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tonydaddingham · 1 year ago

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Longwinded anon again. It's very easy to see where Aziraphale needs to get his act together/get therapy in regards to his belief in Heaven's essential goodness (and it was always very odd to see fans believing that four years would have been sufficient, narrative-wise, for that to happen--four years is nothing to characters who are immortal). Crowley, though, is still doing one of the most toxic things on his side of the relationship: he's being over-protective. In S1, the "damsel in distress" bits, which I know some fans like to romanticize, are harmful to both characters, because they make Crowley feel like he's doing something heroic when he isn't (every rescue in S1 is unnecessary) and encourage Aziraphale to abandon his agency. In the narrative arc, Aziraphale's discorporation, which Crowley fails to stop, is liberating. He does his conscientious objector bit, chucks himself out of Heaven, kicks Crowley out of his depression in the bar, vanishes the soldier, and then has to forcibly remind Crowley at the airfield that /now/, in fact, Crowley needs to do something or there will be irreversible consequences. And then they rescue each other through the body swap.

S2 doesn't have the big swoopy rescue scenes, aside from the 1941 replay, but what it does have is Crowley withholding key information that might well have altered Aziraphale's behavior. He clearly hasn't been forthright about what Gabriel really said at the execution, and he never gets around to mentioning that Aziraphale has put himself in danger of being zapped out of existence by Heaven. (This is very PRIDE & PREJUDICE: Lydia elopes with Wickham in part because her older sisters don't publicize his bad behavior.) Again, he thinks of himself as Aziraphale's protector, and while Aziraphale knows that Crowley likes to protect him--he even says so--in S2 he doesn't fully understand what Crowley is protecting him from. Nina asks Aziraphale why he doesn't stick up for himself, and he shows once again that he can, but in S2 Crowley thinks it's his job to keep Aziraphale safe from any real Heaven-sent nastiness that might puncture his innocence. Which prevents Aziraphale from evaluating his choices once the Metatron shows up.

(As for S3: Gaiman does appear committed to getting them together in their cottage, so I don't think a permanent breakup is on the horizons. I do think something drastic has to happen, whether becoming mortal, becoming a "new" sort of immortal being tied to Earth rather than Heaven and Hell, Aziraphale delivering a full-bore public rejection of Heaven with attendant consequences, etc.)

Longwinded Anon✨, light of my life, you are officially driving me insane with these asks (screenshots of others under the cut); there is so much fascinating insight to talk about. first of all, though, welcome back and i hope you are also Surviving following s2!✨

these two characters are two of the most fun to dissect and examine. they are hugely multifaceted, and every time i watch s2 and ruminate on them, there is more and more to find. the below is the result of those ruminations, and i feel the obligation to warn anyone reading that it is going to be a very, very long one, so ✨buckle tf up✨

further messages from Longwinded Anon✨, my beloved:

aziraphale: insecurity

to me, one of the key tenets of aziraphale's character is a deep-seated and complete sense of insecurity and lack of self-esteem. and it's not unfathomable to think that he's had a lack of self-worth for some time, carrying all the way through to the Feral Domestic™ (FD). bear in mind that all of the below is without reference to the pre-fall scene, which ill cover separately later on.

there is however the fairly obvious element that heaven and the archangels completely disregard aziraphale, and are condescending and reductive in how they perceive and interact with him. aziraphale, i think, adopted this mindset pretty heavily in s1 - one such example being the "I'm soft" line - and it is further explored in s2, but specifically at the later end.

aziraphale in s2 seems much more self-possessed and 'together', and a key element of that shift is not only his liberation from heaven, but also that he somewhat starts to see himself through crowley's eyes as possibly being worthy of being loved. i think that he starts to think of himself as, in fact, having intrinsic value.

this is shown, in particular, in s2 by the contrast between ep2's rock scene (where he starts to question the depth of his angelic allegiance, and that he might have actually done the right thing by following his own personal conviction and helping save job's children), and the majority of ep5 (ie. his absolutely astounding - by aziraphale standards - amount of confidence in himself to get him and the ball attendees out of demonic danger).

this is brought to a head though by shax's comments in ep5, where she really drives a stake into the core of aziraphale's insecurity. she remarks on his propensity for indulgence (sushi/meals), his tendency to be overtrusting and naive ("softest touch"), his lack of traditional angelic quality ("went native"), and the question of what exactly crowley feels for him ("emotional support angel").

setting aside Michael's acting - which was truly mesmerising in this one little scene, probably one of his set-pieces in the show, honestly - that tells us that this really got to him, we know from everything we have seen of aziraphale in GO that these are likely thoughts that he has repressed, or pretends are not conceivable when they absolutely are.

my final interpretation of aziraphale's insecurity, however, is not necessarily that he thinks he is without value or merit whatsoever, but that he is not enough.

he's good enough to guard the eastern gate, but not good enough to keep adam and eve from temptation. he's good enough to guard and monitor the antichrist, but not enough to be truly accepted as part of the heaven hive (his physical sentry post on earth notwithstanding). he's good enough for crowley to run away with to alpha centauri, but not enough to convince crowley to choose to stay and fight with him to prevent the apocalypse.

this starts to wane in s2, and he's noticeably more happy and confident... right up until ep6 when he's good enough to be loved by crowley enough to spend eternity with, but not enough for crowley to sacrifice his hang-ups with heaven and help him rebuild it as a team so noone else ever has to suffer what they both did.

the lines however in ep6 that particularly broke my heart, because aziraphale literally conveys this whole painful, bleeding part of his psyche to crowley, are the following:

a: "if im in charge, i can make a difference."

a: "i don't think you understand what im offering you."

whatever the motive behind metatron's offer to aziraphale (and therefore calling into question the sincerity of his compliments to aziraphale), aziraphale has literally just been told that not only does someone who - whichever way you slice it - is the highest being in heaven that he has the ability to run it, but he has the ability to completely gut and rebuild it for the better.

harking back to ep1 with crowley's statement that aziraphale only calls him for three reasons, one of which is telling crowley something clever ie. his own achievements, it does make me wonder how often this scenario truly happens. maybe it does happen often, but what does aziraphale actually consider to be an achievement? something to be proud of himself for, that is purely reflective of his ability and - by extension - worth?

when aziraphale tells crowley that he might be misunderstanding what aziraphale is offering him, i don't interpret it as anything to do with restoring crowley; instead, i just see aziraphale telling crowley that he is offering up absolutely everything that he is, every single atom and aspect of him, and all crowley has to do is trust him enough to take it. he is saying that he will love crowley, and crowley can be free to love him, but only, in aziraphale's eyes, if crowley can accept aziraphale as he is; that he is enough.

during this whole part of the scene, crowley won't even look at him. won't even face him, sunglasses or not, and acknowledge what aziraphale is saying, right up until this line. you can visibly see that aziraphale starts to get angry that the one person who made him feel any self-worth might in fact have never seen him as good enough in the first place, that crowley didn't in fact love every part of him, and was choosing to cherrypick the aspects of aziraphale that suited crowley, rather than the whole.

this snippet of the scene is compounded by being sandwiched by these two crowley lines which, in my eyes, really highlighted that crowley is in fact only choosing to accept aziraphale in small measures, and that other elements of him are not enough:

c: "...you're better than that, angel!"

c: "you idiot, we could have been us."

aziraphale is enough exactly as he is; he's not perfect and certainly not wholly complete, but for crowley to dig at aziraphale by intimating that he is not reaching the bar that crowley has set for him - potentially subconsciously - is likely be the true end for how much stock aziraphale put in crowley's perception of him, and by extension the worth that he thought he had in crowley's mind. instead, aziraphale is now left to find a way of building his sense of self-worth all by himself - and does so by stepping into that lift.

crowley: salvation

im not going to necessarily talk about all the times that crowley demonstrates an almost pathological need to be aziraphale's saviour, because frankly Longwinded Anon✨ has that covered. but as with all things GO-related, i think it's important to try to understand why.

i truly think that a cornerstone of crowley's romanticism is deeply rooted in the concept of salvation. now, we know that he doesn't appear to give a flying fuck about salvation from heaven, but he certainly seems to put a great deal of import on being aziraphale's hero, and later he seems to question a great deal when aziraphale essentially finds a hero elsewhere.

as LW Anon✨ said, aziraphale is very cognizant that crowley likes to play hero where he's concerned, and seems simultaneously resigned and excited by the matter; resigned because actually, sometimes, aziraphale is smart or powerful enough to keep himself safe, but excited because this is possibly the epitome of how crowley expresses his love for him.

aziraphale shows that he is fully aware of this characteristic of crowley's, and whilst he does play into it (which we saw throughout all of s1e3) to 'make crowley happy' (and, dare i say, also because at this point it is the supernatural, sex-less interpretation of centuries-long foreplay) in s2 it almost starts to become neglectful, overbearing, and dismissive of - as LWA✨ says - any true agency that aziraphale has built since breaking from heaven. this, incidentally, is highlighted in the following exchange:

c: "im gonna get the humans out of here and then im coming back, i won't leave you on your own."

a: "i know, but i have a suggestion-"

c: [interrupts] "ive got this."

whether crowley feels like he is missing any genuine overture from heaven to apologise for making him fall for a minor infraction, or he feels guilty about something that he did (ie possibly what made him fall) and is making his own reparations in the outlet of constantly being aziraphale's saviour, the one that is certain is that crowley has to feel needed, and by extension - loved.

he does have a nasty habit of putting aziraphale down (which ill talk about next), however much in jest, and placing aziraphale constantly under his metaphorical wing. aziraphale going so far in s1 to actually work out the apocalypse and proceed to take what he believes is the right action to prevent it on his own must have, by extension, sent crowley reeling - if aziraphale can in fact look after himself, where does that leave crowley? what else, in crowley's eyes, could he possibly bring to the table that would make aziraphale want to keep him? love him?

i think that this is crowley's own brand of insecurity; that unless he is performatively saving aziraphale and protecting him from harm, and actively dismissing aziraphale's ability to protect himself sufficiently enough, he has no discernible quality that aziraphale would want. so instead he tries to make himself so integral to aziraphale's survival so that aziraphale has no choice but to keep him.

the fact that aziraphale saves himself in s1, and they then reflectively save each other, did wonders for aziraphale in progressing as a character. however, in crowley, i feel that this frightened him so emotionally that it regressed his character somewhat. all coming to the climax of when aziraphale, in good faith, offers crowley the chance at salvation for himself, crowley vehemently refuses it and takes it to insult. there are many other valid and understandable reasons why crowley rejects the prospect, but one of them to me is that it would leave crowley's fundamental role in aziraphale's existence as completely redundant.

both: demonstrating love

essentially what i put in an ask recently, but needed referencing here too.

leading on from crowley and his hero/saviour complex: the thing is that these are two diametrically opposing people in all but a handful of aspects. crowley by large is usually the more obviously demonstrative in his affection, borne out of many different reasons, and he is the ultimate Acts of Service (ft. Quality Time) dude. aziraphale tends to be more subtle, with Looks and Words, in how he displays his, so let's give him the Words of Affirmation (ft. QT) crown.

in s2, it seems to me that this hasn't really changed, but they are starting to cross over into speaking the language that the other understands. and to me, this comes to a head by the time of the ep5, and the ep6 FD. so obviously crowley has finally bridged into verbally demonstrating to aziraphale how he feels. aziraphale did the same action but mirrored by - however misguided - offering crowley the chance to be restored.

but neither want what the other is giving; they want what the other usually does to show their affection. aziraphale wants crowley to demonstrate his willingness to be with aziraphale by coming with him to heaven, and crowley wants aziraphale to acknowledge what he is telling aziraphale and respond in kind. neither are at fault for wanting that; they have simply demonstrated their devotion to each other in different ways, but those ways have been quite damaging.

crowley does do a lot for aziraphale, that can't be denied, but AoS is way more demonstrative, and yet it's easy to miss what those acts are actually saying. WoA can be more casual but the words you choose speak volumes... "our car/bookshop", "id love for you to help me", "my friend crowley", etc.

whilst i don't necessarily subscribe to the psychology of love languages, they're useful for this sort of analysis. aziraphale does even branch out in other languages; he is constantly touching crowley this season; the pub, the ball, the bookshop in early ep6. quality time is a given, and has always been their common ground. giving gifts im not so sure on, but i think the significance of readily offering crowley the bookshop as being his - something that was wholly aziraphale's, not heaven's, and is aziraphale's own sanctuary - spoke volumes.

specifically in ep5 however, aziraphale really goes ham in demonstrating to crowley how he sees love, defines it, and that he could give this to crowley - the pinnacle of this being the dance and the evident romantic implications of it... it summarises all of aziraphale's own romantic idealistic make-up; touching, intimate conversation, choosing crowley as his partner, romantic literature, classical music, etc.

and whilst comedic and obviously reflective of crowley being otherwise preoccupied re: demon incursion, i also thought that the physical imagery of aziraphale literally dragging him to the dancefloor, and crowley questioning when they've ever danced in the past, was particularly telling about crowley's reaction to how aziraphale is trying to convey to him, without saying the words, that he loves him.

aziraphale in s2 truly does give crowley everything that he can. his love is quiet, and gentle, and romantic, and whilst not as high stakes as saving aziraphale's life, it is still valid. however, it seems that where aziraphale seems to have recognised his feelings quite early on and acknowledged them early on, having time to settle them into his soul (even if he couldn't act for fear of heaven), s2 seems to indicate that crowley refused to acknowledge his until the eleventh hour.

but crowley's love has been there all along, ticking away. ignoring his tendency to stick his oar in where it isn't needed (saving aziraphale and treating him as if he were made of glass), he shows his love in his own ways - following aziraphale around soho, silently supportive, admires him for calming down the bookshop and handling the IB situation, tidies the bookshop for him (which also possibly indicates that he's now finally accepting the bookshop as his home), etc.

both of them take a swan dive in the declaring-love endgame in ep6, but neither of them are responsive to the love language that they usually give. aziraphale is given words but wants actions, and crowley is given actions but wants words. the chronic lack of communication between the two of them throughout the show is the main contributing factor to this disconnect, and leads to serious ramifications in their ability to possibly mend it going into s3.

aziraphale: pre-fall

at the risk of daring to contradict LWA✨ in their assessment of aziraphale's feelings towards the angel-who-crowley-was (AWCW) in the pre-fall scene, upon reflection i don't get the sense that aziraphale falls in love with AWCW in this moment. and exactly as pointed out by @assiraphales, we don't have any of the gaps filled in between this scene and The Wall, so it's arguably unknown when exactly those feelings deepened.

there is definitely attraction of some kind (can angels experience physical attraction? presumably they do, if aziraphale thought the "gorgeous" comment was directed at him), an admiration of AWCW's abilities, and an immediate concern for AWCW's wellbeing if he were to question god. but i don't get the sense that he falls in love; more that he's bumped into a cool, attractive kid outside his locker and immediately starts spouting angelic heart eyes, and at the least develops an immediate fascination.

AWCW is presented as being rather classist in this scene, and whilst not outright maliciously rude, he definitely seems to look down on aziraphale, or consider him relatively inconsequential. which is odd, because i think if he actually listened to what aziraphale was telling him, aziraphale actually comes across as having his own brand of status. i can't imagine that any bog-standard angel would be entrusted with helping god with building Her ultimate creation, building humans, and being allowed to see the Great Plan. whilst maybe not the same level as AWCW, i think the fandom is underplaying aziraphale's own significance in this part of the story.

the fact remains however that the aziraphale we see in this scene is still the fundamental foundation of the aziraphale we see later on in the story. AWCW calls for him as he's wandering (rocketing) past, and aziraphale doesn't hesitate to come to AWCW's aid. he's presumably going somewhere, but prioritises helping someone who needs him, and does so out of kindness and then, it seems later on, out of attraction.

he recognises the achievement of AWCW's nebula, asks questions to learn more (and thus demonstrating his interest) of the construction and purpose of AWCW's craft, and outright compliments it for its brilliance and wonder. all behaviours that id say is rooted in wanting to establish a friendship, and meanwhile developing an arguably shallow crush.

i think that these are also general admirations that aziraphale brings forward as he gets to know crowley as a demon, but has to adjust his world-view that he may admire the principle if not the act; he thinks crowley is clever and fun and talented, even if he doesn't condone the new ways in which crowley displays this.

there are definitely times where aziraphale is still caught up in crowley being a good person and concluding that crowley must still be an angel in all but name, but i do not necessarily think that he thinks lesser of crowley as a demon out of maliciousness. i think it's hard for aziraphale to conflate the two ideas that a) crowley has moments of being a good person regardless of hellish or heavenly identity, and that b) crowley doesn't want to be an angel. aziraphale still parallels good with angelicness, holds being good (and therefore being an angel) as the epitome of character, and can't as a result understand that if they were given the opportunity to change and improve the bad bits of heaven, why crowley wouldn't want to help him.

as LWA✨ says, the further we see their story progress, it becomes clear that aziraphale then begins to hold himself above crowley morally, and this is largely lynch-pinned on their separate identities as an angel and demon respectively. aziraphale constantly bats crowley down and puts him back in his place throughout s1, but less so in s2; in this, id refer back to aziraphale's insecurity around his being a good enough angel, but now that we have the context of AWCW having been aziraphale's technical superior, doing this possibly helps him to feel better about himself. this is abhorrent behaviour and is not at all kind, that can't be denied, but i think it is however possible to empathise with it.

aziraphale has spent a long time having an endless reserve of love and not having a lot of places where he can meaningfully channel it. he's got humanity and earth, but whilst he certainly cares for it, it doesn't mean that he candidly loves it. he still feels kinship to heaven and the other angels, but he certainly doesn't love them. in fact the only person he's ever had to fully pour out his love has been into crowley, but faced with the prospect that crowley may still be like his angelic self in that regard (ie not love him back), i think that love has been repressed so much that it's almost atrophied and turned self-destructive and self-sabotaging. in that context, whilst awful and generally inexcusable, aziraphale's behaviour starts to make sense.

crowley: Lucifer theory

i will preface this by saying that despite initial excitement, i don't necessarily think that crowley was lucifer in the colloquialised sense that we regard lucifer in general culture, but perhaps more represents lucifer in the wider sense of having a story that mirrors the one we can somewhat attribute to lucifer. whether or not he will actually be named as lucifer i think is up for debate, but in any case let's take a look at what lucifer's story actually entailed.

now i realise that i am absolutely not an expert on the matter, but there are indeed a wealth of misinterpretations where lucifer as a biblical figure is concerned. i am very behind on this discussion, angelology (shudder) is not in my limited repertoire of specialist subjects, and i welcome anyone else adding in their thoughts on the matter.

but if anyone else has zero knowledge on lucifer, like me, we'll start with the basics as i see them. name coming from the Latin for light- or dawn-bringer, lucifer has been linked to the planet venus in various tellings in roman mythology. given the occasional bright illumination of the planet as seen from earth, this is in part where we coming to the moniker Morningstar when also historically referring to lucifer. so on this base level, we have the link between lucifer and crowley by way of celestial context.

now down to a potential mistranslation, the hebrew for the name of satan, helel, has become synonymous with the name lucifer, down to their respective translations akin to the Latin for 'light-bringer'/'morningstar' as above, but that does not necessarily indicate that lucifer and satan are the same being. so this is where im fairly confident in that whoever crowley was, which is possibly lucifer, his story ran parallel to that of the former relatively unknown being and not the latter more infamous one.

crowley has referenced lucifer in s1, which has led to the debunk that the two are the same being, but when rewatching it, i think it can be completely reinterpreted:

c: "i never asked to be a demon. i was just minding my own business one day and then... "oh lookie here, it's lucifer and the guys!"... ah, hey - the food hadn't been that good lately, i didn't have anything on for the rest of the afternoon..."

this doesn't need to mean that AWCW was the one who came across lucifer and cohort, but possibly that someone else did, or just exclaiming it in the general sense. getting whimsical in the headcanon space, AWCW may well have been enjoying his afternoon, chatting with friends that he thought he could trust, and thought he could share his thoughts on challenging how things are run (same as he did with aziraphale). evidently, whatever happened completely bit him on the arse, and at minimum partially resulted in his fall.

there are multiple references to crowley being at least an angel of import, almost too many to count. however a common theme in many references to venus in various religious and mythological texts is the concept of reaching for higher power, but to be cast down and punished for it. given the indication (iirc) from interviews and also the pre-fall scene that crowley was up for collaborating with god on how to improve things in heaven, it could stand to reason that in a moment of anger or frustration he voices the thought that he could do a better job running the place.

and if other angels were behind him in this, equally dissatisfied with their lot in heaven, and being set aside by god in favour of humanity, it similarly wouldnt be a huge leap to think that this one sentence, this singular half-baked thought, might have precipitated the war. following said war, as LWA✨ suggests, it would make sense that in an effort to lick his wounds and keep a low profile, crowley would take or accept a middling rank in hell, and possibly even volunteer for the assignment of original sin; all the more opportunity to remove himself completely from the narrative between heaven and hell.

which then, now that i think about it, completely recontextualises crowley's aversion to being a part in helping aziraphale rebuild heaven. why would he want to, why wouldn't he be petrified of it, when the last time went so badly? there must be a sense of resentment towards aziraphale in this regard - what makes aziraphale, a potentially lower angel, so special that he would be invited to completely revolutionise heaven, when all AWCW did was make suggestions, and end up being villified for it? if he did join aziraphale, and challenged him, would aziraphale then be forced to cast crowley out again? what would crowley stand to lose this time?

so this is where i think the concept of crowley having a huge secret that he's keeping from aziraphale comes into play, and i agree must come out in s3. it would completely derail any faith that aziraphale had in crowley, for him to have kept such vital information from him, his potential part in the fall. i could imagine aziraphale interpreting the reveal of this secret as being that crowley fooled and hoodwinked him, however false or unintentional that might have been, and it representing the last vestige of aziraphale's innocence and naivety being swept away.

edit, because @baggvinshield has put this theory so eloquently and with far more comprehension and education than i could hope for: Lucifer theory

there are so many more topics that i have sat in various documents and in my notes as concerns these two characters; aziraphale's obsession with control and 'playing god', their shared inability to communicate effectively and meaningfully, crowley and his propensity for unintentional temptation, whether the love between them truly equates to any semblance of trust, etc etc. some of these topics have been alluded to in the above, but i felt that the above essay might be sufficient reading for now. im adoring (if a little bemused by it) the amount of discussion this silly little blog is generating, and im always more than happy to share my thoughts on anything GO-related where people want it!!!

and now - back to answering the hundreds of asks that have accumulated whilst i've hyperfixated on the above. ta-rah!✨💓

#good omens #good omens season two #good omens spoilers #good omens 2 spoilers #good omens meta #good omens analysis #good omens speculation #not a shitpost but its good omens babyyyy #ask #the great go angelology debate of july 2023 #aka 'was crowley an archangel and was he raphael? answer: fuck knows'#the legend of the longwinded anon✨#🚨 lucifer theory🚨

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zahri-melitor · 5 months ago

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I want to ask you about a bunch, but you know what, let's start with the big one: Chuck Dixon

That IS a big one, given I just opened LOCG and it told me I've read 450 Dixon issues. And then while I was compiling this list I realised I was missing issues and it went up. But okay, let's see what I've got here:

I have 20ish runs to rank here. In terms of Robin and Birds of Prey I've just declared all the one-shots and minis to be a single run, but I've subdivided Batman. Why? Dixon was writing the former as a continuous storyline and the latter not.

20. Batman: Bane of the Demon 1998: I had to think hard about this one but I'm putting Bane of the Demon at the bottom of the list for a number of reasons, including: it's all about Bane; it's tragically actually necessary context to follow how the story gets from Knightfall to Legacy; it's something I really hate, a late fill to provide more context on an earlier storyline that wasn't properly explained at the time; Ra's randomly deciding to marry Talia off to Bane because Bane broke the Bat; nobody is having fun here.

19. Bane: Conquest 2017: shocking I know that I ranked a 12 issue series about Bane above the 4 issue series about Bane, but this is slightly better than the earlier one in terms of Bane of the Demon is actually important context to read and I despise that fact, while Conquest is just chest-puffed Bane nonsense nobody really is ever going to read. It can be as stupid as it likes as nothing will ever turn on this.

18. Catwoman 1993 #15-37: I don't particularly enjoy the version of Selina that Dixon writes. I haven't read all the issues of this run yet but of the ones I have read there certainly are a bunch of storylines that had Dixon Opinion on board and some very questionable plot points. (Why was blackmailing people with the help of ancient Nazi necessary, Dixon?)

17. Batman: Legends of the Dark Knight #142-145: This is the Bruce and Joker story where Bruce deliberately puts Joker in a Lazarus Pit to save his life and it temporarily cures Joker's madness. I am fascinated by its contribution to Lazarus Pit lore. I also don't particularly rate it as a story.

16. The Psyba-Rats 1995 and Young Justice 1998 #8 (the Psyba-Rats issue): Why do these exist. Most Bloodlines characters suck, I'm sorry, and the Psyba-Rats are no different.

15. The Huntress 1994: This is probably my least favourite Helena run, actually. It's just such an awkward bridge between the 1989 run and the way Helena's used in the Bat books after this.

14. Batman #560-562: Bruce Wayne Goes To Washington: I really want to like this run and I think it's an interesting concept in Road to No Man's Land. Unfortunately it also has Nicholas Scratch and he sucks. So much. Such a halfhearted handwave of an excuse for why No Man's Land is approved. (Also Dixon would hate the parallels I can draw between Scratch and Trump).

13. Batman and the Outsiders 2008 #1-10: I am not a huge fan of this run, in that I think it's a bit all over the place and Dixon doesn't have a great grasp on a bunch of the characters, but you know what it does have? Cass and Tatsu together, and some really sweet Rex moments, so I'm ranking it here.

12. Green Arrow & Green Lantern - I think I'd better break this down as 'I've read the Emerald Allies trade' which is Connor and Kyle hanging out together. They're fine. Dixon is a man supremely unaware of the implications of things he writes. I think he writes the two of them having a sweet friendship. Not his best work.

11. Man-Bat 1996: So this is Aaron Langstrom's origin story, and is darker and messier than people might expect from some other Aaron appearances. I have a massive soft spot for it as it gave us Aaron. Your mileage will probably vary.

10. Batman #467-469: It's the Edmund Dorrance reunion storyline! I am ranking this separately and higher because I am trash for that white idiot, King Snake, and every time he goes mwahaha I did not REALLY die I perk up and enjoy him being terrible and appropriative again.

9. Detective Comics #644-729: Look, I will fight anyone over this. Dixon's work on 'Tec runs through multiple important 1990s events from Knightfall to Road to No Man's Land. The events are great! The rest of the stories in between are fine. He's honestly stronger when he's writing other characters in terms of I think he has a bit more flexibility to worldbuild.

8. Batgirl 2000 #12, 20, 30-32: aka Chuck Dixon wants Cass to like Steph. It's very noticeable when you separate these out and look at them separately what Dixon was trying to do here (get a friend for his beloved Steph). They're cute. I have a soft spot for these stories.

7. Robin: Year One: Despite this being more integrated with Nightwing and the stories Dixon was telling, I just think this wasn't as good at Batgirl. Maybe because it's more episodic.

6. Batman/Wildcat 1997: I wish I could rank this higher but there's just more important stuff coming. This is just a straight adrenaline shot of the most 90s Bat comics ideas all stuffed into one storyline. I adore it.

5. Joker: Last Laugh: why are you so good. It shouldn't work, but it does. The amount of brainrot this event has given me over the years, both in terms of the events in it and the way characters interact.

4. Batgirl: Year One 2003: Barbara my beloved. I adore this revamp of her origins, including updating a bunch of older storylines and reworking the timeline to fit events together. It's a visual feast. Probably his best miniseries work of the lot.

3. Nightwing 1996 #1-70: Dixon builds modern Dick Grayson from the ground up, gives him a city, his own supporting cast, and sets him up to have supported ongoing solos for the last 28 years. It's incredible work.

2. Birds of Prey 1999 #1-46 plus one shots and Manhunt: I had to fight with myself over the order of these, but Babs and Dinah get number 2. I adore them. They're such fun secret agent stories. Dixon has no understanding of the implication's he's built in. He gave two extremely sidelined characters the pages for the future others wanted for them.

1. Robin 1993 #1-100, Robin I, II & III: we are doing the big one all together. We don't have the Tim that I love without Dixon. As Dixon builds Tim's story he builds the Bat Family. I can't get over how much it does.

#dc ask meme

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moistvonlipwig · 5 months ago

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Unpopular: Chuck McGill is a fascinating character who should be talked about more, but he really was an abusive brother and so many Chuck fans just completely flatten him to be “Chuck was right all along”. Yes because he didn’t have a hand in making sure Jimmy had low self esteem and a tendency to appease.

strongly agree | agree | neutral | disagree | strongly disagree

100% cosigned!!!

I think especially after S5/S6 more and more people decided that Chuck Was Right All Along -- which is wild to me because we knew where Jimmy was headed the whole time, and if anything I think the later seasons of the show proved that Jimmy's descent into Saul-hood WASN'T inevitable. Not to mention that the finale itself proves Chuck wrong -- Jimmy WAS capable of change. And as you say, Chuck played a huge role in how Jimmy developed his personality in the first place. I don't begrudge Chuck for not wanting to hire Jimmy, but his deception of Jimmy, elitist perspective on Jimmy's law degree, and emotionally abusive diatribes against Jimmy were hugely harmful, and that's before you get into the last thing he ever said to Jimmy being maybe the worst thing possible. Chuck IS fascinating, to be sure, he's not Just an asshole, he has his psychological reasons for being that way just like Jimmy and Kim and Walt and Jesse and Gus and everyone else. And I do find him very sympathetic, and as I mentioned in the other post I'm quite torn in some ways about whether or not I truly dislike him. But he was not Right About Jimmy All Along, and he was a very bad brother, and also kind of a bad boss and friend? The way he treated Ernesto and Howard wasn't swell either. He's a complex guy, and he wasn't evil, but he WAS very, very wrong, and that's pretty important to Better Call Saul, actually.

#it's actually fascinating to me how many people fully joined team chuck as the show went on #but i suppose even fictional dead people undergo a kind of lionization and erasure of their flaws in death #cauldronofmorning #the road has good choices and it has bad choices

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mogseltof · 11 months ago

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3, 10 and 17 for the book ask!

eyyy!

3: Top five books I read this year (excluding answers to the other questions because I ate well this year)

A Very Stable Genius by Philip Rucker and Carol Leonnig (I'm currently waist deep in the follow up "I Alone Can Fix This") which is some of the most detailed investigative journalism applied to biography I've ever read, this thing is a doorstopper and covers the Trump presidency in great detail while still being extremely engaging. I Alone Can Fix This somehow manages to be even better at splitting the focus of its narrative but I haven't finished it yet, these were easily my best impule pick ups from the library this year.

Vagabonds by Hao Jingfang I read for bookclub and it was one of my favourites! The most lasting impression I got from the narrative was one of "Oh this is what it is like to exist while Chinese on the broader internet", it's a sci fi that takes a leaf out of the Dispossessed following the narrative of an 18 year old girl returning home to Mars after spending her teen years on Earth in capitalist society and the effects of everything around that. Very cool and an extremely good author.

Hell House by Richard Matheson is not the most recent release but I only got round to it this year and Jesus H Christ. Prototypical haunted house novel, you can see the fingerprints this thing left over the horror genre in its entirety, I loved every minute of it. Haunted houses, 20s occultism taken too far, seventies paranormal scientists trying to be taken seriously, washed up child psychics, New Age sensibilities put to the test, this thing has everything *pats the roof of this sucker*

The Seven Moons of Maali Almeida by Shehan Karunatilaka I finished while camping in August and is one that's going to stay with me for a while. I loved this book, I loved its presentation of the afterlife, I loved the main character, and it's definitely the 'further reading' book of the year for me given how little I know about Sri Lanka's history, especially in this context of late 80s/early 90s conflicts. This one's my hard recommend of the list.

Leech by Hiron Ennes was deeply fascinating and threw me for the most loops. I love a hivemind and reading from the perspective of one was so cool, especially at the points of [redacted] and [redacted]. I was also totally taken in by the historicality of the setting so when I realised that what I was reading was actually [redacted] it hooked me even more. The interplay with the demographic elements as experienced by a parasitic hivemind was also deeply fascinating, this was my fastest read on this list because once I started I couldn't stop.

Honorary mentions to: The Darkest Web by Eileen Ormsby, Luckiest Girl Alive by Jessica Knoll, The Only Good Indians by Stephen Graham Jones, Mister Magic by Kiersten White, Meddling Kids by Edgar Cantero (minus the last like, 500 words rip), and Troll Hunting by Ginger Gorman.

10: My favourite new release of 2023

I'm not great at keeping up with new releases but this one goes to my only preorder of the year,

A House with Good Bones by T. Kingfisher, which I absolutely devoured. There's something about the mid century occultists that I find both hilarious and fascinating, and Kingfisher/Vernon managed to hit exactly on what I love about reading about them, while also capturing the horror of being stuck in your racist grandma's house. I'm a huge fan of her protagonists as well, and 'furloughed archaeoentomologist' is overflowing with great character bits and I love her. I want to reread this book now because I opened it up to the first chapter to make sure I was remembering her job accurately and got totally sucked into the vulture commentary in the first few pages. Goddamnit.

In close runner up is Camp Damascus by Chuck Tingle because holy fuck man, I read that like 2 days ago and I'm a little bit obsessed. I've known Rose Darlings. I've met all of those characters (except maybe the demons). Incredible work by the Tingler Master.

17: A book that suprised me with how good it was

Fairy Tale by Stephen King. One of my friends gave this to me right at the beginning of the year because she'd bought a copy and then had two friends buy it for her as well, and holy fuck mom. I'm really on and off with King, I love some of his stuff, but when I don't like it I hate it, and Fairy Tale I genuinely loved. There were definitely bits that made me go 'mmm', but King also had the forethought to cover for it in later narration which I appreciated ahahaha. I've never gelled with his fantasies before, so I wasn't expecting to enjoy this one, but this is the closest to a spiritual successor to the Oz novels as I've ever read, and I loved his take on it. Still kind of amazed at how much I loved it.

#another sad lieutenant #ask game #books #mogseltof reads

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kulturegroupie · 2 years ago

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Hi I was wondering what is your opinion about Elvis?

Hi, love this question! Elvis is a strange individual to my eyes, cocky, snooty, gorgeous, unbelievably talented. And when artists are so big, so famous and universally celebrated, it's hard to really form an opinion of your own. But here's how my story goes:

Back when my love for the vintage world was just being born (and I was deep into my Beatles phase), I had the inspiration to first dive into Elvis' fascinating sea of Blues.

To me listening to 50's music was like entering another world, and the "play" button suddenly transported me to another dimension, where I danced and jumped and shook my hips to the rhythm of Hound Dog, like countless other young teenagers had done before.

The songs were old, but somehow addictive and familiar, and Elvis' confidence drenched every note that played.

Later, after joining the vintage community and learning about Elvis' nickname – the King of Rock – which was unfairly assigned to him after he brought rock and roll to white people, my love for the singer began to feel resentful, on his part almost undeserved.

My King of Rock was not a white man who stole the songs and the artistry of black musicians, it was Little Richard, or Chuck Berry, or Lloyd Price, or the woman who started it all: the great Sister Rosetta Tharpe.

The deeper I got into the roots of music, the more I knew that black people are at the very origin of it, the more Elvis' success felt somehow wrong and unfair.

I unfollowed Elvis on streaming platforms and stopped listening to him completely for a while. Then his movie/biopic came out, and a huge enthusiasm surrounded his name once again. What was it all about? As a vintage fan, I was anxious to know; I begged my friends to go see the movie with me, and I really enjoyed it.

But what really changed my mind was noticing how loved he was from the people I loved, how important he was to my heroes. Robert Plant adores him. Jimmy Page, my beloved, calls him the reason he ever picked up a guitar. There are pieces and copies of him every place I go, everything I play and every classic rock band I listen to was inspired by Elvis.

So Elvis brought rock and roll to privileged white people, and privileged white people said Elvis was the King. It shouldn't have been Elvis, but without him, sadly, rock couldn't have been the huge, revolutionary phenomenon it was, symbol of rebellion and of pure young rage. And while I acknowledge this and return to deeply enjoying his music and shaking my hips to his songs, I still don't consider him to be the King.

#ask dee dee #yeah i know i always write so much #but i had to tell the whole story so you can know how i really feel about him!

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rueririn · 1 year ago

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Episode 3

And now for my best boy��s time to shine--- USOPP EPISODE YEEE

Okay the starting sequence is really funly directed. Back and forth with each sound of the bell. The kid runs. We see people panic. Then we see people roll their eyes. Someone groans that he should be stop. Then young Usopp exits stage left and Older Usopp enters stage right. And no one even cares. He crashes into someone-- and with that, the episode finally truly begins.

Nami’s bandanna has the sunflowers that are on the sunflower lion Bellemere shirt. I repeat. Nami’s bandanna has the sunflowers from the sunflower lion Bellemere shirt.

Luffy: “Who said pirates had to be scary?” utter confusion on Nami and Zoro’s faces

Expanding our quaint little Syrup village into a big shipbuilding town is a very interesting choice, and I love it for the greater parallel it connects to Franky, Water Seven, and Sunny. (Usopp and Franky already have huge parallels by both being 3rd to join in their half of the sea + handymen + leaders of their troop of men, but that’s not a ramble I’ll have today.)

Plus, making Kaya the inheritor of a shipbuilding business makes sense. At least she’s not just a random rich girl in the middle of nowhere now.

MERRY!!! Sccreaming noooiseess

Usopp already closely maintaining and in love with Merry is such a good addition. Thinking of what happens to Merry hurts me more now thanks

Coby being visibly enthused to play othello with Garp is cute

Oh I see what they’re doing with the setting. Fitting more of the Black Cats into the mansion is actually a really good idea. I barely remember any of the Syrup Arc villains, but implementing them into the more establishing parts (Usopp and Kaya’s story) is doing a good job of making them feel more relevant.

I don’t trust the gatorade blue tea. Is the kuro-poisoned-kaya theory coming true? Oh yes it is. I can roll with this.

Nami being dressy in the walk-in-closet while Luffy and Zoro absolutely do not get it is so funny to me. This is why she and Sanji have to dress the mongrels every time they go out. This is why.

Just as I say that she picks out their clothes. She chucks something at Zoro, he likes it, and he wears it. The birth of the king of wearing whatever shirt gets thrown his way.

The way Luffy speaks to Kaya and so clearly brings the light of adventure into her eyes is so fascinating to me.

Zoro leads Luffy the other way he was going, then says he’s going to find a drink. Luffy’s nose proceeds to turn them 180 degrees to the kitchen. I love this detail because Lost Marimo 100

Nami proceeds to collect girlfriends as she does

Okay I love this dual setting of boys night vs girls night in the calm before Kuro attacks. Nakamaship vibes that I need.

LUFFY STUFFING CAKE IN HIS POCKET PLS STOP HES SO CUTE I CANT AKSJLAKJSLKAS the sheer wonder in his eyes omg he took them all the tray is empty when we see him again

“Have you ever lost anyone close to you?” “No.” Nami, you’re hurting me.

“I’m jealous.” “Says the rich girl.” Okay I really love the Kaya and Nami dynamic though.

LUFFY JUST SUTFFED THE HALF-EATEN DRUMSTICK IN HIS OTHER POCKET WHY IS HE LIKE THIS

Luffy do not eat the weird blue--- LUFFY! Honestly I feel so bad for Makino who had to raise this thing. First the creepy devil fruit, now the blue oatmeal, Makino taught Ace manners but never managed to conquer the trial of ‘teach luffy not to eat weird off-coloured things on the ground’.

Holy shit I did not expect COBY to show up here as a Coby fan I love this but holy shit I genuinely did not expect garp to show up here

Pirating OPLA, thoughts

Episode 1

Garp being at Roger's execution is a nice touch

Really like how full Luffy's dinghy is-- crates of fruit, a barrel of fish instead of just one barrel of apples--- all makes sense. All the tiny details removed from manga that are just added onto opla for realism-- like the way the execution stand works, too, with the people cranking the manual lift to get roger up there. It's all very cool and makes the setting feel more piraty than mangapiece.

Our beloved Zoro tried to go to Sixis on a cruise ship. This is a good way to casually mention Zoro earlier (plus that's Ace's first island so it actually lines up on the One Piece map to be around Dawn Island--)

"it's worth more than the rest of our loot put together" a nika mention that can be interpreted as just a devil fruit mention

"You should never let anyone tell you what you can't do. If I did that, I never would have left my village to go find the One Piece." Luffy referencing Garp like this is so funny to me

Unlike mangapiece, Luffy invites Coby along before knowing his dream to become a marine. This makes me sad because now I wish la coby joined the crew

opla Shanks is weirdly more serious than mangapiece Shanks. Not necessarily in a bad way, just different. That's the attitude I'm takign for most of opla anyways.

Adding the Mr 7 and Zoro fight here is actually really cool

Beta Nami outfit aaaaa they moved the pre-orange town ship-stealing scene to serve as her introduction scene and that works so well for her.

I love that they all naturally congregated in Ririka's bar. Everyone congregates and chaos occurs. Really like how they switched things up while never really taking things off course.

"PIRATES SPREAD DISEASE" poster on the wall

Coby sliding under the table once a fight breaks outajslkdjalsijdsakj i love him pls

ADORE the barfight. It's Zoro vs Baroque Works but bite-sized and with everything we love about the most consistently badass member of the crew. Thank you.

Zoro really pulled a reverse on Helmeppo lmao. "Three swords? I only need one" proceeds to get curbed by zero swords

oh! Zoro introduced himself as pirate hunter. that makes him different from mangapiece where he explicitly says at some point that he never called himself that. But it fits the opla characterisation so fair enough.

Luffy popping out of the manhole to yell 'thanks' at Zoro just sends me. Makino taught him well.

Nami being the most independent and capable girlboss up until the second Luffy literally crashes into her life and ruins her plan is actually 100% compliant with the basis of their relationship.

Oh is this the ass naked Helmeppo scene everyone's been yelling abo--- oh it is. ok.

I've never realized how badly I wanted a Nami and Luffy fighting together scene until now. I just realized how little of those we get in Mangapiece. Holy shit.

Romance Dawn trio just has this really satisfying trio cohesion that I can't describe. They're forever my favourite trio in the strawhats and opla does a magnificent job of bringing justice to what the manga couldn't give them with its chapter and page limits, since their only trio time together without being dragged around by handicaps was in the gaimon arc.

Makes me a little sad that Coby's involvement in Shells gets cut down a little, but that's fine I guess, he got plenty of touchup in his introduction scene.

Luffy holding back laughter when he sees Helmeppo's hair. Zoro chuckling because "yeah I might've done that" and Nami just being speechless. They're so stupid i love them

Garp going silent when he hears a straw-hat pirate stole the map to the grand line. I like to think this could imply Roger also stole his map once upon a time, but for now I'm just laughing at Garp internally screeching "that STUPID GRANDSON it's been ONE DAY"

#one piece #opla

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thefanficmonster · 3 years ago

Text

My Kind

Corpse Husband x Reader (Female)

Warning: Swearing

Genre: Fluff, RPF (Real Person Fic)

Summary: Having been chosen by the gang to be a guest streamer on today’s stream of Among Us, it’s safe to say Y/N’s super excited but also a bit nervous. The whole of her anxiety gets lifted off her when she meets someone with the exact same vibe as hers - yeah you guessed it.

Requested by @monizzle96 Hi dear! Thank you so much for your wonderful request! I’m so terribly sorry it’s taken me so long to write and post it but here it finally is! I hope you come across it and read it and if so I hope you enjoy it! Love, Vy ❤

This has to be the fiftieth time I’ve checked my setup in the past twenty four hours. But no, I’m definitely not nervous, what are you talking about. Pshhh. Nah, being nervous isn’t in my brand. Plus, what do I have to make me nervous - a group of famous streamers inviting me onto their stream to play Among Us with them because they enjoyed my own streams? Ok yeah, that’s a pretty good reason. Not gonna lie, I almost chucked my phone out of excitement when I received that DM from Toast, telling me they’d picked me to be their guest streamer for today’s date. My stomach was doing somersaults for a good forty-eight hours following that text and then the anxiety slowly started setting in fueled by the expectations they probably have of me.

Don’t get me wrong, I’m not inexperienced in the streaming field, I’ve been a streamer longer than some of the members of Toast’s streamer gang actually. But I never managed to garner that big of a following which I’m honestly quite ok with. I have a modest - ok, maybe larger than modest - following consisting of incredibly loyal fans which I will never stop being grateful for. They are all so respectable of me, my privacy and my boundaries. They know the main rules: no shit-talking in the chat or in any of my comment sections, no bashing other YouTubers in my comments/chat, and most definitely not asking for a face reveal. Fun fact: I didn’t even set up that last rule, they all just collectively know not to ask for it.

I’ve been keeping my brand pretty low-key to avoid garnering some unwanted attention - some of which I’ve already experienced on certain social media platforms following the full body pictures I posted on there - face not visible of course. I tend to also have my webcam on, facing towards my hands working away on the keyboard sometimes when I stream. I don’t know why people obsess over faceless content creators’ hands, but I appreciate the enthusiasm - it also drives me to do a manicure every now and then which ain’t so bad, self-care and all that you know.

Now, back to the subject of my ridiculous nervousness.

You see, it has layers.

I’m nervous of ‘preforming’ underwhelmingly and I’m nervous of what my own fans will think of the person I will become during this stream. They know me as a super chill and laid-back person, which I am by the way, but they might think I’m putting on a show if I exhibit any nervous gestures/vocabulary. I highly doubt they would, but the possibility is not letting my mind rest. And now that it’s about ten minutes till the stream starts, I’m getting doing my best to calm my nerves.

They are all just people. You know they are super chill too. Just be yourself, that’s why they invited you, because you are yourself on all your streams. They liked you for your personality, humor, maybe even your gaming skills. So chill the hell out and be yourself, damn it!

Easier thought than put into action that’s for sure.

I start my stream five minutes early just so I can vibe with my viewers for a little while before I have to meet the gang. My fans always have a way of injecting me with confidence, they remind me of where I was when I started and how far I’ve come. How much I achieved when I thought I’d be nothing and no one, someone the algorithm would simply overlook. But then they entered my life and I entered theirs and it all became much better than I ever thought it would get to be. I rarely tell myself ‘good job’ for the milestones I’ve reached or the hard work I’ve put into my content, but that’s probably cause I orient myself based on that quote from the movie Whiplash: ‘There are no two words in the English language more harmful than good job’ - simply put, I’m never satisfied with what I do and I always strive to do better. My fans, however, make sure I don’t go overboard with it - always serving as a reminder that I’ve done plenty for myself and others. And that’s what makes an amazing fandom, one I consider family.

Whoa, when did those five minutes fly by?!

Ah shit, here we go. Deep breaths, Y/N you got this.

“Hello!“ I say as I enter the Discord call, subconsciously biting my lower lip, grateful the camera isn’t capturing it. However, I make a mental note to keep my hands steady cause that’s the one part of me people can actually see and the last thing I want is for them to see how much my fingers are trembling.

“Oh hi, Y/N!“ Toast is the first one to greet me, “Welcome to the stream! Thank you so much for accepting our invitation.“

“Thank you for having me and inviting me, Toast. This is a huge deal for me. You guys are basically YouTube legends, this is unreal to me.“ I reply, cringing immediately afterwards because of my fangirl rambling. Great way to make first impressions, Y/N. Bravo.

To be fair, they already have an impression of you. Quit stressing.

Aright, you’ve got a point, me.

“Oh please, we owe all that to our fans. We’re really nothing special. All streamers are almost completely alike, we all owe where we are to the people who helped us make it there - our fans. We’re no legends.“ Toast says, bringing a small smile to my face as well as a light pink blush to my cheeks, “And from what I’ve seen, you yourself have quite the following. And your fans seem to adore you.“

“And I absolutely adore them.“ I chuckle, “They mean the world to me. They are the reason I’m here today.”

“Then we have to give them a special thank you, don’t you think?“ The teasing, familiar giggle, widens my smile - it’s Rae, “Nice to meet you, Y/N! I’m Rae, and, no cap, I’m quite a fan of your content. No joke, I binged your entire series of Resident Evil 7 as soon as I found your channel when Toast said he’d invite you.“

This rattles me a bit. I can hardly believe it - am I really receiving a compliment from an A-list name in the streaming world? My fans must be hella proud of me right now. A quick glance at my chat confirms that they indeed are. That in and of itself fills me with joy and newfound confidence.

“Oh Gosh, thank you so much Rae! That means the world to me. You’re all so sweet.“ I reply, lifting my ice cold hands to cool down my burning cheeks, my lips spread into a grin, my stomach filled with butterflies.

“Oh please, we have some real savages around here.“ A male voice, seemingly Charlie’s scoffs, “Don’t overlook us please.“

“Wait, we do?“ A deep voice, one I immediately know the owner of speaks up, “Who? How come I don’t know about that?“

I can’t help bust snort, “Nice to meet you, Corpse. Sarcasm central, I see.”

He laughs, “Just returning it to where it’s due. Nice to meet you too, Y/N. Sick Outlast series, by the way.“

Ok, wait, I have two A-list streamers complimenting my content. Ok, I’m bound to crack open a few beers to celebrate later cause OH MY GOD.

“Thanks! I’m a horror junkie so I’d be lying if I said I haven’t binge watched all your story-times. Personal favorites are the deep web ones, they fascinate me.“

“Oh, you’re one of my kind even more than I expected, huh?“ He replies, the tone of his voice changing, raising a bit due to what I can only describe as excitement and enthusiasm. “I’ve had people tell me it’s twisted, but I really like seeing the lengths to which the fucked up human mind can go to. Like, the shit I’ve read is insane! Some stories I didn’t narrate cause I would’ve probably had my video taken down, it was that messed up.“

My eyes widen, sharing the same excitement at the thought of digging deeper into this phenomenon, “Careful, Corpse, you’re walking a dangerous line of tempting me to deep-dive on Reddit in search of those exact stories.”

“No need.“ Corpse says, his tone now taking up a bit of a cocky note, “I still got them all saved, I can send them to you no problem.“

“Please do! I seriously gotta read them now. If I can’t sleep afterwards, I’m blaming you, Corpse. Just FYI.“ I say, giggling slightly, finding myself all but completely comfortable now. I wonder where all that anxiety went?

“Blame fully taken. Given that I’m not much of a sleeper, I’ll keep you company whenever you think there’s a killer hiding in your closet or fear a red room pop-up will appear on your computer screen.“ He replies, chuckling.

“Um, that’s oddly specific.“ Charlie comments, “Been there yourself, buddy?”

“Perhaps.“ Corpse wheezes, getting a laugh out of me too, “I will neither confirm nor deny.“

“You know what, I’ll just private message you my number so if you see it call you at some ungodly hour, you don’t freak the fuck out. Sounds good?“ I ask, already prepping to type it out and send it to him.

“Perfect. Wait...“ he pauses for a second, sounding puzzled for a second, “You don’t have mine.“

“Oh, do I not?“ I reply with a sinister tone - thought to answer the question, I of course don’t have his number.

“Oh, do you?“ He sasses me right back. “If so then you don’t need me to send it to you. Cool.“

Ah, shit

“Wait, no! I-I need to confirm it’s the correct one!“

Damn, never did I think I’d be complimented by some of the most important streamers on this platform, but to get a number of theirs too? That’s a whole another level that will take me time to process. But I’ll do that another time, right now, I have to kick these people’s butts in Among Us and later I have some deep web stories to read.

Turns out, all it takes to get comfortable in a new surrounding is someone of your kind. And Corpse is definitely one of my kind.

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hellyeahheroes · 5 years ago

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Preview Pages and Interview for SUPERMAN SMASHES THE KLAN

Superman Smashes the Klan launches Oct. 16, with the first of three 80-page perfect bound issues. The collected edition of the story will be released in 2020. DC’s official solicitation for the first issue is below, followed by artwork from the issue.

“The year is 1946, and the Lee family has moved from Metropolis’s Chinatown to the center of the bustling city. While Dr. Lee is greeted warmly in his new position at the Metropolis Health Department, his two kids, Roberta and Tommy, are more excited about being closer to their famous hero, Superman!

“While Tommy adjusts to the fast pace of the city, Roberta feels out of place, as she tries and fails to fit in with the neighborhood kids. As the Lees try to adjust to their new lives, an evil is stirring in Metropolis: the Ku Klux Klan. When the Lee family awakens one night to find a burning cross on their lawn, they consider leaving town. But the Daily Planet offers a reward for information on the KKK, and their top two reporters, Lois Lane and Clark Kent, dig into the story.

“When Tommy is kidnapped by the KKK, Superman leaps into action — with help from Roberta! But Superman is still new to his powers — he hasn’t even worked out how to fly yet, so he has to run across town. Will Superman and Roberta reach Tommy in time?

“Inspired by the 1940s Superman radio serial ‘Clan of the Fiery Cross,’ Gene Luen Yang (American Born Chinese, Boxers and Saints, The Terrifics, New Super-Man) brings us his personal retelling of the adventures of the Lee family as they team up with Superman to smash the Klan.”

I’m really curious: How did this get started? Obviously, there’s a history to the Klan of the Fiery Kross and the Superman radio show, but how did you get your in on this particular story?

I first heard about it through the book Freakonomics; they actually devote an entire chapter to the whole thing, how this one storyline in the Superman 1940s radio show dealt a huge public relations hit to the Ku Klux Klan.

I remember reading about it and learning that the incident that set the whole thing off in the original show was a Chinese American family moving into Metropolis. So, I’ve been a superhero fan since I was in the fifth grade — the very first comic I bought was a Superman comic — and I’ve been reading Superman comics since I was a little kid, and I can’t really remember any other Chinese, or Chinese American characters showing up in any of the comics that I’d read. So, it kind of piqued my interest.

Then, I started working for DC in early 2015; I did a 10-issue run on the monthly Superman comic, and after that I’ve been part of the DC comics family. I had the opportunity to have lunch with Marie Javins, who is one of the legendary editors at DC, and this came up as an idea of what to do.

I’m super excited to be working with the artists Gurihiru. I don’t know if you’re familiar with their work, but they’re so good; they’re a Japanese art studio, but it’s really just two women — one does all the pencils and the other does all the inks. Early on, the editor and I talked about going for an art style that’s just like the old Fleischer Superman cartoons but mixed with a manga influence, and I feel like they totally delivered on that. That’s exactly what they did.

The acting is so good. It looks so simple, but what they’re doing on the page is so clear.

The acting is what puts them over the top. It’s what makes them masters.

One of the things that I like about the first issue is that you show Superman as an inspirational figure not only to the "good guys," but also to Chuck, who’s the child who doesn’t necessarily understand what Superman stands for. The iconography of Superman is shown to be this nuanced thing.

One of the things about the Superman radio show, and the original version of this story, is that it actually comes relatively early in Superman’s career. He was first published in 1938, and the story was broadcast around 1946, so that’s just eight years, and he was already a worldwide phenomenon. And especially in America, he was wildly popular. But I do feel that the Superman that we all know and love today, he wasn’t quite formed yet [at that time].

There were still pieces of him that were being solidified. And as much as the radio show impacted the real world in terms of bigotry and racism, it also helped shape Superman’s character. It was at this point where Superman really did become a symbol of American tolerance, American justice and American hope.

The subject of Superman not being a fully formed character is something you play with in the text of this book, as well as the subtext; Clark is still learning who he is — his power set, his abilities and his cultural heritage. He’s literally a character in flux, just as he was at the time when the original radio show was broadcast.

The more I read about the radio show, the more fascinated I was. When Superman first appeared in 1938, he was essentially a glorified strongman, you know? He couldn’t fly. He was superfast, superstrong, he could jump high, but even then, there was a limit put on how high he could jump. It was specifically said that he could jump 20 stories.

A lot of his development actually happened in the radio show. He actually flew for the first time in the radio show; the radio show was where Kryptonite showed up for the first time. A lot of that comes from the fact that the radio show got so popular that it became a daily thing, whereas the comic was still monthly; they really needed to develop Superman — his mythology, his world — really quickly.

So, when I learned about that, I thought, this is a comic book adaptation of this old radio show — we should play with some of those elements. We should play with the fact that he doesn’t fly, or that Kryptonite is a brand-new thing.

But despite that, he remains Superman as we know him. There’s this essential Superman-ness that comes through on every page. You talked about reading Superman when you were a kid; is this something that you just inherently “get”?

My parents were born overseas, and growing up, I went through this period of time when I had a hard time vacillating between two identities. I had a Chinese identity at home, I had an American identity at school, I had two different names! When I was a kid, I did gravitate toward Superman, but when I got into my teenage years, I started getting into characters I thought were more “cool” — cool in quotes! [laughs] — but one of the things that drew me back to Superman was realizing that he was an immigrant from Krypton.

Like, all of those things: vacillating between two different identities, having two different names, having two different sets of cultural expectations. All of the realities of my childhood, all of it was encoded in Superman.

I actually have a theory about this — the reason why Superman presents himself as “perfect” is because he’s an immigrant. I saw it with my own parents; they came here and people perceived them as “foreign,” [and] they were always cognizant of this. The way they dealt with that was by trying to be perfect citizens. I think Superman does the same thing; the reason he tries to be a perfect citizen is because he knows he’s an alien. As I built a connection with the character, that’s what it became. He really became an icon for me after I saw all of this — [Jerry] Siegel and [Joe] Shuster knew all of this, they were children of immigrants. They put all of this in the character.

I think a lot of time, when we see him on cereal boxes, or whatever, we miss that, but it’s the core of the character. The core of Superman is that he’s an immigrant from Krypton.

That ties in with something else I enjoyed about the first issue — that there is so much about Superman being confused about his cultural identity. It plays against what’s going on with Tommy and Roberta’s family — it’s a connection that you’re not hitting people over the head with. You’re showing that Superman is an immigrant even as he passes as, as you said, this “perfect citizen.”

I hope so. All of that was in the character from the very beginning. His immigrant status has been there since the very beginning and is, I think, closely tied to his being an American icon. Those two things go hand-in-hand. The immigrant story and the American story are pretty much the same thing.

How much of that is present in the original story? Was the original radio serial as interested in Superman as an immigrant explicitly? Did Tommy and Roberta play such important roles, even though they were Chinese American characters?

For the radio show, I would say that the lead character was definitely Superman, and after that, the focus was on Chuck, then Tommy. Roberta, Tommy’s sister, didn’t even exist in the radio show. For me, I wanted to center the story on this Chinese American family. I really do think of this book as an Asian American book — maybe not just that, an immigrant book. By putting this Chinese American family center stage, it really highlighted the specific immigrant side of Superman.

Spinning off that, there’s the fact that this story is being published today. We’re at a point in history now where even the discussion of immigration in America is this impossibly charged topic. It feels important at this moment to have a story — specifically, to have a Superman comic — that pushes back so clearly against bigotry and racism, that does make the appeal for tolerance.

It’s not just America. You read the news about Europe, India, or the Philippines. I started this project because I thought it was something that I needed to understand. There’s a Chinese tradition that you use the events of the past as a way of talking about the present; I did come onto this project thinking about that, thinking, if I can understand the historical context that there was something about the present that I’d understand a little bit better.

One of the things that came out of this — we’re at the tail end of the third and final book right now, as we speak; I’m just about done with the revisions — and one of the things that I’ve learned is that the world learned something about tolerance after World War II. Not just America; all of us learned something about tolerance. World War II was the worst nationalistic instincts of the world come to a head — the worst instincts of our species had manifested themselves pretty much everywhere in the world. And then, this Superman story, which arrived a year after the war ended, was primed to convey the lessons the world had learned to a younger generation.

I just think that, maybe we’re so far removed from that period that we’re beginning to forget those lessons. That was the impression that I got.

Did you go into it with the idea that this was a lesson that needs to be retaught? This is, after all, a project aimed at younger readers? Were you thinking in terms of, lessons needing to be relearned in today’s culture?

To be honest, I was more going into it thinking that there were things that I personally wanted to understand better. The original storyline was very didactic, but I don’t think it was just about the lesson that was explicitly said in the story. It was also about the historical context in which that story came out. I wanted to go in to try and understand that a little bit better. I’m hoping that me wrestling with those issues comes across in the story.

You said that Chuck was one of the lead characters in the original version of the story, and one of the things that’s compelling about the first issue is Chuck’s story. He’s a character who’s leaning toward bigotry and hatred, and is pretty explicitly being taught that by his family, but you don’t write him off; there’s the implication that he can go another way, he can learn to be better.

Chuck’s a character in the original radio show, and in the comic adaptation, we kept all the big pieces of who he is. He begins as kind of a bigot, but he has an arc. To fill out that arc, I did read a book called Rising Out of Hatred, it’s written by a guy named Eli Saslow. It’s the biography of Derek Black, who is David Duke’s godson; he went from being the heir apparent of the American White Supremacy movement, and he’s the exact opposite now. When he’s not in hiding — he had to go into hiding — he’s speaking out against the views he was raised with. I read that book wanting to understand how someone could make that transition; I wanted to embed some of that in the character of Chuck.

Changing gears somewhat; you’re a National Ambassador for Young People’s Literature, and comics specifically. When you’re working on a project like this, especially on a character as iconic as Superman, is this something that you can see as a tool for new readers to use to get into, not just Superman, not just comics, but stories about things that are happening in the real world? Stories that matter.

I actually feel really lucky to be working in comics today. I think over the last, maybe 10 to 20 years, we’ve seen this shift in the public perception of comics. More and more, people are open to the idea of comics dealing with serious topics, and I hope this project fits in with that. I do think that there is a growing wave of comics that want to tackle the very heart of what it means to — do you know the book Bitter Root? It’s an Image Comics title that’s coming out right now.

Yeah, Sanford Greene and David Walker’s book.

I think that book is one of the best examples of using genre to talk about very important and serious topics. I’m trying to do something similar with this Superman book.

- Admin

#Superman Smashes the Klan #Roberta Lee #Tommy Lee #DC

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aion-rsa · 4 years ago

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Why Kid Cosmic Is About “People, Not Powers”

https://ift.tt/3an0ID5

This feature contains some spoilers for Netflix’s Kid Cosmic.

After exploring the stretches of space, wonder, and imagination in shows like Foster’s Home for Imaginary Friends and Wander Over Yonder, Craig McCracken returns to the realm of superheroes with Kid Cosmic, a more direct, comic book-esque take on the genre than his first smash hit show, The Powerpuff Girls.

The show stars Kid, a young boy who finds a set of superpowered stones, and from there, all heck breaks loose. In the midst of fighting waves upon waves of aliens and creatures from other worlds, however, is an earnest, realistic story about a boy dealing with grief, and the small town that unites behind him through it all.

Den of Geek got a chance to chat with Craig over email about the show, about what it means to be a superhero, and how Netflix allowed for Kid Cosmic to explore that in a more mature, “all ages” way that’s arguably beyond the scope of most animated kids shows.

Den of Geek: Kid Cosmic is about a kid who is so engaged in comic books that when a set of super-powered stones literally lands at his feet, he wants to be a real superhero, arguably at some pretty significant costs and risk. What influenced you to come up with this specific premise? How do you view this, and the serial, thematic nature of it, against the immense number of superhero based media in the world today?

Craig McCracken: I was inspired by the supreme confidence that kids have at that age. I, like a lot of kids, dreamt of being a superhero when I was young, and in my fantasies I was always amazing and really good at it. I had that same confidence with my drawing when I was young. I drew all the time, I studied every cartoon and comic I could get my hands on, and I had the passion to do the job. I couldn’t understand why I had to grow up and go to art school before I could have that career, I was ready for the job at 12!

The answer was that I wasn’t good enough yet, I had way more to learn (still do!). So I took that personal childhood experience with my drawing and applied it to superpowers instead. The thing that I feel sets Kid Cosmic apart from other hero-based media is that it’s focused less on epic hero mythologies and more on the smaller human stories. In writing the series we always reminded ourselves it’s about the people not the powers.

Style wise, the show is heavily indebted to the classic comic book/serial look. The framing and storyboarding; the uses of fonts in the credits; the nifty end cards with the characters on fake comic books. One thing I’ve noticed, specifically, is that the movements at points were jumpy, as if frames were missing. Was that a conscious choice? Do you think that adds to the look and feel you’re going for?

A lot of the choices that we made in Kid were based on the fact that these are real people in the real world, they aren’t cartoon characters. So with the animation we avoided overly smooth and flowy actions or lots of squash and stretch, things that you associate with “cartoons.” If an action felt natural on 3s or 4s we kept it.

New Mexico as a setting is an inspired choice. There’s something freeing about its wide expanse of desert, but also terrifying in its (from a kids’ perspective) unexplored nothingness. How do you think the setting reflects the themes?

It’s not specifically New Mexico but sort of a generic rural southwest desert vibe. It could be New Mexico, it could be California, it could be Arizona, basically it’s a remote enough place where a spaceship could crash and not a lot of people would know about it. The other thing that is nice about the desert is that it forces you to tell a story about the characters because there is no surrounding environment for the characters to get distracted by, it’s a flat empty stage to play in. It’s also alone in the middle of nowhere, sort of like Earth is in the greater universe.

This is, relatively speaking, darker than most kids animated shows. It has pretty brutal alien deaths, and while they’re dispatched in unique ways (colorful blood, “de-rezzing” out of existence), they’re still a bit more intense then what’s usually out there. How was Netflix in responding to this? Do you feel there may be a kind of commentary here on how sensitized kids may be to the kind of violence they witness in superhero comics and films?

Again that’s the reality creeping in, even though there is fantastic stuff happening, Kid Cosmic doesn’t take place in a fantasy world. Danger exists, the stakes are high. This just increases Kid’s struggle and makes it more real. At the beginning, Netflix said this isn’t specifically a “kid’s show” it’s an all ages show that can be watched by young viewers, families, animation fans, anybody. So from their perspective, anything that you might see in a big summer superhero movie was fair game.

I want to talk about the Kid himself, who, to be blunt, is a lot to handle in the first few episodes. The approach seems to be that the Kid needs to learn a lesson about humility and what it means to be a “true hero.” But I’m also fascinated by his tragic backstory. It’s portrayed vaguely, but hints at his motivation. Do you feel that keeping the specifics of what happened to the Kid at arms’ length works to prop up the theme?

I wanted to tell a story about a real kid and kids at that age aren’t perfect. They make mistakes, they may be a bit intense or selfish and are hard to deal with sometimes. It’s part of growing up and maturing. Often heroes for young viewers are portrayed as aspirational. They always do and say the right things. I wanted Kid to be more realistic and relatable.

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As far as his backstory goes, my father passed away when I was 7 so what motivates Kid to want to be a hero is very close to me. We felt he should have a more sincere motivation in wanting to be a hero other than it would be fun and cool. It had to come from a real place and losing his parents and wanting to stop bad things from happening felt more true. Keeping that part of the story at arms’ length was a way to keep the overall tone of the season balanced. Even though Kid carries this real and heavy weight around with him, we didn’t want it to drag down the overall fun and energetic tone of the series.

Stuck Chuck is portrayed as the Kid’s conscious – specifically, his self-doubt, his frustrations, his lies. Can you go into more about the conception of this character?

Frank Angones, who I did early Kid development with, and I are both huge Buckaroo Banzai fans and we were talking about a scene that got cut out where after the Lectroid ship was destroyed Buckaroo found some random Red Lectroids left behind who forgot to get on the ship. We thought the idea of having to deal with random aliens was hilarious. So we applied that to Stuck Chuck, and what started out as a joke turned into an absolutely essential character. Chuck is not only a constant threat to Kid’s life but he is a constant threat to his confidence. He’s like an anti-Jiminy Cricket and is one of my favorite characters in the show.

Later in the season, there’s a big twist in who the real villains are, and in the process, the depiction of superheroic antics are pushed up to a ridiculous degree. It almost feels like a winking satire of the whole “Space Force” thing. Was that intentional? Do you think there’s a tension that exists between the depiction of superheroes and their connection, however tenuous, to a military aggressiveness that merits more discussion?

I get asked that a lot, but I came up with Earth Force Enforcement Force long before Space Force. Aggressiveness is the right word. As a fan of superheros I’m tired of being told dark stories about heroes more focused on fighting and winning wars than actually helping the innocent victims of those conflicts. I miss good guys that are actually “good guys.”

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The ending, to keep things vague, is a pretty sudden transition from the initial premise. If granted a season 2, what other themes would you explore? Do you think you’ll be able to keep a solid grasp on the true nature of superheroics, if you place them in a new setting where over-the-top superheroics would be necessary?

We want to explore other ideas of what it really means to be a hero. If season 1 was “heroes help” what other aspects are essential to be a hero? So we plan on exploring that idea but through the experience of some of the other characters. Namely how does a teenage waitress from Earth suddenly lead a team of regular people to save the universe? Again it’s about the people, not the powers.

The post Why Kid Cosmic Is About “People, Not Powers” appeared first on Den of Geek.

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upontheshelfreviews · 5 years ago

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Whenever I discuss Sleeping Beauty with someone who doesn’t share my enthusiasm for Disney, they have an irksome tendency to get it muddled with Snow White; their excuse being “it has the same plot”. I’ll admit, there are some surface similarities that even the most casual viewer can pick up on: a fairytale where a princess is forced into unconsciousness and wakes up with some necking, the comic relief and villain being the most beloved characters, a little frolic in the forest with animals, the antagonist plunging off a cliff, you get the idea. In fact, Sleeping Beauty even reuses some discarded story beats from Snow White, mainly our couple dancing on a cloud and the villain capturing the prince to prevent him from waking his princess. Yet despite that, Snow White and Sleeping Beauty are two wholly different movies shaped by the era and talents of the time.

I’ve discussed how Walt Disney was never one to stick to a repeated formula, no matter how successful it was. He must have noticed the parallels between his first movie and this one, but decided to make one crucial change for Sleeping Beauty that would forever differentiate the two: the look. We all know the traditional Disney house style: round, soft shapes, big eyes; charming as it was and still is, Walt was sick of it after several decades. Meanwhile, artists like Mary Blair and Eyvind Earle were producing gorgeous concept art that rarely made a perfect translation into the Disney house style.

Walt wanted to make a feature that took the pop artistry of their designs and made the animation work for it instead of the other way around – which brings us to another animation studio that was doing well at the time, United Pictures Animation, or UPA.

UPA didn’t have the kind of budget Disney normally had for their animated projects, but what they lacked in fluidity they made up for in style. Watch The Tell-Tale Heart, Gerald McBoing-Boing and Rooty-Toot-Toot to see what I mean. UPA were pioneers of limited animation, taking their scant resources and creating some striking visuals with bold geometric designs. Through this, they defined the look of 50’s animation. Though perhaps unintentional, Sleeping Beauty comes across as Disney’s response to UPA, or what would happen if UPA had the funds they deserved. The characters’ contours are angular but effortlessly graceful, defining their inherent dignity and royalty. And the colors, ohhh the colors…

Because of the immense amount of work required to animate in this difficult new style (and in the Cinemascope ratio, no less) as well as story troubles and Walt barely supervising the animation studio now that he had his hands full with live-action films, television, and a theme park, Sleeping Beauty had a turbulent production that lasted the entirety of the 1950s. For a time, Chuck Jones of Looney Tunes fame was set to direct. Director Wilfred Jackson suffered a heart attack partway through production and Eric Larson, one of the Nine Old Men, took the mantle from there before Walt Disney replaced him Clyde Geronimi. And even after that, Wolfgang Reitherman teamed up with Geronimi as co-director to get the film finished after no less than three delays. Also, Don Bluth got his foot in the door as an assistant animator for this feature, beginning his short-lived but impactful tenure at Disney. Did all this hamper the movie, or did they succeed in what they set out to accomplish?

Well, one of the reasons why this review took so long was because I had a hard time not repeating “MOVIE PRETTY” and “MALEFICENT AWESOME” over and over. Make what you will of that.

The story begins as most fairy tales do with your typical king, Stefan, and his queen suddenly blessed with a baby girl after years of wishing for a child. They christen their daughter Aurora (middle name Borealis, localized entirely within their castle) and throw a huge celebration in her honor. People come from all over the kingdom to pay homage to the princess and OSMKFKSBFHFGILWBHBFC…

Movie pretty…

MOVIE PRETTIEEEEEE…

John Hench, Academy Award-winning special effects man and art director, turned Walt on to the idea of basing the look of Sleeping Beauty on classic medieval artwork. Thanks to him and Eyvind Earle’s insanely detailed designs and backgrounds, this is one of Disney’s most visually distinct and beautiful films. A single still from this feature wouldn’t feel out of place up in The Cloisters.

Among the party guests is King Stefan’s old friend King Hubert (Bill Thompson) bringing his young son Prince Philip. Stefan and Hubert wish to unite their two kingdoms and formally announce Philip’s betrothal to the infant Aurora.

“We were going to do it during the second trimester, but we decided to wait until she was more mature.”

By the way, your eyes are not deceiving you. That is Aurora’s mother, Queen Leah, alive and well and named. And frabjous day calloo callay, she even gets some lines! The most common joke about Disney princesses is that they don’t have moms (even Ralph Breaks The Internet went out of its way to highlight that), so as a hardcore Disney fan who often has to put up with this generalization, Leah’s existence leaves me feeling vindicated.

Once that happy revelation is out of the way, we’re introduced to our main protagonists.

Oh, you thought I was referring to Philip and Aurora? Nonononono, my friends. THESE are the true heroes of Sleeping Beauty, the Three Good Fairies.

The fairies started off as one-note side characters sharing the same personality. Think pre-Ducktales-reboot Huey, Dewey, and Louie in dresses. But the studio had a difficult time giving Aurora more depth and was having a lot more fun developing the fairies. Naturally, they became so fascinating and appealing that more screentime was given over to them. Now the story’s carried by three wonderfully fleshed out ladies who are distinct in both looks and personality: Flora’s the pragmatic tradition-adhering leader, Fauna’s the sweet scatterbrain who mediates, and Merryweather’s the feisty young upstart.

With the plot now focused on characters who held a traditionally minor role, it’s easy to read this as a perspective-flipped version of the fairytale, but there’s more to it than that. Remember in my Clash of the Titans review how I mentioned the gods literally play chess using the heroes as pieces? I tend to view the main conflict of Sleeping Beauty in the same way. The Three Fairies and Maleficent are in a constant game of good vs. evil, moving Aurora, Philip, and the rest of the royals as pawns in their plans. There’s plenty of plotting and intrigue, with both sides constantly guessing and second-guessing the other’s next maneuver, and even if you’re already familiar with the story’s trajectory you’re still left on the edge of your seat as it inches towards the fiery climax.

And dare I say it but…the fairies and their power dynamic make this Disney’s most feminist film. Yes, really. You could argue that some of the other animated movies from the Renaissance and Revival period have more notable, stronger female protagonists, and many of the live-action remakes try to be woke without really grasping the concept, but consider this: The cast of Sleeping Beauty is mostly female, the leads aren’t objectified in any manner (that is if you count Aurora as a supporting character), nor does their gender factor into their competency, each one differs in age and body type, and most of them are working together towards a common goal as opposed to against each other. Name a movie in the past decade that does the same and still manages to be entertaining (no, really, I’d love to see it). There’s even one scene that unintentionally provides great commentary on the divides in the feminist movement, but more on that later.

Flora and Fauna bless the baby with beauty and song respectively which are accompanied by a short chorus and some sumptuous graphics. I don’t think I need to reiterate that when this movie goes extra with the visuals, it GOES EXTRA with the visuals. Next comes Merryweather with her gift. To this day, no one knows what Merryweather intended to give Aurora. Flora’s the most traditionally feminine of the three so her giving Aurora beauty comes as no surprise. By comparison, Merryweather is the most forward (or unconventional, depending on your point of view). I wouldn’t put it past her to favor Aurora with intelligence, or humor, or passion, or creativity or humility or confidence or decisiveness or physical fitness or great swordsmanship or telekinesis or ice powers or one million YouTube subscribers or comfort in her female sexuality.

Me personally, I think I’ve got the best gift of all:

“O Princess, my gift shall be…getting all reviews posted on time for once!”

Alas, before Merryweather can bestow such a wondrous quality upon the child, she’s interrupted by a horny party crasher.

Maleficent. The Mistress of All Evil. Chernabog’s right-hand witch. The Disney villain all Disney villains strive to be. She has it all – the looks, the poise, the power, the laugh, the cunning, the ruthlessness! She doesn’t even need to sing a song because she’s already awesome enough without one. Marc Davis’ gothic design cuts a fine figure and Eleanor Audley’s subtle icy voicework is trés magnifique. As much as I enjoy Audley as Cinderella’s evil stepmother, Lady Tremaine was but an appetizer in comparison to the four-course banquet of pure villainy that is Maleficent.

This leads to a small point of contention some viewers have with Maleficent in spite of hitting top marks elsewhere: her motivation. Putting a hit out on a child for not getting invited to a measly party? Not exactly compelling, is it? And yes, it isn’t a deep motive…is what I would say if I wasn’t well-versed in folkloric tradition. In the original fairy tale and the movie (though it isn’t outright stated in the latter), the party for Aurora isn’t just your average royal kegger, it’s a christening. Back in ye olden days, christenings were very big deals. To not receive an invitation to one was a grave insult, so not extending an invite to your semi-omnipotent magical neighbor is just asking for trouble. In the fairy tale’s defense, no one had seen the evil fairy for years and assumed she was dead, though I can’t imagine how nobody thought Maleficent wouldn’t find about it eventually.

“You dare to deny me, foolish mortals? Very well, then! I shall have my own christening! With blackjack! And strumpets!”

Maleficent is proof that sometimes you don’t have to have an elaborate backstory, a god complex, a tragic past or the unfortunate luck to be on the wrong side of a conflict. Sometimes all you need is some magic, brains, class, and a whole lot of flair to be a perfect, intimidating, and unquestionably iconic villain.

Basically what I’m saying is these movies never happened. Got it?

Maleficent is disarmingly polite over being snubbed, even after Merryweather bluntly tells her nobody wanted her to come. She even brought her own gift for the baby – sixteen years of life cut short by the prick of a spinning wheel spindle, because why change into a dragon and destroy everyone all at once when you can draw the torture out over an agonizingly long time and deliver the coup de grace in the prime of a young woman’s life? That’s how Maleficent rolls, baby. She could dole out capital punishment when she has to without batting an eyelid, but causing human suffering is her bread and butter.

Stefan begs the fairies to undo Maleficent’s curse, but it’s too strong for them. Flora and Fauna insist, however, that Merryweather can use her gift to lessen the spell’s potency. Now instead of dying from that fatal prick, Aurora will sleep until she receives True Love’s Kiss™. Stefan’s not one to throw caution to the wind though, so he orders all of the kingdom’s spinning wheels to be burned in the meantime.

I just pray his kingdom’s economy wasn’t based on textiles otherwise they’re screwed.

As the peasantry celebrates Guy Fawkes Day several centuries early, the fairies ponder their next move. They’ve been around long enough to know that removing spinning wheels from the equation won’t put a damper on Maleficent’s scheme. This scene is incredibly effective in establishing two things:

Maleficent’s near-omniscient presence in the film

How well the fairies’ differing personalities play off each other

Maleficent rarely miscalculates her opponents, and that guile puts her one step ahead of the heroes, making her one of the few Disney villains to nearly reach their goal. The only mistake she makes in the entire movie is trusting her henchmen to do their jobs when she isn’t directly supervising them, though that’s more on them than her. The different methods the fairies propose to deal with Maleficent fantastically illustrate what kind of people they are. Fauna believes she’s just a miserable soul who could be reasoned with if they talk things over. Merryweather would rather take the fight to Maleficent and turn her into a toad. Flora, however, is wise enough to know Maleficent’s too wicked to plead to, too clever to bargain with and too strong to face head-on, so their best course of action is to focus on protecting Aurora through any means necessary. Her initial idea is to enchant the princess into a flower (her namesake is her specialty, after all), but Merryweather reminds her that Maleficent enjoys creating bitter frosts just to kill her flowers.

“Well we could try that but stick her in a castle with a beast for a while…nah, that’ll never work.”

Yet never one to give up, Flora alters the plan so they’ll raise Aurora as a peasant girl out in the woods. This means disguising themselves as humans and giving up magic for sixteen years so as to not attract Maleficent, but that amount of time is like twenty minutes to the fair folk. Stefan and Leah reluctantly agree to the plan, and the fairies spirit little Aurora away from the castle that very night.

Sixteen years later, Maleficent is infuriated that her minions have failed to locate Aurora, even more so when one reveals that they’ve spent the whole time looking for a baby instead of a maturing woman. In an interview with the Rotoscopers podcast, Don Bluth called Maleficent a very flat antagonist because she surrounds lackeys dumber than her so she could be the smart one among them and, again, her supposed lack of motivation. But come on, let’s not entirely condemn the bad guys for having too much faith in their underlings. It’s difficult to find minions smart enough to carry out orders but dumb enough to stay unquestioningly loyal. Usually you have to register as Republican in order to get some.

Maleficent gets her anger out in the most therapeutic way – throwing lightning bolts at her orcs, awesome – then leaves the job of finding Aurora up to her trusty raven Diablo. We then finally see the grown-up Aurora herself, whom the fairies renamed Briar Rose as a nod to the Brothers Grimm version of this tale.

I know I’ve made the occasional case for the princesses from Walt’s era compared to the present day, and yet I have a hard time defending how…I don’t want to say bland. Bland would mean there’s nothing interesting about Aurora, and that’s a lie. She’s gorgeously designed and drawn, and even in her peasant dress she has an air of elegance and sophistication. She carries herself like a queen; her innate royalty reveals itself in her graceful movements. Mary Costa also gifts her with an excellent set of pipes. Hearing her song echoing through the forest is nothing short of magical. She’s a flower child who can talk to animals. She has dreams of escaping her adopted aunts’ loving but stifling care and being allowed to grow up, see the world, actually talk to people, and even find a life partner. She has some strong potential. It’s not that Aurora’s boring, she’s just not quite as developed as we’ve come to expect our animated female protagonists to be. I’m grateful for what we’ve got, but I only wish we could have more. What was her childhood like? How did she learn to communicate with animals? When did the fairies trust her enough to let her spend time out on her own? Did the fairies ever subtly teach her lessons in royalty through lessons and games? Heck, nobody bothers to keep her informed about Maleficent or her curse, and they act surprised when she’s shocked to learn she was a princess the whole time. I want to see what Aurora could have been like if she had known the truth already and what kind of steps she would take to defend herself. Blame the source material for this; it’s difficult to write a compelling main character when she’s supposed to sleep through most of her story.

The fairies send Aurora on a fetch quest so they can plan a surprise birthday party for her. Merryweather wants to bring their magic wands back out for the job, but Flora insists on taking no chances now that they’re in the home stretch. Fauna gets to live her dream of baking an elaborate cake (it’s thanks to her referring to a teaspoon as a “tsp” that I do it too), and Flora insists on making Aurora a gown fit for a princess using Merryweather as a dummy. And we also get one of the best burns in the Disney canon:

Merryweather: It looks awful! Flora: That’s because it’s on you, dear.

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The fairies fall into reminiscing over raising Aurora and get teary over having to let her go soon. I see where they’re coming from, they’re the ones who raised her for sixteen years. They must have so many fond memories, not to mention they put all that work into learning to properly raise a child let alone live like normal human beings seeing how two of them still can’t sew or cook without magic. I wonder what that was like –

No, NO, you CGI abominations DO NOT exist! Go back to the fires from whence you came!!

“Ugh, I’m gonna need something strong to expunge that from my eyes.”

There we go.

Aurora wanders through the forest, drawing out the usual bevy of cute woodland critters with her singing. She also catches the attention of a grown-up Prince Philip (Billy Shirley) who’s more dashing and considerably less blonde than he was sixteen years ago.

By this point, the Disney animators were far more confident in their ability to draw realistic but expressive leading men, hence Philip’s expanded role from the story. He’s also the first Disney prince to have a personality; not a terribly deep or defined one, but it’s a step up from his nameless plot-device predecessors. There are some signs of him being a hopeless romantic, he gets a few funny lines here and there, has a sturdy friendship with his horse Samson, and is fiercely determined when it’s time to kick some ass. He does have the same problem as Aurora in he randomly decides to stop talking for the rest of the movie once he reaches the midway mark (at least Aurora has the excuse that she’s sleeping for that remainder), but I suppose you could chalk this up as to him wanting to spite Maleficent with his silence.

The animals steal some of Philip’s clothes so they can pretend to be Aurora’s dream prince. Aurora plays along as she sings the movie’s standout song, “Once Upon a Dream”. Philip and Samson watch until he smooths his way into the dance. Once Aurora discovers the switch, Philip gets a little too up in her personal space for my liking, constantly grabbing her hand so she doesn’t run off and pulling her closer to him. Not as horrible as what the prince does to the sleeping princess in the original story (a questionably consensual kiss is a trifle compared to how the scumbag of a prince treats her there), but still a bit iffy.

“It’s a good thing my aunts taught me to never go anywhere without a loaded pistol taped to my back.”

But once Philip backs off a little and joins in her song, they both dance together and OEHSGBJSGBLL…

I think I’m going to need surgery to get my jaw off the floor back into its proper place thanks to this movie.

As per Disney tradition, Aurora and Philip’s waltz means the two are head over heels in love with each other. But when it comes time to finally exchange names, Aurora panics and runs away, though she sticks around long enough to tell Philip to meet her family at the cottage that evening.

Back at home, the party preparations aren’t proceeding as planned. Flora’s dress looks as good as my attempts at dressmaking, and Fauna’s dessert wouldn’t feel out of place on Cake Wrecks.

A fed-up Merryweather reads Flora and Fauna the riot act and convinces them to finally take up their wands again. This produces more desirable results, though Merryweather still gets stuck with cleanup duty.

Enchanting a broom to come to life and do your dirty work? I don’t see this going wrong in any possible way.

Things start to go south when Flora and Merryweather argue over the dress color and it escalates into a full-blown wizard’s duel. This gag was supposedly based on the animators’ arguments over what was Aurora’s proper dress color. I think they should have compromised and combined both colors to make purple, which would go lovely with Aurora’s violet eyes, but what do I know. I’m just the illustration major writing a blog. Unfortunately, while the fairies remembered to cover every door, window, and crack that could expose their magic, they overlooked the fireplace. The sparkly residue of Flora and Merryweather’s fight fly up the chimney, alerting Diablo to their hideaway.

Going back to what I said earlier about this movie providing some commentary on feminism, consider this: Flora is obsessed with pink, a traditionally female color, and she gives Aurora an attribute that is oft preferred in a woman but not the most important quality, beauty. Merryweather, on the other hand, is all about blue, a color usually geared towards boys, and she has much more common sense and practicality about her. Though Merryweather and Flora are able to put aside their differences in personalities and approaches for a common goal, it’s when they refuse to compromise and begin prioritizing which color – ie. which ideology and extension of themselves – that they want Aurora to step into that they lose sight of what’s important, and allow everything they worked for to collapse on itself. It’s played for laughs very well, sure, but if not’s symbolic of the dichotomy between traditional femininity and modern sensibility that tears apart the feminist movement then I don’t know what is.

The fairies manage to fix their messes in time for Aurora’s return. She’s thrilled with their gifts but shocks them all when she announces her new boyfriend is coming over for dinner. They come clean about her heritage and betrothal to Prince Philip, and Aurora runs up to her room in tears over the fact that she’ll never see her one true love again. That and her entire life has been a lie and she’s being carted off to meet parents she knows nothing about to marry a man she’s never met and rule an entire kingdom with no prior experience or knowledge. But mostly the true love thing.

Meanwhile, Stefan and Hubert are making wedding plans over wine with “Skumps”, the preferred toast between me and my friends. Also adding to the humor is a minstrel who keeps stealing sips until he literally drinks himself under the table.

This was also his way of getting through the Black Plague, co-opted by the rest of the world six hundred years later.

Philip returns and Hubert goes to greet him. He thinks his son is thrilled at the prospect of marrying Aurora but is disappointed to learn that he’s fallen for an anonymous peasant.

“At least tell me if she’s royalty in disguise so you don’t elope to Sicily!”

Philip rides back into the woods for his big date, leaving Hubert with the unenviable task of breaking the bad news to Stefan. As for Aurora, the fairies smuggle her into the castle and prep her for her homecoming. She’s still blue over having to ghost her forest hubby though, so the fairies give her some time to herself.

Biiiiiiiiig mistake.

So imagine you’re me, growing up watching this movie on tape on a television set with a very standard but not spectacular sound system. Then years later you download the remastered soundtrack and give it a listen while you’re falling asleep. You’ve got the whole score memorized, the volume is nice and low, it’s all good.

And then, just as you’re drifting off, you hear a ghostly voice singing in your ear “Auroraaa…Auroraaaaa…”

That reminds me, I haven’t had a chance to talk about the music yet, haven’t I? Forgive me for waiting so long to do so but my reaction to it is equivalent to the visuals. The score is taken straight from the Sleeping Beauty ballet by Tchaikovsky, the same composer as The Nutcracker, and it is lush, sweeping, sumptuous, just…

While George Bruns was mostly faithful with how the score was represented within the context of the ballet, at certain points he took the same approach as The Nutcracker Prince and rearranged the music order to underscore totally different scenes to staggering effect. The beautifully ominous music where Maleficent appears as a ball of green flame and leads the hypnotized Aurora to her doom? It’s from one of the ballet’s divertissements where Puss in Boots dances with his girlfriend. But tell me which is more fitting for a musical composition such as this – two cats pirouetting around each other in a crowded ballroom, or eerie pitch-black spiral staircases illuminated by green fire as a cursed princess inches closer to her dark destiny against her will?

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The fairies realize their error and frantically search the maze of secret passages for Aurora. Though the princess resists Maleficent’s commands for only a moment, they are still too late to save her from fulfilling the curse. Maleficent gloats and leaves the fairies to wallow in their failure. It’s made even worse as the merrymaking from the oblivious revelers below ring out while they put Aurora to bed in a tower and mourn over her. It’s heartbreaking: they raised and loved her as if she were their own daughter, and they still couldn’t protect her. Everyone talks about “Baby Mine” and Bambi’s mom as huge tearjerkers, but why is this scene constantly forgotten?

Stupid onions, stupid stupid onions…

Fauna and Merryweather can’t even begin to imagine how heartbroken Stefan and Leah will be, but Flora has a solution: put the kingdom to sleep along with Aurora until she is woken up. I understand her wanting to spare Aurora’s family some pain, but conking out an entire principality for god knows how long to cover up their failure? AND at a time when Europe was all about invading and conquering itself? Are we sure this isn’t just part of Maleficent’s overarching plan for revenge? This sounds more like something she would come up with instead of the leader of the good guys.

“So what happens if one of the neighboring kingdoms decides to attack while everyone’s sleeping?”

“Then we’ll put them and their armies to sleep, too.”

“And once Aurora is saved, both kingdoms will immediately wake up to find themselves thrust into a war they’re barely prepared for, is that correct?”

“Oh, you’re right, that’s a terrible idea.”

“Finally, thank you.”

“I’ll just turn them all into flowers.”

“THAT’S NOT AN OPTION!!!”

The fairies flitter about the castle grounds spreading their spell over the unwitting royal court, even putting the candles and sconces out. We have another reprise of the “Gifts of Beauty and Song” chorus now altered to sound like a lullaby, providing an interesting bit of symmetry between it and its earlier use in the film. Whereas it first underscored their blessings upon Aurora, now it plays as the fairies are giving the “gift” of sleep to the entire castle.

While Flora knocks out the throne room, she overhears Hubert muttering about Philip eloping with a peasant girl and she makes the connection. The fairies speed to the cottage just as Philip arrives there. But once again Maleficent beats them to the punch. Her goons ambush Philip and she watches them wrestle and bond him with fiendish glee.

You magnificent, kinky bitch.

Maleficent was only out to capture the one man who could break Aurora’s curse; the fact that he’s really the son of her nemesis’ allies is just icing on the cake. Flora, Fauna, and Merryweather resolve to rescue him from Maleficent’s fortress in the Forbidden Mountain.

Some movies reach the brink of greatness only to falter when it comes to the final act. Sleeping Beauty is not one of them. Everything that happens from the moment we slowly zoom in through the purple mist on to the Forbidden Mountain itself up until the storybook closes is perfection. The perfectly paced action, the animation, the music, Maleficent’s hideaway in all its decaying glory (I swear it’s like Jean Cocteau meets Frank Frazetta meets Giotto) all make for the climax of climaxes.

The fairies shrink to insect size and silently sneak through Maleficent’s creepy domain, narrowly running into guards and gargoyles at every turn. They traverse the stronghold until they find her overseeing a hellish bacchanalia in honor of her supposed victory.

“My old gaffer would have a thing or two to say if he could see us now.”

Soon Maleficent gets bored and goes to “cheer up” her captive. Then we have it: The Moment.

I’ve talked about this before, that one small, devious step further the villain takes to make themselves more heinous in our eyes. It’s the Wicked Witch taunting Dorothy with visions of Aunt Em. It’s the Beldam hanging Other Wybie’s remains. It’s virtually everything Heath Ledger’s Joker does. And it is this simple scene where Maleficent details what she plans to do with Philip. She spins “a charming fairy tale come true” of Aurora sleeping without aging, waiting for her prince to come to wake her. And Philip will escape the dungeon, ride to her rescue and prove true love conquers all – in one hundred years, when he’s a broken old husk of a man on the brink of death. DAMN. If you want to know why Maleficent is considered the best of all the Disney villains, it’s not just all her previously praised qualities, it’s her sheer sadism and the pleasure she takes in it.

The fairies enter and free Philip once Maleficent departs. The course of true love never runs smoothly though, so they arm him with the Shield of Virtue (licensed by Carefree Maxi-Pads), and the Sword of Truth to aid in his escape.

“So, why’s it called the Sword of Truth?”

“Anyone who’s subjected to it speaks only the truth…as they bleed out and die, of course.”

“Cool, cool. On an unrelated note, I think I’m gonna go to DC for my honeymoon.”

Diablo sounds the alarm and the Battle With the Forces of Evil kicks off with Philip slashing his Sword of Truth through Maleficent’s goons.

“I steal lunches from the break room fridge!” “I broke wind last Tuesday and blamed it on the dog!” “I cried like a little girl during The Good Place finale!” “I only wash my hands for NINETEEN seconds at a time!”

Philip makes his getaway on Samson and the music reaches truly operatic levels as Maleficent does everything in her power to end him. Yet Philip soldiers through it like a boss. Crumbling mountainsides, Maleficent hurling lightning from the sky and summoning a forest of thorns to block the way? Fuck that shit, he’s gotta go save his girl.

Then, as Philip cuts his way through the briars, Maleficent looks at her watch, realizes it’s No More Fucking Around O’Clock, zooms over to the castle, throws down the most intimidating challenge ever –

“Now you shall deal with me, O Prince, and all the powers of HELL!!”

– and with that, she takes her final form: a massive fire-breathing dragon.

Every Disney villain who’s gone kaiju in the final act owes everything to this gorgeous terrifying beast. The dragon is an awe-inspiring unholy fusion of style, power and darkness. There’s a reason why she’s the final boss in Fantasmic; the chance to watch a live dragon battle is too cool to pass up.

Speaking of battles, Maleficent’s dragon form was animated by Woolie Reitherman, who previously brought us such gargantuan monster clashes as the T-rex brawl in Fantasia and the escape from Monstro The Whale in Pinocchio. And when you have a dragon confronting a fairytale prince, well, you know what’s coming.

Maleficent backs Philip on to a cliff surrounded by flames, leaving him only one desperate shot. With a little extra magic from the fairies, he throws his Sword of Truth at Maleficent and it plunges right into her heart.

“I liked…Frozen 2…more than the first one…”

Maleficent’s spells die with her, clearing the way for Philip. He gives Aurora that wake-up smooch and everyone in the castle slowly rouses, owing their inexplicable simultaneous twenty-minute blackout to the unusually strong wine.

He can attest to that fact.

The royal families are happily reunited, and the film ends on Flora and Merryweather fighting over Aurora’s dress color yet again as she and Philip waltz together on the clouds using animation Beauty and the Beast would borrow thirty-two years later.

Sleeping Beauty is a movie I can never have on in the background because the moment I look up from my work I am spellbound by it. Do I need to elaborate on how this is one of the most beautiful looking and sounding movies Disney’s ever produced? Sleeping Beauty is the swan song of Disney’s first golden age of animation. For better or for worse, their animation process would switch to the rough, cost-cutting Xerox process starting with their next feature, 101 Dalmatians, and few films would reach Sleeping Beauty’s level of gorgeousness ever since.

Though a massive financial and critical hit on release, it wasn’t enough to make up for the monstrous production costs, not unlike Fantasia. Thankfully, home video sales revived interest and made it Sleeping Beauty of the top-selling VHS tapes of the decade, cementing it as a bonafide classic. It’s one of my favorites from Disney for its stunning visuals, gorgeous music, phenomenal villain and overlooked but great cast characters. Revisit it if you haven’t already.

Thank you for reading! If you enjoyed this review, please consider supporting this misfit on Patreon. Patreon supporters receive great perks such as extra votes for movie reviews, movie requests, early sneak-peeks and more! Special thanks to Amelia Jones, Gordhan Rajani and Sam Minden for their contributions!

Artwork by Charles Moss.

Screencaps from animationscreencaps.com

March Review: Sleeping Beauty (1959) Whenever I discuss Sleeping Beauty with someone who doesn't share my enthusiasm for Disney, they have an irksome tendency to get it muddled with Snow White; their excuse being "it has the same plot".

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hidden-behind-the-fourth-wall · 5 years ago

Text

I ain’t afraid of no skeleton

Pairing: Steve x F!Reader

Summary: It’s a Halloween party at the Tower and Steve dresses up as the only one things that doesn’t scare the bejesus out of you.

Warnings: Angts, Fluff, Avengers being sweethearts, a happy ending ( is that a warning?)

A/N: So I wrote this a bit late for The Spooky Writing Challenge of the amazing @barnesrogersvstheworld . I had so much fun writing it especially that I had so much stuff on my head lately and still have so it was an amazing get away for me. I do apologise for any mistakes. English is not my mother tongue, but I am doing my best I promise :) This is also my first challange thing, so please be gentle <3

Words: 3740+

You never liked Halloween. Once because your parents never let you go out with any of your friends, and second you were a proper chicken. It was easy to scare you, and as much as you never believed in ghosts, zombies and other anomalies, you were still terrified.

You chuckled, however, seeing all the skeleton hanging about. As a scientist, skeletons never scared you. Fascinated? Yes. Scared? Never.

It always made you smile whenever you saw the decorations, and being a part of the Avengers tower team, you were mentally prepared for the place to look like a haunted house. After all Tony Stark owned the place. And if someone was about to make it a big wow, then it had to be Tony Stark.

"Spooky", you tensed hearing a chuckle behind you. The one and only Captain America seemed to live to spend his lunch in your lab. You never understood why, but you never minded. He always brought you coffee and something new he tried out cooking or when you made something you thought he would like, you texted him and brought it. It became a routine for both of you. Something you enjoyed. Mostly because you had an enormous crush on the Golden Boy of America. But who were you kidding? You were just one of many people that worked in the tower, and Captain America was just being nice and friendly.

"Yeah, I guess..." you chuckled, thanking him for the cup of coffee he had brought with him. "Am not a fan of Halloween, if I'm honest." He raised his brow and just now realised you only had some skeleton hanging around, nothing more. "I'm a chicken by nature and all those spooky stuff scares me", you pouted hearing him chuckle.

"But no skeletons?" He asked, sitting opposite you at your little table.

"I'm a scientist, Mr Rogers. I ain't afraid of no skeleton" you smiled, hearing his booming smile. You felt proud whenever you were able to make that sound come out. He looked so carefree and beautiful. His mesmerising eyes shined then, making your knot at stomach even tighter. "Ghosts and zombies are a different story though..." you added, making him laugh even more at your adorable face.

"A scientist that believes in ghosts and zombies?"

"From a biological point of view it is possible for zombies to exist... someday," you smirked and bit your lip. "You for example. An amazing example of one. You died and came back to life." He opened his mouth to say something, but only another fit of laughter came out.

"Does that mean you're afraid of me?" He asked in a joking matter, making you chuckle. "I'll dress up as a skeleton for the party. Just to make sure you won't ran away."

You promised Tony to bake some of your popular cookies and muffins for the afterparty. Not being able to say no, you were now solemnly tired but happy to see over 50 muffins and 100 cookies on the counter.

"I know that smell!" You turned and smiled at Sam and Bucky who walked into the kitchen.

"Holy cow, doll, you have outdone yourself!" Barnes whistled under his nose seeing all the different Halloween sweets sitting around the kitchen. "Stark should pay you for that", he joked giving you a friendly peck on the cheek, followed by Wilson.

"Please tell me you made some extra for us to try...?" The Falcon asked, smirking at you. Raising your brow you chuckled, unable to fight his puppy eyes. Who would have thought the ex-soldier would have such a sweet tooth. You handed him the cupcakes from the plate away from the others and blushed to hear his happy groans.

"Here." You turned to Barnes giving him a different looking cupcake. "I know you're not a fan of sweets, but a little bird told me once you used to love cheesecake. They probably are not as good as you ate back in those days. But maybe you'll enjoy it", you noticed a little blush on his cheeks and he thanked you with a small smile.

"You are an angel, I hope you know that" he murmured between the bites. You were proud of yourself noticing his smile and the speed he devoured his sweet. "Whoever will be lucky enough to court you, I'm already jealous." You laughed at him, slowly putting all the cupcakes away, leaving the plate for the avengers to eat before the party. "Strawberry cupcakes? I wonder who are they for", you tenses hearing a cheeky tone of the ex Winter Soldier.

"I... I heard he used to be allergic to those. Plus they were quite expensive in the 30s... and I noticed him snacking on them now so..." you are probably more red than tomato, hating the fact that the boys in front of her knew about her stupid crush on the Captain.

"That's adorable", Sam smiled at you in a weirdly encouraging way. "So is this the way you will use to tell him about your feelings?"

"No!" You squealed, making them chuckle at your reaction. "I... I couldn't... look at him and then me. I am not worthy to even think that someone as amazing as him would even consider me... you know..." Just as Wilson was about to say something, the doors to the kitchen opened and the source of the topic walked in.

"Oh!! I know that smell!!" You chucked at his huge grim and shining eyes. "You will make us fat, Y/N!" He joked walking towards the three of you.

"Here", you pushed the special cupcake to him, smiling sweetly. "I gotta go, got some paperwork to do. I will see you guys at the party." You waved at them and left the room.

"She's adorable", Rogers looked at Wilson, who was still gazing at the doors that you just used to leave. His brow furrowed. A weird, uneasy feeling appeared in his stomach, with his friends complement. "I think I'm gonna ask her out", Cap's eyes widened, and Bucky could not help but smirk. Their friend was the best guy there is, but he was tense and awful with women. He was almost sure that the big guy was worse than the skinny one in the 30s. "What do you think, Cap?"

"If... if you like her...", he answered, but his voice low and husky. If Sam did not know better, he'd think his friend would kill him now, from the way he looked at him. "I mean. She is a great dame... I mean girl. A woman. She's a great woman."

"So why the hell have you no asked her out yet?" Bucky finally asked, feeling sorry for his life long friend. Barnes was happy to see Steve smile whenever he was with you. You little lunch dates that none of you actually called dates, were adorable. Even Natasha found it cute, whenever Steve walked into the building with extra coffee and a muffin, two or seven. He liked you and it was not a secret that you liked him. But of course, none of you would say anything. You were both too stubborn to even realise how good you were for each other.

"She's a friend. That's all she sees in me..." the blonde answered ashamed to even talk about it.

"Oh Steve, you're an idiot!" Sam laughed out loud. "You have dates practically every damn lunch. You spend more time with her than with anyone of us. And she doesn't seem to mind that. Come on, man. She made you special strawberry cupcakes. Did you know she hates them? Even the smell makes her sick and yet she made them just for you."

Rogers was looking at Wilson with shock. Of course, he knew all that, but hearing it from his friends' lips had a different impact.

He smiled saying goodbye to his friends. After all, there was a party tonight and he needed to get ready and get into the ridiculous costume he bought especially for you.

You were never a party person. You much more preferred to stay in the corner with your drink and watch people.

But this night was different. You did not enjoy looking at that one person. He looked really great in his Jack Skellington costume. You felt your heartache for him for dressing as a skeleton. Some part of you thought he did it for you. But seeing all the women surrounding him, you were sure anymore. All of them were beautiful, skinny and willing to give themselves to him. Who were you to even think that he dress up like that for you?

"You seem miserable, my dear bakery queen", you rolled your eyes hearing Stark's voice.

"Are you drunk already, Tony?" You joked, smiling at him when he landed on the couch next to you.

"No. I'm leaving this for the after-party. Plus pepper would kill me." You couldn't help but chuckle at his fear of his wife. "You know... from what I gathered he is not enjoying any of that women's company." You looked at him and smiled sadly. Apparently everyone knew about the crush you had. How sad.

"Well, he does from here." You answered and got up slowly trying to keep your eyes away from the Captain. "Another whisky, Tony?" He shook his head. His smirked disappeared seeing your sadness. You gave him one of your most beautiful fake smiles and went to the pub. One more drink won't ruin you. But it may be easier to look at the hordes of women lining up to 'talk' to Captain America.

"I have never seen you drink more than one drink before, Sally." You raised humour brow looking at your witch costume. "If his Jack than you're Sally right?" Natasha smirked at you, putting a drink in front of you.

"Quite ironic, heh?" You chuckled, sitting on one of the stools. "Poor Sally wasn't able to show her affection either." You took a deep breath and a sip of the drink. "But we're not the same. In the end, she managed to do it, and Jack returned the love."

"And what makes you think Steve isn't your Jack?" You blew a raspberry at her question.

"Look at all those women there. They are all beautiful and probably better than me in every aspect. Steve would be an idiot to chose me." You laughed trying to hide the pain behind those words. You shook your head to silently tell Romanoff to leave the subject. "I'm gonna go rest a bit before the after-party..." you finished the drink in one gulp and went to your room. It's not that you even planned on coming later but this was a good excuse. At least that's what you hoped.

You exhaled deeply happy to be away from the room. There were too many people, too many questions you didn't know the answers to.

"Hey, where are you going?" You froze hearing the voice you didn't really want to hear right now. Yo stopped and put a fake smile on, before turning around. There he was. Looking so good and adorable in his Jack costume. "Did all the zombies scared you off?" He joked, walking closer to you.

"You never know which one of them are real", you answered in the same manner, making him chuckle.

"Don't worry!" He beamed straightening a bit more with a huge grin on his face. "Your skeleton is here to protect you." Your breath hitched and eyes widen. Your. You bit your lip and looked away feeling pain in your chest. When you realised that he will never be yours, and you will never be his. "Unless this scares you as well?" You looked up at him and smiled at him back seeing his soft one.

"I told you, I ain't afraid of no skeleton!" You answered making his smile grow.

"Are you ok, though? You left the party pretty early." You swallowed hard not knowing what to answer. "Nat said you went for a rest. You feeling alright, doll?" Your heart skipped a bit at the pet name. You noticed he wasn't talking like that to any of the other girls, but you still just assumed he was just comfortable with you.

"I'm not good with crowds." You answered softly, calling for the elevator. "I just wanted to rest before the after-party."

"Y/N" you turned around when you heard his serious tone. "You know you can talk to me if something bothers you, right?" You smiled at him with a sad look on your face. How you wish you could tell him about all that you want. But you just shook your head and smiled

"I'm ok, Steve. Go back to the party. Go find yourself your own Sally." And before he was able to respond you walked to the elevator and watched the doors closing.

"What If I already found one?" Rogers whispered when you were gone.

You hated and loved Natasha at same time. But her little sneaky idea was so stupid. You could not really rest. The moment you stepped into your room she followed you like a lost puppy.

"This is ridiculous", you murmured looking at your make up and the weird dress that Nat brought with you. "He is going to freak out! Nat... he doesn't feel the same way! He is just a good friend..."

"Well, every Jack needs his Sally," she said, ignoring everything that you just said. You exhaled loudly, tired to fight with her. "He's gonna love it! And seriously, have some more faith in yourself. You are a beautiful, smart, kind woman, he would be an idiot if he didn't want you." You blushed, internally thankful for a friend like Nat. "Ok, done! Looking amazing!" She cheered and you smiled. You had to admit, she made an amazing job.

"Ok, let's get that over with", you sighed letting her drag you to the whole other level of the building where the party was holding.

You weren't sure what you were thinking, but right now you just wanted to disappear. You sank into the couch and wondered why you even came here.

The party was on for more than an hour now. When you walked in looking like Sally, Steve looked positively surprised. He laughed a bit and you talked for a while. It was nice. Comfortable and made you think that maybe he does feel something to you.

But then he went to get you both a drink and never came back. He was sitting there with a beer in his hand talking and laughing with Sharon. You knew there was something between the two of them, but you hoped it was over. However, looking at the two of them, you realised that they looked really good together.

Your gaze landed on him. He looked more relaxed with her. His laugh reached his beautiful eyes and he looked like there was nothing on his shoulders. You wondered what she was telling him, that made him look so adorable and carefree.

You just now realised that it wasn't just a stupid crush anymore. You loved him and he didn't feel the same way.

"You'll burn a hole in his head if you keep on gazing at him like that", you looked to the right to see Sam sitting next to you. "What is it? Where is that beautiful smile that was there just minutes ago?" You bit your lip and took a deep sip of your drink.

"It's with him", you answered sadly. "He looks really happy, right?" He frowned and looked at his friend. There was an ache in his heart seeing you so sad.

"Come on", he stood up and took your hand pulling you towards the dance floor. It wasn't big and you felt all the eyes on you.

"I can't dance" you whispered, making him chuckle. One of his hand was on the back of your waist and the other tangled in your hand.

"Close your eyes and trust me. Just relax." So you did. You closed your eyes, leaned your head on his chest and smiled a little, actually enjoying the slow song. You felt so calm now. You didn't care about the Avengers looking at the two of you. You didn't care about Sharon and Steve flirting. There you were. Sally dancing with Dracula and you really enjoyed it. "Don't ever let a man dictate how you feel, no matter who that man is, you hear me baby girl?" You sniffed and nodded, your cheeks still pressed to his chest. "You are worth so much if you only believe in yourself."

You actually had fun throughout the party. After Sam thanked you for the dance, Tony took you for a next one, making you laugh with his inappropriate jokes and pick up lines, that made you wonder how he was able to catch someone like Pepper with that.

After some drinks Bucky took you for something which he described as 30s dance. You felt like burning all the calories you had today, but you laughed so much that your jaw hurt. Clint and Nat took you for a stupid a la 90s dance which was joined by Thor who than danced with you to slower dance, showing you some Asgsrdian moves. Before you knew you danced with everyone. You were even able to have a drink with Loki who seemt to be more and more open to the people of Earth.

You were so occupied with everyone that you forgot about Steve. You havent looked his way the entire time. Haven't noticed how he said goodbye to Sharon who walked away with a guy named Bill that was just late for a party and was ready to take his girl back home now that he was free. You haven't noticed the look on his face whenever there was a slower dance and you were pressed close to the other man. A man that wasn't him. You didn't notice the sad smile on his lips whenever you laughed. He found you so beautiful, but was sad at the same time that he wasnt the one to bring that mesmerising sound out of you. And you haven't immediately noticed how he left the party to go to the balcony to get some air.

You only noticed the last thing when you yourself needed some fresh air. All the dancing, laughing, talking and incredible amount of alcohol made you a bit more tipsy than you planned on becoming tonight.

"Jacky?" He turned around a small smirk appeared on his lips seeing you closing the balcony doors behind you. You walked closer, leaning forward you stopped next to him. "What's wrong, Jacky?"

"Does that make you Sally?" He asked playfully turning towards you. You chuckled and turned around to show your dress.

"Indeed I am. Nat thought it would be funny. I feel stupid though", he frowned not understanding. Feeling a bit braver thanks to the alcohol you turned to look st the city and smiled sadly. "Sharon would fit better as your Sally."

"My Sally?" He asked not taking his eyes off of you. Despite looking like a dead doll you still looked beautiful in his eyes. The way you had fun today pained him a bit. It meant you were able to enjoy yourself so much without him there.

"Well Nat has this absurd idea that you may feel something towards me..." he tensed a bit, but you never stopped. "I really don't know how someone like you would like me back, but well Natasha was always a bit weird... but yeah. So I saw you with Sharon. You really do look good together and..."

"Like you back?" He interjected making you widened your eyes and swallow hard. You were talking faster than thinking and now you were regretting the words that left your lips.

"I... I mean..." you widened your eyes seeing his smirk. "I should go." You were about to turn and leave the balcony, when he stopped you, holding you by the wrist.

"I don't dress up", he started. The smile present on his lips and eyes shining. You braved enough to look up and took a deep breath seeing the way he was looking at you. "Sharon and I have history. We understand each other, we're friends and this is it." He pulled you closer to him, but gently enough not to halt you. "I dressed up in this absurd costume because you told me skeletons are the only things you're not afraid of." There was a blush on his cheeks when he continued. "When I saw you changed to Sally my heart skipped a beat. I thought it was my chance, but... but you were ignoring me the whole night... I was so happy to see you relax and have fun but... I wanted to be the reason to see that smile on your lips."

"I thought you were back with Sharon and it broke my heart to see you both together..." you started, looking down at your shoes. "I always thought I was not good enough for you, so today when I saw you talk with her I decided to give up on my feelings..."

"Not good enough for me?" He chuckled shaking his head in disbelief. "You are the most amazing woman I know. Sweet, smart, kind hearted, and not to mention beautiful." He bit his lip and put two of his fingers under your jaw lifting it up. "God. I can't believe even for a second you thought were not good enough..." he shook his head and leaned down putting his forehead to yours.

You closed your eyes and smiled happily. The heat radiating from him killed whatever chill you felt from the cold temperature. His hands moved from your shoulders down to your waist, pulling you closer.

"Your heart is beating really fast, doll", you couldn't help but chuckle at his super hearing. "Are you afraid?" He asked only half-jokingly. His eyes were moving from your eyes to your lip. It melted your heart. This amazing man was waiting for your permission. You bit your lip and rounded your arm on his neck, getting him closer to you. And before you closed the distance between the two of you, you whispered cheekily.

"I already told you. I ain't afraid of no skeleton!"

#ayaotdchallenge #steve rogers #captain america #captain america fandom #captain america fanfiction #captain america x you #captain america x reader #steve rogers x you #steve rogers x reader #Halloween #halloween challange #halloween writing challenge #mcu #marvel #marvel family #marvel mcu #nightmare before xmas #nightmare before christmas #jack x sally

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the-06 · 5 years ago

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we are still waiting so anxiously for your answer about why ermac is so hated in mkx

Hey there, @bazpik and anyone else I kept waiting (assuming you’re not the same person). Sorry for the delay; as you may have noticed, I’m purely shit at answering anons because I can’t just whip out an answer right away.

Anyway, I don’t know if Ermac was hated per se in MKX, because his Fatalities – especially the “Inner Workings” one – were among the best received in the game. But yes, there was quite a bit of negative fan reaction centered on his design and storyline. With the straps across his face and his overall decaying form, some people had a knee jerk reaction of “mummy!!” that was rather silly because he looked nothing like one. (Then there’s the tried-and-true faction who decries anything ninja in MK but then gripes when they actually get an original design. But I digress.) I think there were issues with his gameplay therein as well, but I can’t say anything about that as I personally haven’t played an MK game in over two decades.

For me, his MKX incarnation was a mixed bag. I neither hated it, nor loved it. His design made for a fascinating plot of his losing grip on the souls and having the metallic talisman attached to his chest to keep everything inside. (On a personal note, I want to believe Mileena was responsible for that because it would definitely make sense for her to come up with such a haphazard quick fix.) The game also introduced my beloved Outworld Six, of which he was a part – along with Kotal, Ferra/Torr, Reptile and Erron Black, for the uninformed – and as anyone who knows me here is well aware, I stan them hugely.

On the flip side…there really wasn’t anywhere for Ermac to go but down with such a plotline. That was the biggest bone I had to pick. His being reduced to a jobber for the Good Guys™ in the story mode and his ending with Shang Tsung just rubbed salt in the open wound. I practically orgasmed at Kotal Kahn’s MKX ending, because that would’ve given Ermac something to do again and made a PERFECT subplot in MK11. Having Outworld be the benevolent realm for a change as they attempt to pry their territory out of Dark Raiden’s hands? God Almighty, imagine the possibilities. But nope, we didn’t get that.

I think his reception in MKX was also fans’ vented frustration over NRS’ (mis)handling of the character. Ermac’s amazing development in the 3D era – namely his connection to Kenshi in Deadly Alliance and his “redemption” angle in Deception – finally launched him from “Error Macro” to a top-tier MK character. Then the moronic 2011 reboot just chucked all that out the window and had him go right back to being Shao Kahn’s servant. Then he’s suddenly rotting away in the very next game, and I’m not a fan of the whole in-possession-of-Jerrod’s-soul schtick. (As a bonus nitpick, his saying “me” in some of his intros didn’t help matters.)

I know some gamers have continued to cling to hope that Ermac’s role in Deception will somehow make a comeback, but unfortunately that was fifteen years ago and that ship has long sailed. His aligning with the Earthrealmers today would make zero sense especially after what he did to Jax. A realignment with Kenshi – what I and scores of other MK fans still want – is still possible, but I’m not betting the farm on that if their disgusting treatment by NRS in MK11 is any indication.

I’ll stop here, otherwise I’ll just wind up going further off the rails and y’all’ve got far better things to do than listen to me rant and rave. Thanks for writing! :)

#ErmacDeservedBetter

#anonymous #ermac #mortal kombat #MK11 #MKX

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thecoleopterawithana · 5 years ago

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Love your blog! I was wondering if you’ve read Paul’s PR guy’s diaries? They are full of little gems, such as how Paul uses smileys and is very handy with his iPhone. I read this entry and the guy writes Paul lost “a soulmate and songwriter”. I think it’s quite telling that the people he works with call John his soulmate. Haven’t read all the guy’s entries yet but just wanted to mention this one; it’s the entry about the Freshen Up tour in Japan 2018.

Hey there! I’m so incredibly sorry for taking so long to reply, but life has been truly hectic!

To answer your question, I hadn’t had the chance to go through Stuart Bell’s accounts of the Japanese leg of the Freshen Up Tour (2018), so I’m grateful you’ve brought this to my attention! He certainly offers a different insight into the inner workings of the tour and how a more than experienced Paul navigates the commotion still with youthful enthusiasm. Even if written with a bit of a “PR hat on”, an amassing of ‘insider’ POVs (from people who were actually there) is invaluable to getting the full picture of Paul McCartney. And as someone who is filled with love every time a new facet is revealed, I appreciate any piece of information that comes my way!

So I have to agree with you that little anecdotes like these are hidden gems:

The devotion and adoration is incredible and as Paul’s car rolls by this afternoon, the faithful are rewarded as Paul winds down the window and waves. He is so touched, and awed, by the reception that he even shoots some footage as he rolls past the fans. (Later in the week I receive a text from Paul while I am out for a run and it contains the clip. It looks mega so I ask if I can post to his social media – shortly afterwards I receive a smile face. A little-known fact about Paul – he is the master of emojis when text messaging!

— Wednesday 31st October – Tokyo Dome, For Whom The Bell Tells: Japan 2018.

And then, we have this other entry, that I agree is rather interesting: not only does it give us an ‘insider’s perspective on John’s significance in Paul’s life, but the piece centres on the issue of art as a platform with the power to spread a message, social responsibility, and how the message is something one’s passionate about (Paul being described as “not shying away from wearing his heart on his sleeve” just tickles me):

It barely needs mentioning that music is a huge and central part of Paul’s life but he has never been detached from the wider world. Like many musicians, matters of the heart are a preoccupation in his song-writing but Paul has continued to express his thoughts on life, the world in general and the causes close to his heart through his songs, interviews and other interventions. You can look back to the controversy surrounding his debut single with Wings, 'Give Ireland Back To The Irish’ (a response to the “Bloody Sunday” killings only a few weeks earlier in 1972), as an example of how he does not shy away from wearing his heart on his sleeve. Paul is passionate about many things and his humanity is self-evident. For a man who lost a soulmate and song-writing partner, you can imagine how the horrors of gun violence are an issue close to his heart. Just days ago the world was sickened by the mass shooting in a synagogue in Pittsburgh and so Paul has been keen to make his views known by not only showing his disgust at the attack which left 11 dead but also calling on the US to do the right thing by using their votes in the upcoming election to elect politicians who will do something about it. As I’m on my way to the venue Paul calls me and asks us to release a message in response to the terrible events. He gives me a quote over the phone and in a rather surreal moment as we chat, I find myself looking out of the car window to see giant posters of Paul across the city with huge welcome messages for him.

—Thursday 1st November – Tokyo Dome, For Whom The Bell Tells: Japan 2018.

But let’s address the bit about his relationship with John.

Like you, I find very telling the choice of words used here. It just goes to show how themselves and everyone around them have to scramble for a term that adequately describes the ineffability of their connection. It felt so encompassing, that the terms that regularly pop up hold that indescribable aspect in themselves: special, magical, cosmic soulmates. And seeing them struggle to put it into words is one of my favourite things! It’s no surprise then that I have an inordinate amount of overlapping tags covering the numerous nuances of this very same feeling, tracking their various attempts at capturing it.

But for me, it’s even more fascinating to look beyond the external awe-inducing aspect of it – this special, magical, cosmic glow that draws us to the relationship in the first place – and see how this notion felt to them; how it impacted the relationship in the first place.

Let’s look from Paul’s perspective first, as it is here, by a matter of the circumstances, that we find more material.

We wrote our first songs together, we grew up together and we lived our lives together. And when we’d do it together, something special would happen. There’d be that little magic spark.

— Paul McCartney, in Bill Harry’s The Paul McCartney Encyclopedia (2003).

We read each other. We’d grown up together! (…) We’d been teenagers together, I’d been sitting in his bedroom listening to Fats Domino, Chuck Berry, we’d been taking down the words together when we were like 16/17. So we’ve actually grown up together. So that, if he said: “Gotta be like Chuck Berry!” I knew what record he meant. I knew even what line he was talking about! You know? So, we read each other in that respect.

— Paul McCartney, interview for the Today Show (6 July 1997).

With John and I, it was so special, I think both of us knew we couldn’t get that again. And it’s proved itself, through time, to be as special as it felt when we were doing it. So I don’t think that could happen again. We really were a complete fluke – just two kids who happened to meet up in Liverpool and share an interest and start writing songs together. And then developed, organically, together. And had the same sense of humour. And learned things at the same rate. Found out about Vietnam together. Little things. All of these little awarenesses pretty much hit us at the same time over a period of years. And you really become soulmates when that happens.

— Paul McCartney, interview w/ Mark Binelli for Rolling Stone: Sir Paul rides again. (October 20th, 2005)

No matter what’s happened, even though John’s dead, I don’t feel like we are ever gonna be apart. I think we’re a part of each other’s lives, we’re a part of each other’s karma, man!

He was a lovely guy, you know. And it gets sadder and sadder to be saying “was”. Nearer to when he died I couldn’t believe I was saying “was”, but now I do believe I’m saying “was”. I’ve resisted it. I’ve tried to pretend he didn’t get killed… it’s a bit sad. But anyway, I was blessed to be in The Beatles, to work with John. Something, somewhere… you know they talk about a gift of songwriting, well that was a pretty cool gift whoever gave it me.

— Paul McCartney, interview w/ Mat Snow for MOJO (November, 1995).

Paul seems to take a causality approach, with a bit of occasional baffling at the mysterious workings of fate sprinkled in. In typical Macca fashion, he condenses in himself the apparently paradoxical views of people as pavers of their own paths – we became soulmates because of the circumstances, because we chose to spend all that time together – and people as participants in a big cosmic play – we were brought together in the first place by something, somewhere, blessed to be a part of each other’s lives, each other’s karma.

But overall, it is very important to realise that despite attributing the initial circumstances to chance or a higher-power – them meeting at that particular moment and clicking so well immediately – Paul seems to value shared time, space and experiences as some of the biggest factors behind the magic.

They became soulmates, by virtue of growing up and living their lives together.

This places the agency and the responsibility of making it work right in their own hands. You want to be that close, that attuned, that in-sync with the other to the point of feeling like you can read each other’s minds? Right, you have to actually spend the time together, to accrue shared references and memories that will end up developing into that unspoken language. You can’t expect to have been born on this planet inherently capable of communicating with your preordained soulmate.

And that brings us to John.

John is awesome because despite having all those overpowering emotions and traumas inside him, he wasn’t actually afraid of engaging in some introspection and facing those feelings head-on. Because of this, he was able of evolving much faster (or at least, even when he couldn’t always change his actions, he seemed willing to try and become self-aware enough to understand why he was acting that way in the first place).

So let’s see, after 40 years of getting to know himself, what answers did Johnny reach:

John: Well, you’re asking why we met. I mean, I don’t know. It’s like asking why you were born. I can give you theories of karmic pasts and things like that, but I’ve no idea why. But why it continues is because we want it to continue and work to continue. There seem to be certain cycles that relationships go through. The critical points are at different parts of the different cycles. The new way of talking is like, “Well, why work on a relationship? We just stop and get another one.” But the karmic joke is, presuming you’re lucky enough to find a new relationship anywhere near the relationship you’re giving up – or exchanging, or walking away from, or destroying by inattention or inadvertence of selfishness, or whatever it is – that you have to go through it over and over and over again right up until you’re seventy. People never grasp the fact that they’re going to have to go through the same thing again. They get to the sort of five-year stretch or the seven-year itch or whatever these tension points are, that seem to be organic, built in, like the tide coming in and going out. It’s like every time the tide goes out, you quit—you move your house of something, I’m not making it clear here but you get where I’m going…

Sheff: Yes, yes, but what made you see that?

John: When [Yoko] kicked me out, I saw I was kicked out. When I was kicked out, I realised where I was, which was on a raft in the middle of the universe, and whatever happened, presuming I could have started another relationship, I would have ended up in the same place—if I was lucky. And that��s a big if.

Sheff: You’re speaking about your separation in the early Seventies.

John: Seventy-three, or whenever we were separated, which is sort of a very cold way of saying it. It took a while, but that’s what I saw. If I was lucky… It’s like what they say about karma. If you don’t get it right in this lifetime, you have to come back and go through it again. Well, those laws that are sort of cosmically talked about – accepted or not, but talked about apply down to the most minute detail of life, too. It’s like ‘Instant Karma,’ which is my way of saying it, right? It’s not just some big cosmic thing, although it’s that as well, but it’s also the small things, like your life here and your relationship with the person you want to live with and be with. There are laws governing that relationship, too. You can either give up halfway up the hill and say, “I don’t want to climb the mountain, it’s too tough, I’m going to go back to the bottom and start again,” or you can do it this time.

Sheff: But you once decided it was too tough.

John: I did. But I didn’t see any of this then. Yoko and I were lucky enough to go through that and come back and pick up where we left off, although it took us some kind of effort and energy to – to blend in again and get in the same sync again. It took some time.

— John Lennon, interview w/ David Sheff for Playboy. (September, 1980)

It is with great love and affection that I see John’s matured insights: that despite having met under cosmically mysterious circumstances, the choice to build it into something more is in your hands.

“Why it continues is because we want it to continue and work to continue.”

But John, like Paul, seems to have only gained this wisdom with the benefit of time and experience. It was with the perspective afforded by the passage of years that Paul came to fully realise and appreciate how truly special and improbably “perfect for each other” they were. And John “took his lucky break” and realised how hard it was to “find a new relationship anywhere near the relationship you’re giving up – or exchanging, or walking away from, or destroying by inattention or inadvertence of selfishness”.

(As an aside, I can’t help but point out how John pretty much disclosed what, in his opinion, made the mountain called JohnandPaul too difficult to climb: his selfishness and Paul’s inattention.)

In the same interview and continuing the reflections on the cyclic nature of relationships started above, and just what he lost by giving it up:

John: In a marriage, or a love affair – when the seven-year-itch or the twelve-year or whatever these things that you have to go through – there comes a point where the marriage collapses because they can’t face that reality, and they go seeking what they thought they should be having, still, somewhere else. I get a new girl, it’ll all be like that again; I get a new boy… But for all marriages, all couples, it’ll all be the same again. But what you lose is what you put into that… relationship. The early stuff – the Hard Day’s Night period, I call it – the early period, was the early equi– se– what I’m – what I’m equating it to is the sexual equivalent of the beginning of a relationship, of people in love. And the Sgt. Pepper-Abbey Road period was the period of maturity in the relationship. And maybe had we gone on together, maybe something more interesting would have come out of it. It would not have been the same. It would have been a different thing. But maybe it wouldn’t either. Maybe it was a marriage that had to end. Some marriages don’t get through that – that phase. It’s hard to speculate about what would have been.

— John Lennon, interview w/ David Sheff for Playboy. (September, 1980)

So, John acknowledges how you risk losing a very special relationship and everything you’ve put into it by walking away when it goes through a cyclic tough phase, how he did it once but he “didn’t see any of this then”.

But what didn’t he see back then? Was he too careless and flippant about what they had, not appreciating how unique it was?

No.

John was, even back then, very much aware that this thing with Paul was special. And that, if anything, made it worse. Because now there were (perhaps unconscious) unmeetable expectations weighing down on his belief in the genuineness of the relationship.

If they are cosmically connected, then they should be able to communicate wordlessly, “share in each other’s minds”; if they can read each other’s minds, they should know the other’s every want and need; so if Paul is not innately responding to his wants and needs, he is either actively ignoring John’s suffering (because Paul doesn’t really care about him or, perhaps, because he actually derives pleasure from seeing John down); or Paul can’t actually feel John’s pain intrinsically in the first place, and that would mean that everything that John believed about the specialness of the relationship and the relationship itself was a lie.

And boy, faulty communication sure is one of the fatal flaws in their dynamic! All because there was the assumption that they were so in-tune that they didn’t need to talk! There seemed to be the expectation that everything would flow seamlessly. And if it wasn’t flowing, if anything required a bit of personal input to work it out, then it wasn’t genuine and spontaneous any more. And if the relationship wasn’t real, it wasn’t worth climbing the mountain for. It shouldn’t be a climb at all, but rather an effortless glide, hand-in-hand, through the universe!

John: Because we have plenty of arguments, but we’re also so attuned to each other, and we know each other so well, through the years, that an argument never reaches a climax. Or it never reaches the point where somebody goes off ‘cause they’re done talking, you know.

Q: In other words, it’s forgotten.

John: It’s not forgotten. But we know each other so well, it’s like sort of mind-reading. If an argument’s building up between Ringo and I, say, there comes to a point where we know what’s coming next and it’s all – everybody packs in. Or something – some, “Okay, he wins,” you know. So we have ordinary arguments, like other people, but we don’t – there’s no sort of conflict. All the people who have conflict in show business either get married about nineteen times, they leave the group they’re in and go solo… and nothing ever happens.

— Interview w/ Larry Kane (2 September 1964).

Hindle: What do you think about language?JOHN: I think it’s a bit crummy, you know? It is a drag form of communication, really. We’ll get – we’ll get telepathy. I believe that.Hindle: You believe that?JOHN: Yeah, sure. Sure. Sure as anything I believe. It’s too… Because now we need it so much. […] But it’s hard… it’s that bit, you know. There are – there’s people everywhere of the same mind and it’s just… even amongst ourselves we can’t communicate. Which is the hard bit, you know. Hindle: Yeah.JOHN: Amongst the people that sort of really agree. Hindle: Just ’cause of words?JOHN: Just ’cause of words, and upbringing, and attitude, and how you express your… Well, it’s just some – you’ve got to find a mutual sort of language to express yourself, you know? And my language is that—Hindle: Unless you fall in love it’s impossible to communicate like that. JOHN: I mean, I wasn’t in love last year, but I was communicating quite well with people. Not as well, or maybe not as powerfully. ’Cause now there’s two of us, doing that, brrmmm, whatever it is. Sending out a vibration or whatever. But before it was me and… or me and George, alright, or whatever it was; we weren’t in love, but. You know. There’s enough in you to shove it out. It is just that bit. If you – if somebody comes in a room and he’s uptight and that, he can make the whole room uptight.

— John Lennon, interview w/ Maurice Hindle (December 1968).

It’s sort of complicated but sometimes you say things, but it’s not really what you meant to say. If I say something to you and you hear it different from what I’ve said it, and you answer back and we’re not really getting down to it. I’m really talking like that you know. Like somebody says ‘do you want ice cream?’ and I’ll say no, and actually I meant yes. You find yourself saying the opposite of what you mean. This happens to me quite a lot. I speak a lot, but what I say is not always what I mean.

— John Lennon, when talking about I Know (I Know) (1973).

Laverdiere: [The Family Way soundtrack] was actually the first time you would officially compose outside the Lennon-McCartney tandem.

Paul: Yes, and you know, it’s funny. That’s true. It’s funny because talking to Yoko recently, you know, you talk about all these things that happen way back in history. It turns out John was not pleased; but I didn’t know ‘til a year ago that he wasn’t pleased. He always told me, “Fine.” ‘Cause he’d been acting in a film – he did a film called How I Won The War – so we started to do little solo thing, just for a change, just for a break, and so I assumed, I asked him, “Is it okay with you?” He said, “Yeah, fine, fine.”

But Yoko told me that he was actually a little bit put off by that, because he hoped probably that I would say Lennon-McCartney will write this together. But to me it seemed a good opportunity to get away of what I did normally. But Yoko just told me apparently John was a little bit hurt about that. Which is sad. But we did actually talk about it. He just never told me at that time. He probably just covered up.

—Paul McCartney, interview w/ Michel Laverdière. (May 23rd, 1995)

‘Rigby’’s, um, his first verse, and the rest of the verses are basically mine. But the way he did it was – uh, was he had the song, and he knew he’d got the song. So rather than ask me, “John, do these lyrics—” Because by that period, he didn’t want to say that – to me. Okay? So what he would say was, “Hey, you guys, finish off the lyrics,” while he was sort of fiddling around with the track or something, or – or arranging it, in the other part of the giant studio in EMI.

Now, I sat there with Mal Evans, a road manager who was a telephone installer, and Neil Aspinall, who was a not-completed student accountant who became our road manager. And I was insulted and hurt that he’d thrown it out in the air, but I wanted to grab a piece of it, and I wrote it with them sitting at the table. So. There might be a version that they contributed, but there isn’t a line in there that they put in.

But that’s how it – [Paul] just sort of— ‘Cause that’s the kind of insensitivity he would have – which made me upset in the later years – because to him, that meant nothing. But that’s the kind of person he is. So he threw ‘em out and said, “Here, finish these up,” like – to anybody, who was around. [By saying that] actually he meant I was to do it, but – you know, Neil and Mal were sitting there, and…

— John Lennon, interview w/ David Sheff for Playboy. (September, 1980)

John: We don’t really write together any more. We haven’t written together for two years. Not really. Just occasional bits we help… somebody’s got to use a line or two.

Miles: How does that affect you when you’re playing then?

John: It doesn’t make any odds, who writes them. It’s when The Beatles perform that makes it into Beatle music. It’s a long time since we’ve sat down and written together for many reasons, because we used to write together mainly on tour. Then there was a valid reason for it. It got false – “Come round to my house and we’ll write some songs” – it doesn’t work anymore.

—John Lennon, interview w/ Barry Miles, (partially) unpublished. (September 23rd, 1969)

But in the early days of performing, whether it was Hamburg or Liverpool, when we were still playing dance halls, there was still a lot of inspirational energy. We hadn’t started repeating our little movements, our little licks. So in that respect, the Beatles’ live creativity had gone long before they came to America. And in the same respect, the creativity of songwriting had left Paul and me… well by the mid-Sixties it had become a craft.

And yet… a different kind of thing comes in. It’s like a love affair. When you first meet, you can have the hots twenty-four hours a day for each other. But after fifteen or twenty years, a different kind of sexual and intellectual relationship develops, right? It’s still love, but it’s different. So there’s that kind of difference in creativity too. As in a love affair, two creative people can destroy themselves trying to recapture that youthful spirit, at twenty-one or twenty-four, of creating without even being aware of how it’s happening. One takes to drugs, to drinks, to knock oneself out…

— John Lennon, interview w/ David Sheff for Playboy. (September, 1980)

I was really going through the “What’s it all about?” type thing – this songwriting is nothing, it’s pointless, and I’m no good, I’m not talented, and I’m shitty, and I couldn’t do anything but be a Beatle. What am I going to do about it? It lasted nearly two years and I was still in it during Pepper. I know Paul wasn’t at the time; he was feeling full of confidence, and I was going through murder during those periods.

—John Lennon, interview w/ Barry Miles, (partially) unpublished. (September 23rd, 1969)

You can get a picture of how this expectation of implicit understanding between them when mixed with the insecurity in the other’s love they harboured, bred a lot of hurts…

It takes two to tango, of course. I won’t really get into how Paul’s avoidance of his own feelings and implicit expectation that John would know how much he meant to him, without Paul having to look those emotions in the eye for too long or make himself vulnerable by saying them out loud, had a part to play in this. I have touched upon this in other posts and hope to go deeper in the future, but this has run away from me as it is!

It makes me happy that, even if only in retrospect, their approach to this special, magical, cosmic connection they shared evolved from the naive view that the relationship had to carry itself own the back of its own merits, to the more mature understanding that it continues because they want it to continue and work to continue. As John put it: Love is a flower and you have to water it.

Once again, thank you so much for the ask, and forgive me for losing myself completely down this rather angsty rabbit-hole… But feel free to explore the tags for more appreciations of the magical quality of Lennon/McCartney!

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