how 12x10 references and subverts their themes and events...)

To get back to this fridging of Tamara, I don’t know if it was lesson learned here reading all the complaints about re-frying the show for Bloodlines, or he was just able to be more clever with the trope since it was already established and waiting to be flipped, but since Bloodlines starts with a fridging, Dabb era officially starts with the great un-fridging of Mary, which this moment is mirroring, by giving up a protagonist with the appropriate manpain to be a lead in a world running on Supernatural’s rules... 

Makes you wonder how Bloodlines would have gone if the woman hadn’t been "killed for narrative symmetry” but been allowed to be her own person - gone through everything with the guy, and generally existed alongside him subverting the rule that women are for manpain... >.> 

Having to use Home of the Nutty because I never downloaded this episode to have a personal copy to not have to fuck around with DVDs to get gifs and screenshots, but:

They have a blue and a pink screen above their heads, colour-coding them. It’s obviously hideously cishet to label them blue and pink for dude and lady, but with all the more subtle pink n blue colouring often around Dean (the wall in 10x05) or stuff like the blue and pink diner in 12x10 which I’m still chewing on, I kind of like the plain text version of this. Possibly because this episode is such a keycode to other things in the show like the ridiculous Destiel parallels, setting up basic visual information in Easy Reading mode is pretty amusing to me.

Ennis goes to talk to the restaurant guy to do the typical ring in the champagne thing. Despite seeming to know him, he’s brushed off rudely when some monsters show up and they’re going to their private section of the restaurant (a splitting of the two worlds - Ennis in the muggle one) and he sees a glimpse in the mirror of a monster (I assume the body guard is a wraith because mirrors and messed up faces). Mirrors also being the portal between worlds, and Ennis has had his first glimpse that something is not quite right - is now someone who is “marked” by the supernatural for having now been given his first little hint the world is not as it seems.

This actually reminds me of 6x01, where Dean was slowly eased back into being a hunter by hearing nothing more than a scream and going to investigate it - while doing so he passed through a lot of dust sheets which metaphorically stood for the same thing - the veil between worlds that Dean was going to move from the normal back to the supernatural

We then get the little intro to the supernatural as it exists in Chicago. They have an established subculture, various types of monsters all coming together to enjoy this goffik atmosphere. Enoby would love it here. :P There’s even a vampire biting a willing victim (dude vampire, lady victim. keep on playing those tropes literally straight) which feels right out the imaginings of a Twilight fan. This is also where RICH monsters go. I suddenly am thinking of a serious class divide - these are monsters who can afford to come to a fancy establishment, are probably all connected to these monster families who run the city some way or another and have the relative luxury to behave as themselves in large gatherings and to create a subculture. A LOT of the monsters Sam and Dean meet get by on very little, have abandoned places as hideouts and generally are grubbing around on the streets for a meal. These monsters can afford to cover up that they eat people, and can buy in to this society. Sleek clubs are a world of difference from the grubby bars that hunters make their homes away from home. 

So, again, feeling nothing like the show we normally watch, and many of the types of monsters prettied up. The shapeshifters use magic to change their appearance and it’s clearly a high society type of monster because they’re not messy, they can change at will in a very slick way and not depend on copying other people, so they are allowed a sense of self - a flexible one, but one that they can make their own, nonetheless. The alpha shifted this way, so I would suspect to even remotely try to connect them to the show’s lore, their family must be shifter royalty, close to the alpha in, well, bloodline, and clearly doing something to preserve that purity and magical transformation. They probably disown their kin who transform in the gross way - who knows, maybe some of the angry, violent shifters we’ve met in the past have been rejects from this family, angry about being shoved out into the world without any support? :P The first shifter we ever met back in 1x06 was particularly angry about rejection and lack of belonging and feeling like a freak. 

Anyway, just more ways in which these monsters are so far removed from the ones that made Supernatural what it is. They don’t have the sort of raw, honest angst and existential horror about their monstrous-ness that they should. They don’t personally FEEL monstrous, in that outcast and lonely way. I think the shifter, who DIDN’T have to kill to eat, but killed anyway, was a good way to explain a lot of the monsters on the show - any of the ones that embrace killing, even if it’s not overtly spoken, it’s because of the way they’re made to feel like monsters. Any that can get away with blending with humanity (I just watched 7x03 for example) have a choice to try and find a way to live within society (like the vampires in 2x03, all with night jobs, living peacefully) and even then being a monster sets them apart and presents them with difficulties, especially when hunters are drawn to them by accidents or carelessness and they have to defend their right to exist in society... 

In 12x09 I was flipping out about how Dabb is so great at establishing side characters (and I was thinking about a lot of the interesting ones I’ve passed in this rewatch as well) but yeah no not here. This shifter and werewolf are presented as jackasses and then everyone’s fighting because the slashy hand blade guy comes in (I can not remember which other fictional character he blatantly ripped off now but I remember seeing on my dash the comparison and it was embarrassingly direct :P) so there’s no investment here because, well, despite showing us there might be a more interesting world of monsters, these guys were not it. And now they’re dying and it’s like, so? 

Ennis attempts to propose to Tamara and it’s really sweet and pretty corny and typical romance. There’s not much reason to be invested in them either, which is all the more obvious when Tamara is literally a throw-away character as the bad guy chucks her aside and she bangs her head so it’s not even TARGETED fridging, like Mary and Jess were so obviously killed by whatever the main story would be.

Also because the last 2 episodes I watched were 12x09 and 12x10 I have now watched 3 episodes in a row where a black woman gets killed >.>

Ugh

Like, tiny good thing: if this had taken off, it would have been a show with a black lead. Who is really cute and giving it his all.

But. Meh. Fuck that trope >.>

Anyway, blah blah introducing the uninteresting shifter bloke who is the stand-in Dean. He’s at college but doesn’t feel interested in studying so he steals the answers - all laid back and fun until he gets a call that there’s been a death in the family to drag him back into all their drama. Sort of season 1 Dean swapped with Sam’s place, if you squint. Way too rich :P

Some shipping between Ennis and David would have been cool - Ennis has the mysterious last words from David’s brother to lead him to him, eventually, but there’s girlfriends everywhere, that message was ABOUT Violet.

Season 12 has laid it on thick with the inter-species forbidden love nonsense for angels, though, that this was originally paralleling Dean n Cas. Guess Dabb has a thing for it :P 

ENNIS I know what I saw.

DETECTIVE FREDDIE COSTA And you're sure? I mean...sure? 'Cause, what you're tellin' me... About this faceless whatever-it-is?

ENNIS That thing had claws.

FREDDIE Look, maybe you got confused. You know, maybe -- maybe it was some banger with a knife.

ENNIS I know what I saw.

FREDDIE I am trying to help.

ENNIS By calling me a liar?!

This exchange is pretty stupid when you consider a black kid being cross-examined by police. He does know them - the guy references his old man, and I’m vaguely remembering was his dad a cop? So he might be a bit more comfortable with them, but he’s still in a dodgy position, and arguing that it was a “thing” is a terrible idea to “invent” a monster because it just makes him look suspicious.

However it does fit the trope that Ennis is suddenly really credible to monsters after seeing a few things, and now is in that stage where he’s still freaking out about monsters maybe being real. He has to hold onto the memories of what he saw - he can’t question it or lie because he needs to preserve the memories properly, so he doesn’t think he’s gone crazy. Because he’s going to investigate further and he knows holding onto the monster thing is the key to finding out what REALLY happened, and the authorities dismissing it is dismissing the best lead they have.

This of course does fit with the season 9 theme of narratives and stories, because it turns the whole “non-existence” of monsters into a narrative people tell themselves to make them feel better, and certain people discover the “subtext” - the literal world of monsters living hidden beneath our own - and now read the world completely differently. People deny the monsters exist, don’t pick up on the clues, ignore the subtext... And people like Ennis who suddenly discover how to read into it, or the Winchesters who are always searching for cases intentionally reading between the lines to find monsters...

In this case the Urban Fantasy mode of hiding monsters overlaps completely with the horror way that Supernatural uses them, so these are compatible worlds. The genre shift is really like, looking at it through a different lens. Interpreting the same subtext in a different way, but still, importantly, seeing beyond the surface layer.

Blah blah Ennis has messed up history with his father, hey guess what fitting the profile nicely :P

Sam and Dean conveniently show up now we know everything we need to know about Ennis to let him interact with the bridge between 2 worlds. Dean dismisses the cop by telling him they just won’t tell him what they’re investigating - refusing to let him in on the story. 

We see Sam and Dean from the outside eyes; if you never saw this show before they’d just be weird FBI agents with implausible names who swooped in, took a statement, and swooped out: the suspicious enemy who are probably going to cover it all up (if you still think they’re FBI and have those sort of resources :P) They also listen to what Ennis has to say but then dismiss his story too - “there’s no such thing as monsters” Dean tells him (which is ironic for where Dean is at too). Of course there’s the 2nd level at work that we all know who Sam and Dean are and that this is just drawing attention to the fact another story is at work, a knowing nod that there’s a subtext at work here. 

The next scene also establishes that the detective also knew about monsters, so now we know Ennis is being played by multiple sides, all telling him that there’s no such thing. All motivation that he has to get to the heart of it because he KNOWS he’s been lied to. The cover up of the world of monsters is the real plot tension at stake, because of course the first step for a muggle human hero in these sort of stories is the discovery phase, so he has to reach this sort of block at first, where he’s made to doubt.

I suppose it also makes Sam and Dean shown in a light where they’re no better than the monsters; everyone has a stake in keeping it from muggles - whether to protect them or to stop the monsters being exposed. 

MARGOT Yeah, you'll what? David, come on. You don't want this. You ran away to be a human. You always had a soft spot for 'em. Look, you're out. Stay out.

David being paralleled with all of TFW here. He leaves the family for several years and now the dad is dying... They’re trying to mimic Dean’s carefree yet sensitive swagger with him, and of course it wouldn’t be Supernatural if the “good monster” didn’t have a massive soft-spot for humans and wanted to be like them and live like them, so parallels that endgame for Cas.

In the love story he parallels Dean, though, while at the moment the Sam and Cas stuff is most obvious, of course he ends up mimicking the 6x20 scene from the Dean perspective. There’s a brief mention of her, establishing David was in an inter-species romance and that she’s now being married to someone else. At the moment in the end of season 9 Dean and Cas are in a weird place - I wouldn’t say a break up like some of their others, but Cas is also answering a call to help his family, gathering an army, and Dean is super weird about them. And of course, in a Dabb episode, building up to the “us or them” with Hannah, who was vaguely coded as a romantic threat to Dean in the love triangle - the jealousy was played off a lot more on his side than anything that happened between Cas and Hannah, in the long run. Anywho that’s all waiting to happen, so it’s paralleling Cas’s supposed split loyalty, which also, because of 9x18, we know he was already forced into.

I think the djinn should have been actually middle eastern but oh well way past the point of judging this episode - why am I even trying :P

Violet shows up wearing a heart pendant... wow subtle 

(Too much heart etc)

(Mary parallels? She used to have a heart pendant, right? Before she started wearing the ring instead)

She’s also wearing cream, which is beige-ish.

Just to establish these are not nice people, her brother(?) tells her her job is to be silent and pretty. A token figurehead - powerful but only as an image they wield. Which I think is sort of what Metatron does with Cas, because 9x14 showed him he couldn’t beat him down or have him subservient to another angel - he had to be in charge. But Metatron was in charge of the story, so Cas just had to look pretty, play his part, and Metatron would handle the rest >.> Cas is currently “ensnared” in this since he answered the call at the end of 9x18.

Ennis walks through the city looking around vaguely suspiciously - maybe wondering who is a monster or not around him. The whole transformation of the world part, where he learns to see it with new eyes and to open his eyes to the fact it could be more than he’s noticed before. Perception is the key, and this makes a GOOD follow up to 9x18 telling us how to read a story.

He goes for the gun, obviously already seeking revenge, and discovers silver bullets - his father kept them, a first sign that he is Right and monsters exist coming from an authority figure he ACTUALLY trusts. 

(And in the wider scheme, also reminds us that in this world there are a lot of law enforcement who one way or another learn about the supernatural and carry on enforcing the law but with juuust a little extra knowledge to help them out)

Unnecessary flashback of Tamara dying is unnecessary. Thanks Singer. This kid playing Ennis was selling it really well without that being randomly inserted in his Sad And Lonely Revenge Look

Do the authorities know about the massacre? Did they just... Ask the people at the restaurant what happened and they were like, nah, just that random guy who staggered around outside and died, nothing to do with us, and the police never investigated?

The owner comes in with a mop and bucket. No CSI for monsters :P

I like that Ennis has changed into a camo jacket - nice symbolism about becoming a soldier on the path to being a hunter and getting revenge.

Awww he wastes almost all of his dad’s silver bullets. They don’t work on vampires, mate.

Dean making fun of the food supplies they stock of parts of humans to eat. More monsters being normalised, having a structure to feeding and therefore a supportive subculture. It’s almost like how we eat meat without knowing the animals it came from personally. In both season 6 and 7 the idea of humans as herd animals for monsters to eat was a threat, briefly with Eve, all season with Dick. Turns out organised monsters in cities have been doing it all along. The difference is it’s already in place, instead of the potential horror of it being done. I’m really not a vegetarian but try looking at it from that perspective of a cow walking into a meat cold store :P

Blah blah getting the monsters talk from Sam and Dean. Dean is flippant about killing the vampire but doesn’t seem super weird about it because there’s no time for the Mark of Cain arc, Ennis just gets to think Dean is more of a dick than he might have 

Ennis now at a crossroads to become a hunter, do the whole revenge thing, or just go back to his regular life (which he says is ruined, in that whole “burn everything down to motivate the hero” way that, as I said, was really rubbishly done to be convincing here. Like yeah he lost his girlfriend but it’s not like how Sam got shoved onto the road :P Failing to match up to the original story by just being not very committed to character drama over world building... I also think there’s just no developing the dynamic of the characters soon enough - Sam and Dean were back on screen together almost immediately after the title card. They had the whole pilot to show us their development. Now we see tiny establishing scenes for each of the characters and even Ennis’s journey is pretty weak, and it’s just not enough)

SAM Ennis, listen. I get it. Believe me, I've been there. But what we do? It's messed up. So do yourself a favor and stay out. You can get hurt, too.

Wow. Powerful incentive. No showing, just telling :P

Anyway NOW Ennis and David are talking, or, Ennis is yelling and waving a gun. David is Mr Exposition so their actual character dynamic building is pretty low. I suppose it mirrors after Sam stops the “intruder” in 1x01 they have a good long talk about how their life works for the sake of exposition, but it felt much more natural than “what are you doing in my room” “there are 5 monster families running the city...”

David and Violet stand and stare at each other and get really sad.

VIOLET Is the real butler okay?

DAVID He's resting. Locked in a closet.

Thanks Dabb, yeah, this episode IS really heterosexual.

Thinking of which,

DAVID  And I was there. Where were you?

Casually throwing in that old 6x20 dialogue between Dean n Cas. I think this would be less suspicious if there wasn’t another chunk of receycled dialogue somewhere else in the episode...

Anyway it’s interesting because dialogue snatching aside, rather than the context of 6x20 they’re talking about running away together to start a new - human - life. Cas was human this year and Dean ran off to see briefly but in the end they never got their act together and Cas was dragged back into the mix. Likewise it parallels all the times Sam or Dean ran off and made a normal life with Jess, Amelia, or Lisa, and took themselves out of the world of hunting. I was saying 9x09 quietly teased the El Sol go someplace better poster behind Cas when Dean was talking to him at the bar - the last time Cas was human and Dean saw him. Their chance to be together now just a dream. And it would have been a human life together. 

This is actually effective subtext for this season on top of mirroring 6x20. Dabb IS good at this part :P

blah blah new characters save each other’s lives, still more concerned about girlfriends

“blah blah five monster families” (again)

*Dean makes fun of the concept*

DEAN And sometimes you got to work with the bad guys to get to the worse guys.

Oh hello the entire reason behind Dean’s downfall this season :P

Played straight here. Ennis is not in trouble like Dean is. We’re just ignoring the main plot.

I like that filming on location means that they can have exterior shots that capture the recognisable city skyline when they go to the grotty abandoned buildings places

DAVID I lost someone, too, okay?! But I'm trying here.

ENNIS I'm sorry about your brother. He spoke about you at the end. He said, "David, I'm sorry. I didn't have a choice."

DEAN All right, you guys can kiss and make up later. We got work to do. Come on.

I suppose Dean ships it. 

The whole “I don’t have a choice” theme coming back around here. Justifying really terrible decisions and in this case being the reason that het!DeanCas aren’t together. Which considering this entire season has been just “I did what I had to do” followed by terrible decisions that keep Dean and Cas from each other, yeah.

Those lights with the cages around them are in the creepy guy’s murder basement.

He’s also, of course, a blatant Metatron mirror, once more trying to construct a story, in this case using the Cas parallel character to kick off a war -

IRV Why should I believe you? You're dead. Tomorrow, they will find pieces of you all over town. Oh, won't the doggies be mad?

VIOLET That's what you want. You're trying to start a war.

He’s also dressing up as a monster (in this case, the “good” guys since he’s trying to disrupt a status quo which is the second best thing to “no monsters at all” :P) and mimicking their kills; Metatron cosplays as Cas briefly, and of course disguises a ton of angel deaths as Cas’s work.

Werewolves would be a lot better on this show if they weren’t terrible. I mean, just because their powers are rubbish and filming Violet attacking this dude was painfully bad fight choreography. She kinda slow mo leaped at him and then sat on him growling a lot. David power-of-love talks her out of killing the weirdo. I guess her being overcome with rage is also a Mark parallel since this will be kind of how Dean stabs Gadreel and has to be restrained except that moment had dignity and tension (though I think Dean stabbed him in slow mo too, at least it wasn’t AWFUL slow mo :P)... 

Anyway here’s a scene with a werewolf overcome with rage to go with the Garth story immediately after Dean gets the Mark, and 8x03 and 8x04 weirdly mirroring each other AND what is to come in a season and a half, and of course 10x04 being a back-to-business werewolf story. I can’t remember any others connected to big moments in this arc but I might have blanked them out, and there is a werepire right after Dean gets the Mark off and all that action dies down :P

Oh wow I forgot this ended with Ennis just shooting the guy. Yay revenge? There’s probably quite trite commentary here which this show dealt with years ago about actions defining what is monstrous and conveniently omits that Dean’s headed right into the cosmic toilet as a result of revenge missions, and there’s a very on the nose line:

ENNIS I only see one monster here.

The show always uses some other means to kill a human monster than a Winchester doing it (unless we’re going seriously bad places - Thinman anyone? :P) just on principle that killing humans is a bit more ethically dodgy; Ennis falls under that rule on THIS show but say this was the start of HIS show... already crossed a line. Oops. Seems like he’d also be falling in with the monsters anyway since this is a set up to be BFFs with Violet and David as the good monsters on his side who like humans and the natural order, buuut. It’s all pretty silly. These poor characters are under developed for the sake of later development, but don’t have any interesting hook to make them worth that development so they never got their show? I guess?

Ending all the actual drama such as it was with 6 minutes to spare, we now have the long conversation between Violet and David about their relationship. Here’s the bit where Violet shows up to run away with David wearing a trenchcoat. Subtle.

SAL 'Cause he's my little brother, Violet. It's my job to protect him. It's my job to keep our blood pure.

I somehow feel like this is calling out Dean somehow but aside from the obvious “big brother does terrible thing to protect little brother” that this season kicked off with that is being critiqued I’m not sure what the bloodline part could even be metaphoric for. Possibly you could ignore the “brother” part and look at it as Gadreel having Cas kicked out the Bunker (or, well, Dean doing it because Gadreel) to protect Sam, so he mirrors both characters here - the douchey big brother shifter, and being paired off against Violet with the romantic parallels. 

Also amused about the angel lore from 12x10 and that’s pretty obvious now, but also I guess, wondering what would happen if a werewolf and shapeshifter had a baby. Could the 2 meet without knowing it, hook up, and produce a mutant offspring? - I guess I was also right about the shapeshifters being weird about their bloodline because I’d guess they’re always one bad match away from the sticky gross shapeshifters :P

Blah blah “David wants to go straight” blah blah “i love him”

blaaaaaaaaaaaaaaaah

VIOLET I don't know. I should go.

DAVID Sure, right. That's what you do best.

Sure wish Dean n Cas kissed like that after saying lines like that.

Well they’d probably have a ton more chemistry.

They last-minute reveal a sibling for Ennis just in case (hey, a sister, who we never will see :P).. Now we’re clear of actually having to WATCH this episode I do feel bad we don’t have a show for them, you know, if we started again from scratch, ditched the monster war thing, and let them figure out being hunters in the city together >.>

*Dean dragged away from this silly story by Cas* Thanks, Cas, you saved them more times than you can ever know. 

Always sad that was such a terse conversation but I guess Mark!Dean is the least likely version of Dean to answer the phone with an accidental “hey Babe” so there’s not much point lingering on their phonecalls.

Did they have to time that take waiting for a train, or was it just a coincidence? Train symbolism in season 9 is a thing.

Ennis goes off to get given a ton of main character nonsense heaped on him about starting being a hunter, wearing the ring of his dead partner around his neck, and since we weren’t done stealing elements from the early seasons, getting a mysterious phonecall from his (supposed?) dead father. I really feel sorry for that kid :P He did not deserve *gestures vaguely at everything*

[spynotebook]

We’ve run our 11 Best Single Issues Of The Year. Well now, Rich Johnston and the Bleeding Cool writers (not Jude) give you 11 collections and graphic novels to reflect on as we say good riddance to 2016 and welcome 2017 with nervous worry.

Eliot Cole

Doctor Who: A Matter Of Life And Death by George Mann, Emma Vieceli and Hi-Fi.

I don’t have quite as much to say here as I did in my “lack of words” on A-Force #4, but I find this Eighth Doctor collection just the lovely example of (a) comics and (b) what could’ve been with the best of all the doctors. George Mann’s stories are each self contained, following the fantastic journey of Josie, and how she becomes part of Eight’s life. Each story was a book, and was self contained, but lends well to the whole. I wrote 3 sentences on George Mann’s awesome plotting (and such), and having a good take on 8 but they amounted to that word, “awesome.” Emma Vieceli’s trademarked panelling design compel you through this beautifully, I could genuinely read pencils of this quality on anything. Ms. Vieceli is surely meant for the greatest of things. Do yourself a favour and check out Titan’s Eighth Doctor Collection.

Jeremy Konrad

The Fix Vol.1-Where Beagles Dare by Nick Spencer, Lieber, Ryan Hill, and Nic J Shaw

I actually was starting to feel a little burnt out by Image this year. Quite a few of their series were blending together and felt to be covering quite a bit of the same ground. That all changed when I picked up The Fix. This series, with its dry, sarcastic humor and panels that you have to study to catch every little  gag in the details very quickly became one of my favorites. And I mean, Pretzels. How can you not love a dog like Pretzels??? Every issue gets better and better, and hopefully it runs for a very long time.

Hannah Means-Shannon

Aleister & Adolf by Douglas Rushkoff, Michael Avon Oeming, and Nate Piekos

This book has been an outlier on many press radars, but it’s one of those densely crafted, significant works that hopefully will be the gift that keeps on giving, showing comic creators and fans what new directions in the medium can be taken. Written by powerhouse social critic Douglas Rushkoff and drawn by the endlessly original Michael Avon Oeming the book tracks a fictional account of Aleister Crowley’s media wars with Adolf Hitler based on a few key historical facts. It follows the life of a young military reporter assigned to Crowley through the course of “sigil” developments, like the swastika by the Nazis and V for Victory by Churchill in the war over human minds during WWII. Rushkoff’s characterization, research, and narrative framing devices, combined with Oeming’s emotive and often highly symbolic artwork make sure this book has something significant to say about the ongoing role of symbolism and propaganda in the way we see the world around us. It might just remind you of the dangers and the positive powers of belief and focus to influence any struggle, even on an international level. Aleister & Adolf may be about the second World War, but it’s highly relevant to our times and makes for a thought-provoking, and at times disturbing, read.

Joe Glass

The Wicked + The Divine Deluxe Hardcover by Kieron Gillen, Jamie McKelvie, Matthew Wilson and Clayton Cowles.

I mean, just look at it.

Let’s not even go into the story or anything yet, just take in this huge, black, hot foiled beauty! You can read comics on your train to work looking like you’re reading out of some mystic grimoire of mystery!

Plus, it contains Kieron Gillen, Jamie McKelvie, Matthew Wilson and Clayton Cowles’ incredible series of pop stars as gods and the hard price of fame (it kinda kills you in the end, which 2016 proved in force really, didn’t it?). Collecting the first two story arcs, plus loads of behind the scenes materials and a good chunk of Gillen’s breakdowns of the book, it makes for the absolute best purchase for fans of the series.

And it just looks sexy as hell on a book shelf!

Abdulkareem Baba Aminu

Huck by Mark Millar and Rafael Albuquerque.

Surprising myself, and after a great deal of thought, I have picked Huck Vol. 1 by Mark Millar and Rafael Albuquerque as the best graphic novel/collection for 2016. I started reading the monthly issues, up to the second, and I somehow fell off. But I did know I’d catch up on the trade when it gets released. And boy was I glad I waited. The story, collected, had a pace that was missing during its monthly run, and the character development proved to be near-perfect. Early comparisons to Superman did no justice to the story of a small town resident who’s revealed to have some truly awesome powers, of course with disastrous results. The art – oh, boy the art – is beautiful, aided by perfect colours and it sets the tone the right way. There’s almost a Spielberg-ian sense of wonder and adventure to the tale, enough to make me ignore the irritation that is an editing error which portrayed a factual kidnapping of schoolgirls by insurgents as having happened in East Africa, when the stated Sambisa Forest is in Nigeria, in West Africa. You could say it was personal for me. That aside – and I truly enjoy most of the Millarworld books – Huck is my absolute favorite.

Marilyn Weiss 

Nameless City by Faith Erin Hicks

I was so excited for this graphic novel to be released, it was easily one of the highlights of my reading this year. We meet Kaidu, a recent arrival to the Nameless City, and son of the latest ruling clan, Dao. As he trains to become a warrior, his adventurous nature drives him into the city, where he meets up with the lovable, street wise Rat. Hicks did an amazing job creating a detailed world that I would love to explore and get lost in. I can tell that there are so many stories hiding within the city, just waiting to be told. I would gladly hand this book to any fan of comics, be they young or old. The sequel, The Stone Heart will be out in April 2017.

  Rich Johnston

Patience by Dan Clowes

I’m a sucker for a post-modern time travel story. See my love for least year’s There’s No Time Like The Present by Paul Rainey. And Dan Clowes gives us actual plottage with Patience. A story of rags to – well not exactly riches, but a different state of being, as the newly pregnant young Patience is murdered, a series of events that destroys her partner, Jack. It’s his attempts to “put right what once went wrong” and the calamitous consequences of his actions, digging his own grave – or Patience’s  – deeper and deeper that drive this book forward. Or backwards. Which means you’ll have to reread it the moment you finish for that Sixth Sense experience. But for all that it’s the attitude of Jack, the anti-Hollywood hero that sets this apart, refusing to follow the obvious tropes or experiencing triumphs – or disasters as he may be expected to.

And the devil is always in the details. Clowes has always had a style that grabs the eye, gives it direction and pulls it forward, the narrator grip in full effect. Here every object in every panel could have serious significance that you will need that second – or third reading to pick up on it.

Toward a Hot Jew by Miriam Libicki

You know those overnight sensations who have been working hard at the craft for decades? That’s Miriam Libicki. In something that resembles the missing link between Marjane Satrapi and Joe Sacco, her autobiographical work exploring her Jewish identity, attractiveness and the reaction of those around her, whether as a Israeli soldier or a professor of art, this collection of a decade’s work jumps from illustrated essay to comic book panels, exploring the medium, the tools to create the work and express inner neurosis as beautifully – and as ugly – as possible.

Black Dog: The Dreams of Paul Nash by Dave McKean

Art about art – Dave McKean creating a comic about war artist Paul Nash, and how that artist turned the worst extremes of humanity into art that illuminated the mind. And then how it affected the young Dave McKean, and how his work has existed in relation to that of Paul’s. This is a giant standing on the shoulder of another giant and between them they can see so much about us. An incredibly moving masterpiece, and stands alongside McKean’s Cages, as an exploration of the effect of art on both the viewer and the artist themselves. Psychologically complex and using the very strictures of comic book panels, speech, character positions to demonstrate so much of what we are.

Rolling Blackouts by Sarah Glidden

Another example of comic book journalism, Sarah Glidden takes a trip to the Middle East with an eye on America’s influence on the region, travelling through Syria, Iraq and Turkey. But its also an examination of journalism itself, as Sarah is accompanying two “proper journalists” as they look at the effect of the Iraq War and of its refugees, so it also becomes a procedural for the profession as well – especially when they are joined by a friend and a US soldier who served in Iraq. And it suddenly gets a whole lot more awkward. Something that is made more palatable by Sarah’s soft watercolors, a different look than we might have otherwise expected.

Everyone has a story to tell. It turns out that’s as much true of the journalists as it is those they report on.

Clean Room Vol 1: Immaculate Conception by Gail Simone, Jon Davis-Hunt and Quinton Winter.

For some reason I never find The Walking Dead comic as gross as I do the TV show. I occasionally wondered if that was a creative choice of the limitations of the medium? Well, Clean Room answered that. It really is something very nasty indeed. Writer Gail Simone has rarely been given the chance to operate at this level. And she choosing the tack of making the people far scarier than the Entities that are meant to be threatening them, in terms of the moral choices they hold. Jon Davis-Hunt’s choices of style are also a surprise, eschewing the darkness for something brighter, more visible and cleaner. This is horror with the strip lighting turned up and refusing to blink.

It also takes suicide head on, as something fuelling the survivors, and as psychological as that is, the comic is never afraid to shlock-horror out, embracing that aspect rather than being embarrassed about it. It’s the combination of both approaches that elevates this title above the norm and makes it something special. And the way it buolds from issue only helps the trade paperback – even if you are denied the pain of waiting from month to month for cliffhangers to resolve.

Buy this for the Scientologist in your life. And then get Gail Simone to write Crossed.

            Bleeding Cool’s 11 Favourite Graphic Novels/Collections Of 2016