#primarily because I can’t bring myself to care about kids so they are not working as an appealing point to me | Explore Tumblr posts and blogs

hangovercurse · 4 years ago

Text

The Things We Can’t Tell Pete About

Pete invites you to meet his friends from The Dirt and makes you promise not to flirt with any of them, which is a lot easier said than done, especially when Colson Baker acts like that.

Request: “Hey so I love all your writing and I just thought you should know that! But also I’d your requests are on still would you mind writing a youre Pete’s little sister but kells got a crush xx”

Colson x reader

Warnings: Drug use, Cursing

A/N: I know, Dom (Yungblud) wrote the song, but also I am the writer and I say that Y/N wrote it :) Anyways, enjoy. This is only part 1 of what is probably going to be a fun, cute lil series. Also thank you to the anon who sent this! You made my day(s)

Word Count: 2411

| ii | iii | iv | v |

masterlist

New York was lonely without your brother. He had been filming in New Orleans for the past three months, leaving you alone. You had some friends, but Pete was your best friend. You were only eight months younger than him and practically attached at the hip. You supposed going through trauma together would do that to people.

He facetimed you all the time from set, updating you on things in his life, showing you cool stuff from the set, and introducing you to his castmates. You had kept him updated on your music, playing him demos of songs you were writing and getting his opinion on them.

Him being away wasn’t the worst thing in the world, but it definitely sucked for you. So, when Pete texted you that he was having a few friends from the movie over the night he got back, you were ecstatic.

Before you left your apartment to walk to his, he texted you.

You’re not allowed to flirt with any of my friends

You rolled your eyes as you locked your door, preparing a response.

I’ll try my best

Your phone buzzed seconds later.

I’m serious. I don’t trust any of them with you.

And I don’t need that kind of awkwardness in my life

Like if you date one of my friends and it goes badly

I don’t wanna deal with that shit

You chuckled at his chain of texts.

Don’t flirt with your friends because they’re dicks, got it

Don’t worry bro, I know the sibling code

You came to find out that that was a lot easier said than done. When you walked into his place, everyone in the room turned to look at you. You recognized most of them from your facetimes with Pete, but you doubted they remembered who you were. One who did remember you was Colson, Pete’s new best friend. He made eye contact with you from across the room, a sly grin on his lips. You sent him a small smile, Pete’s text running through your head briefly.

You found your brother lounging on the couch, a huge grin on his face. He was definitely tripping on mushrooms. “Y/N!” He yelled. “This is my baby sister, everyone.”

You rolled your eyes, walking further into the room, grabbing a drink from the cooler, and taking an empty seat on the opposite couch. “I’m less than a year younger than you, Pete.”

You heard a snicker from the one of the guys, looking over to see Colson covering up the smile on his face. “But you’re still younger than me so it counts.”

Everyone went back to their own conversations, which you were thankful for. “Y/N, you remember Colson, right?” Pete motioned to the blond guy.

“Yeah.” You nodded, looking him up and down. His muscle tank exposed the sleeves of tattoos, which seemed to cover every inch of his skin. “Your hair was different, but yeah I remember you.” You opened the beer on the coffee table, taking a swig.

“You’re the musician, right?” He asked you, leaning back onto the couch.

You nodded, “Aspiring musician but, yeah.”

“Oh, she’s great. You should hear her sometime.” Pete butted in, grinning like an idiot at you.

You rolled your eyes but had a smile on your face. “I work primarily as a songwriter and editor right now, but I’m trying to work on putting out some of my own stuff.”

You felt a little intimidated talking to Machine Gun Kelly about music, seeing as he was one of the best in the industry, but he seemed to be genuinely interested in your work. “Well, if you ever want some help or someone to listen to it, I’d be willing.” He flashed a smile, his bright blue eyes sparkling.

“Thanks, that’s really cool of you.” You bit your lip slightly, trying to hide the fact that you were totally breaking Pete’s rule.

Pete sent a glare your way to which you raised your eyebrow. You weren’t really flirting; you were just… making connections. “Anyways,” he cleared his throat, “I’ve been working on this sketch idea, Y/N, and I need your opinion.”

You nodded, letting him talk. “So, I was thinking like, there’s this guy with posters all over his wall. Like life size posters of a bunch of different people. And he falls asleep while doing homework and he dreams about them coming to life. And it plays out like one of those really bad commercials that encourage kids to stay in school and shit. Like the posters are telling him to study for his test, but then there’s this one poster that’s like, very sexy. And she’s just like, talking about hot dogs and everyone else gets really sick of it and one of the other posters tries to like, tear down her poster or something.”

Throughout his description, you got more and more confused. “Pete, that’s not funny that’s just fuckin weird.” His mouth hung open in shock. “Dude, seriously? The big punchline is the playboy poster girl talking about hot dogs until the other poster people get tired of it?”

“Yes.” Pete said, as if it were obvious. “That’s hilarious.” You glanced at Colson with a questioning look on your face. He seemed as unsure of the joke as you were.

“Pete, man, that’s not your best work.” Colson clapped him on the shoulder and you giggled at Pete’s disappointed expression.

“You guys are mean.” He pouted and you two laughed. “Ok, well, how would you make it funny?”

“I don’t know if you can, bro.” Colson’s laugh was contagious. When he laughed his whole body shook, his feet stomping and everything.

“What are the other posters?” You asked, trying to be supportive but knowing this wouldn’t turn out very good.

“Well, I was thinking maybe one is like a video game character. Like that lady from Wreck-It-Ralph. The mean one. And then like a snowboarder who is definitely high, and someone else, I dunno.” He shrugged, taking a hit from the joint in his hand and passing it to you.

“Okay…” You trailed off, looking at Colson for support. You brought the blunt to your lips, inhaling the smoke and bringing it down, letting the smoke leave your mouth slowly. You passed the joint to Colson, who gladly took it, a smirk on his face.

Pete looked between you two at the small interaction, a frown. “So, the posters,” he brought your attention away from the man again, “they’re all really serious about teaching this dude math. But the hotdog girl just keeps talking about hot dogs in like this really high-pitched voice.”

You watched the smoke fall from Colson’s lips, not fully paying attention to your brother.

“Yeah man, I think that sounds funny.” Colson told Pete, his eyes lingering on you for a little longer than they should have. “It could use some work but if anyone can make it funny, it’s you.” Colson punched your brother on the shoulder, but the look he sent you said the exact opposite.

You held in your giggle, taking another sip of your beer.

The rest of the night followed a similar pattern, you and Colson flirting and Pete trying to get in between you two. At one point, after a few more hits of weed and a couple more drinks, Colson brought out a guitar, insisting you play something for him. Where he got the guitar from, you had no idea, but you didn’t ask questions. Instead, you rolled your eyes, insisting that “if I have to play something, so do you.”

Everyone was too caught up in their own conversations to care about the noise, or too drunk. You started strumming, trying to remember the chords to a song you had started writing a few days ago. “There’s no lyrics yet, just a melody I came up with.” You blushed, feeling very self-conscious suddenly.

“Guess I’ll just free style to it then.” He chuckled as you started to strum, your fingers working the strings like they had your whole life.

The blond man closed his eyes, head nodding as you played and thinking of what to rap.

“Watch me, take a good thing and fuck it all up in one night. Catch me, I’m the one on the run away from the headlights.

No sleep, up all week wastin time with people I don’t like. I think, somethin’s fuckin wrong with me.

You smiled as he sang, watching his expressions change as he tried to think up the next line.

Drown myself in alcohol, that shit never helps at all

I might say some stupid things tonight when you pick up this call

I be hearin silence on the other side for way to long, I can taste it on my tongue, I can tell that somethin’s wrong.”

He opened his eyes, looking rather proud of himself. “I had some of those lyrics already, but I just changed ‘em a little. I really liked that.”

You nodded, “That was impressive.” You smiled, looking back down to the guitar when something hit you.

You began to play the same melody but pitched higher to fit your voice.

“Roll me up, and smoke me love

And we could fly into the night

You take drugs, to let go, and figure it all out on your own

Take drugs, on gravestones, to figure it all out on your own.”

You looked up to Colson, watching his expression change, his eyes wide. Pete had a proud look on his face.

“Pete, you are a sucky hype man. You did her no justice.” Colson hit Pete on the arm.

“Whaddya mean, I told you she was great.”

Colson looked over to you, a stupid smile on his face. “Seriously, that was fucking amazing. Like, we gotta write that shit out some day.”

You bit your lip, trying to stop the blush from reaching your cheeks. “Yeah, that’d be cool.” You were trying your best to keep your cool as Colson kept his gaze on you, but you were completely freaking out on the inside.

A little while later, almost everyone was gone except you, Pete, Colson, and Douglas Booth, who joined your conversation not long after your jam session. Pete let out a yawn, directing your attention to the time.

“Jesus, it’s already 4am?” You asked, a frown on your face.

“Why, you got somewhere to be, darling?” Douglas asked you, your face scrunching up from the nickname.

“I have a writing session at 11 am tomorrow. Or, today, I guess.”

Pete reached out to hit you in the head, playfully, which you dodged. “Go to bed, dummy.”

You shrugged, “I’m gonna be dead at it anyways, might as well keep the party going a little longer.”

Douglas rolled his eyes, patting your shoulder. “Be that as it may, I am ending this party and going home. Goodnight, guys. It was nice meeting you again, Y/N. Good to see you guys.” Douglas and the guys did that little hand slap and hug thing before he left.

“I love you both, but I will also be going to sleep. And you should too.” Pete stood up, stretching his arms out before giving Colson a fist bump and leaving to his bedroom.

Once your older brother left, Colson moved to the couch you were on, his arm falling over your shoulders. You looked up at him, raising an eyebrow. “And how can I help you Mr. Kelly?”

He chuckled, shaking his head. “I’m assuming Pete gave us both very similar talking to’s, given the glares you’ve been receiving all night.”

“You mean the “don’t flirt with my friends” talking to or the other one?” You tilted your head, a sly look on your face.

“That’s the one.” Colson laughed through his nose, an adorable smile on his face. You were both considerably high, but you still knew exactly what you were doing.

You moved closer to Colson’s body, “Well then I guess we’d better not do this.” You said quietly, leaning into him. “Or this,” You grabbed his jaw, inches from his face.

“Or this?” He whispered, connecting your lips. You smiled into the kiss, tasting the weed on his tongue. You adjusted your body so you were facing him, his arm that was once around your shoulder now wrapped around your waist.

His other hand grabbed your leg, pulling you up so you were straddling his lap, and your arms wrapped around his neck. His lips seemed to fit perfectly around yours, and you did all you could to keep yourself from moaning into the kiss as his hand began to travel up your leg.

Realization hit you like a brick wall, and you pulled away, your breathing heavy. “Sorry,” you muttered after a few seconds. You climbed off his lap, smoothing out your shirt. “We shouldn’t do that. I shouldn’t have done that.” You smiled awkwardly down at him.

He nodded, the same realization hitting him. “Yeah, that’s not the best idea. Sorry I wasn’t really thinking.”

You shook your head, cheeks still very red. “No, no, no don’t apologize. It was fine, it’s all fine.”

He nodded, looking down awkwardly. “I should get going.” He stood up, landing a little too close to you.

“Why don’t you just sleep here? Pete won’t mind and it’s a lot easier than going home.” You bit your lip awkwardly, taking a few steps back.

Colson scratched the back of his neck. This was a very different demeanor than he had before, and you found it very cute. “Are you sure?”

You nod. “I’ll get you some blankets and pillows.” You moved towards the guest bedroom, a guilty smile on your face. You moved your hand to your lips, feeling where Colson’s lips had graced you minutes before.

You came back to find Colson laying on the couch, one hand behind his head. “We don’t have to tell Pete about that, right?”

You shook your head, a small smile still playing on your lips. You put the pillow behind his head, watching his eyes as he watched your lips. “Stop looking at me like that or I’ll do something else we can’t tell Pete about.” You said quietly, watching him grin. You pulled the blanket over him, leaning down to be level with his face.

“I kind of like the things we can’t tell Pete about.” Colson chuckled, leaning forward to connect your lips again.

#mgk #mgk imagine #mgk angst #mgk fluff #machine gun kelly #machine gun kelly imagine #Colson baker #colson x reader #colson baker imagine #colson baker fluff #colson baker angst #pete davidson

383 notes · View notes

itsclydebitches · 4 years ago

Text

YYH Recaps: Episode 1, Surprised to be Dead

Hello, all you hypothetical readers! It's a beautiful spring day and I have a free afternoon ahead of me, so what better time to start another massive project while I guilty stuff my other WIPs deep into the depths of my hard drive? Yeah. Iffy life choices aside, someone mentioned a few weeks back that they'd love for me to recap a show I have more positive things to say about than negative (RIP RWBY) and ever since Netflix announced that their live-action adaptation of Yu Yu Hakusho is in the works, I've been itching for a re-watch of the anime. With the RWBY hiatus underway, it seemed like the perfect time to fulfill both desires.

Before we begin though, I'd like to touch on a few things that are going to influence this project.

First, YYH is near and dear to my heart. Written by Yoshihiro Togashi in the early 1990s and later adapted for an American audience by Funimation, I had the pleasure of experiencing this story five different ways: as a serialized tale in Shonen Jump, a binge read when I had the money to buy the manga, tiny snippets of the anime on Adult Swim late at night — don't tell my parents ;) — as an after-school treat on Toonami, and then years later as a re-watch when I introduced it to a friend (who, in turn, blessed me by having us watch Fullmetal Alchemist next). I used to keep a Hiei bookmark in everything I was reading, the spirit gun made it into our witch-wolf-space adventures on the playground (middle school was wild), and there was a long period of my life where I tried very hard to teach myself to stand with my hands behind my back, precisely as Genkai does. Spoiler alert: I failed. So to say I love the series is... a little bit of an understatement. I bring this up simply as a way of demonstrating that there's more than a bit of nostalgia attached to YYH for me and that will inevitably cloud my reading of it. How can it not? So that's just something to keep in mind as I work through a series that, like any having hit its 30th birthday, has its outdated, flawed, and other questionable aspects.

Second, but very much connected to the first point, is that these are pretty casual recaps. I summarize and extrapolate, focusing primarily on plot and dialogue (but with the occasional cinematography aspect tossed in). I'm not conducting research on the cultural history here — something that will come up at least once in this episode — I'm not arguing an overarching thesis, and I've never been someone who focuses on the author/production/trivia of a series. I'm here for the story as the story is presented to the viewer. If you've read my RWBY Recaps, this will function precisely the same way, with the only difference being I'm engaging with a finished text as opposed to an ongoing one, so there’s a lot less, “Maybe ___ will happen” theorizing going on.

Third, I obviously recommend that you watch the show yourself (you can find it on YouTube!), but you don't have to know the series to follow along. As these massive paragraphs attest, I tend to be both detailed and verbose, so we'll be covering every major plot point — and most of the smaller ones too.

Finally, I'm working from the dub. I know, I know, the horror. But it's what I grew up on and, honestly, I think it's superior to the sub. YYH's dubbing is in a class all its own and to this day there are very few shows that compare to it. Trust me, it's a good call.

That's enough of the boring chit-chat though. Let's get started!

Our very first episode "Surprised to be Dead" opens on a crowded street. We see lots of traffic, people going about their business, and a pedestrian crossing sign that, crucially, turns red. This is our normality and, like in every genre story, you need to break that normality at some point so that the protagonists can go on their fantastical/supernatural/science fiction journey. YYH eases us into things by first breaking the normality of an everyday afternoon: there's a screech of tires, quick shots of a man pushing a child out of the way of an oncoming car, and then his back is hitting the windshield. We begin this story with a horrible — but otherwise mundane — car crash.

Now, these flashes alone have a fair bit to unpack. Despite later getting a brief shot of the man's scared face right before he's hit, the moment's focus is really on the child. He's the one foregrounded in the initial, slow-mo shot. He's the one who appears in color while the man is kept in shadow. This isn't just a hit, it's a rescue. The camera is also careful to follow the soccer ball this kid was playing with (more on that later in the episode), with it flying through the air as the man is hit and bouncing to a stop in the street, acting as the dramatic finish. It's childhood! It's innocence! It's play on a sunny afternoon! And it's all gone wrong.

This moment is chaotic and even a bit confusing. Not in the sense of what's happening — that is quite obviously a guy being hit by a car — but who the victims are, how precisely this came about, or even why we're meant to care about this beyond a generic capacity to feel for other human (fictional) beings... that's all removed. And it works. As the crash takes place, the camera pans across the stunned crowd and we, the viewer, become a part of that crowd. They don't know what precisely is going on either. We're all just horrified onlookers as a sudden tragedy takes place. We're all watching the same show.

So everyone realizes this guy has been hit. People are staring in shock and someone calls for an ambulance. We see the driver fall to his knees in the street, distraught, shakily saying, "I didn't mean to..." It's a very serious and emotional scene that —

— is immediately tempered by this guy waking up, complete with a cute 'pop!' sound effect when he opens his eyes.

This is YYH's brand, this Very Serious Circumstances skillfully interwoven with casual indifference/comedy. It's admittedly far from a unique brand, but it's an excellent choice given that this is the same attitude that will drive 99% of our protagonist's interaction with the world.

Speaking of said protagonist, our guy wakes up, opens his eyes, and realizes that he's floating. There's a great, disorientating shot from his perspective where everything is upside down, causing him to nearly fall out of the air. Well would you look at that, he's as confused as we are. It's our audience surrogate!

A narrator says, "And so it all begins. This boy's name is Yusuke, he's fourteen years old, and he's supposed to be the hero of this story. But oddly enough, he's dead."

Game of Thrones might have made it popular, but YYH did it better.

(Yeah, yeah, I know one death kick-starts the journey and the other is a shocking twist. Just let me have this.)

Now, it's a weird introduction, right? At least at the end. The announcement that change has occurred, a name, an age... that all checks out. But "supposed to be the hero"? What the hell is that “supposed to” mean? Our narrator gives us the easy, surface answer: "But oddly enough, he's dead." We're capitalizing here on the audience's expectation that death ends a character's journey and though they may have been a hero previously, they can no longer be one moving forward. That function within the story has passed. So it's this intriguing question of, "What kind of hero do you have when that hero is dead from the start?" but as we'll see soon, there's an additional meaning here of, "How can Yusuke be the hero?" As this premiere sets up, Yusuke doesn't act like the hero is “supposed to” act.

Until he saved this kid.

But right now he's just confused: "Okay, this is weird. Stupid weird."

Two EMTs arrive on the scene and are hilariously useless. You know how in any medical drama a doctor will stop CPR after a couple of seconds because obviously you're not going to spend half the episode on realism? Well, that's this only a thousand times worse. One guy just looks at the kid and announces he's fine except for some bumps and bruises. Meanwhile, the kid is sobbing.

"Well, at least one of them is," replies the other EMT, because I guess he can tell Yusuke is beyond hope without taking a pulse or anything? "I hate cleanup," he complains as they load his body onto a stretcher because that's? An empathetic response to have??

Honestly this scene is wild.

Yusuke is understandably upset that he's, you know, dead and all. He starts hounding the EMTs who, unable to hear him, just go about their business of taking the kid and his body to the hospital. "You think you can just do whatever you want because you have that stupid uniform on? You can't just write me off. Listen to me!" and Yusuke tries to punch one of the EMTs in the head, resulting in him floating right through.

What a great way to introduce your protagonist's personality. We see here that when things go wrong Yusuke's default emotion is anger and it starts creeping in even before he thinks the others are ignoring him: "Stupid weird." He has problems with authority — "You think you can just do whatever you want because you have that stupid uniform on?" — is used to others listening when he gets angry — "You can't just write me off!" — and is poised to use violence at the slightest provocation. Yusuke is a guy who, right now at least, is ready to punch first and ask questions later.

As Yusuke floats back up into the air and the ambulance drives away, he finally cools down enough to try and think his way out of this. "It's not like this is the first time you've been in a jam,” he thinks. Yusuke recalls that yeah, something was different about today...

...he actually went to school.

Catch me laughing that this idiot boy equates the weirdness of him dying with going to school. Good lord.

Anyway, this jumpstarts our flashback. We open on a generic, anime middle school (that always feels like a high school to me) where the principal is calling for Yusuke through the loud speaker. Oooo someone’s in trouble! We follow a young girl up to the rooftop and she gets a classic hair-blowing-in-the-wind moment to establish that she's our love interest. Meet Keiko Yukimura.

Keiko finds Yusuke hanging out and immediately starts lecturing him for trying to chew gum and refusing to wear the boys' uniform. "Oh, give me a break, Keiko. I look better in green." Note that it's here we learn her name and it's an easy, casual way to introduce it. I bring this up because Yusuke's introduction via our narrator is very much... not that. It's an on your nose statement about his name, age, and importance to the story, and if you're just starting the show in 2021, it might come across as a rather armature move. Like something out of a kid's show, perhaps. Yet here we see that this was a deliberate choice, considering that YYH is capable of introducing character information naturally when it wants to.

This moment also tells us that Yusuke cares a great deal about his image. More on that in a bit. Because Keiko isn't finished her list of grievances yet, going on to say that his attendance record has hurt their entire class, hurt her as class representative, and if he keeps going down this path he won't even graduate middle school. "Sometimes I think you don't care about anyone but yourself and then you don't even do that right!"

They're legit complaints. Too bad Yusuke is busy looking up Keiko's skirt.

Yeeeeah. Sadly, this is common for anime, particularly a 90s anime like YYH. Even presumably more progressive series like My Hero Academia feature characters like Mineta, whose entire personality is being a pervert, and the creation of abilities that "require" kids/young women to be scantily clad. See: Yaoyorozu. YYH is no different in this regard, with various forms of sexual harassment functioning as a shorthand for how much Yusuke secretly likes Keiko. "Boys will be boys," right? Obviously not.

Like so many others series, the creators get away with it because they’re framing it as a bad thing. It's totally fine because look, Keiko slaps him! This is teaching the viewer how wrong this behavior is. Never mind that this is clearly an established habit between them, that Yusuke laughs off Keiko's discomfort, and that the whole scene is meant to be funny for the viewer. That's the real purpose here; it’s not a PSA on harassment.

That, and to establish the long-suffering love Keiko has for Yusuke in turn, largely stemming from a life-long friendship. "Dumb boy! He hasn't grown up a bit since he was four years old." We see that Keiko's early interactions with Yusuke have given her insight that others lack. As she heads down from the roof she runs into two girls hiding around the corner, too scared to come out lest "the great Urameshi" set his sights on them. Isn't Keiko terrified of what he might do to her? "Or worse, what others might say of it?" Like any classic high school middle school setting, one's reputation is king. Yusuke cares about how others see him — maintaining that tough boy attitude — and the girls care more about what the rest of the school might think of Keiko's interactions with him than the presumed harm Yusuke could do to her. They heard he can summon 2,000 men with just a whistle and that he "kills for fun!" But that means nothing in the face of people talking about you. Despite being one of the most popular girls in school, Keiko is the outsider here via her disinterest in what other people think.

The animation changes here, giving us a good look at how the girls picture Yusuke: tough, scowling, surrounded by shadows, and backed by an entire army.

In contrast, we've already seen what Yusuke is really like.

Keiko laughs the image off too. Yusuke is more like a "lamb" than a killer and besides, he couldn't order around two people, let alone two hundred. "He doesn't have many friends."

"That's not what I heard," says one of the girls.

"Yeah," goes the other. "I think we would know."

Again, rumors rule here, with whispers in the hall considered more reliable than someone who interacts with Yusuke on a daily basis. Keiko doesn’t have a hope of changing their minds.

Oh, as a side note, I love that they gave Keiko Miyazaki-esque hair. It's very emotive.

Yusuke escapes outside where the principal is still calling for him to report to his office. He overhears a conversation around the corner and we cut to two boys, one of which is showing a wallet off to the other. He explains that some bully tried to rough him up, but he said he was Urameshi's cousin and the bully took off, dropping his wallet in the process. The guy's friend is impressed, but what is he going to do if Yusuke ever finds out he lied? Not to worry, he says, that "blockhead" would probably think it's true even if he did somehow hear.

Yusuke, obviously, does hear about this and he, also obviously, does not believe this guy is his cousin. He looms ominously and they scurry up against a wall, terrified and offering him the wallet as an apology.

"You think I want your money?" Yusuke yells.

YYH is, in many respects, a rather simple story, but I appreciate the hints of complexity in these otherwise straightforward interactions. It's not that this guy used Yusuke's name to steal a wallet, he used it as a form of protection against another bully — a far more sympathetic motivation. It's not that Yusuke's fearsome reputation has resulted in any genuine respect because once people think they're safe they reveal how little they think of his intelligence — he's a "blockhead." And Yusuke, though intimidating and violent, is not your average, schoolyard bully. He doesn't care about money, only the insult and the damage this guy using his name might have done to his reputation. There's a little more nuance here than you might otherwise expect.

Also, note how dark the boys' standard uniforms are and how much they blend into the rest of the world. Yusuke, as our protagonist, stands out in his bright clothing. He was right, he does look better in green!

So he's ready to clobber this kid when one of the teachers arrive: Mr. Iwamoto.

Iwamoto demands to know what's going on, but the boys are too terrified to rat Yusuke out. Noticing the wallet on the ground, he assumes that Yusuke was after their money, something that greatly offends him: "Whatever!" Iwamoto goes on to say that, "No good weeds like you should have been plucked a long time ago," making it clear that he considers Yusuke a hopeless case. The positive aspects that Keiko sees, as well as the complexity the viewer sees — to say nothing of his introduction of saving a kid — aren’t considered here.

Notably, Iwamoto exists in part to show us what Yusuke could become. Not a teacher (he's obviously not attending school enough for that!), but a cynical man who is cruel for cruelty's sake. Yusuke is already barreling down that path, ignoring Keiko's advice, terrorizing other students, trying to punch EMTs, etc. If his life (or afterlife...) hadn't changed through that accident, this is the kind of person Yusuke might have grown up to be, and we can see that clearly in the visual parallels between them. Dark haired men dressed in green who scowl with ease and toss out cutting insults. Yusuke is staring his future in the face.

For now he walks off with a final shot, "You shouldn't talk. It makes you sound stupid." This time Yusuke makes it to the school's entrance and tries to enjoy his second attempt at chewing gum, but someone hits him in the back of the head.

"Okay, somebody's DEAD — ah. Sorry, old man."

"That's Mr. Takenaka to you."

Our principal has finally left the office and hunted down Yusuke for himself! Putting this interaction immediately after the one with Iwamoto allows the viewer to compare them. Yusuke might be irreverent towards his principal, but it's clear there's still some kind of respect between them. Yusuke only starts threatening because he doesn’t realize who hit him and once he does realize it's Takenaka, he immediately apologizes. That "old man" comes across as a teasing insult and Yusuke allows himself to be briefly dragged back towards school, rather than throwing a now classic punch. In turn, Takenaka cares enough about Yusuke to try and keep him on the straight and narrow. He utilizes Yusuke's preferred language — violence — but in a casual way, nonthreatening way: slight hit to the back of his head, noogie, pulling him along by the ear.

It's the sort of physicality we're used to seeing in media between a parent and child who are outwardly antagonistic, but actually share a deep bond. Takenaka is also careful to frame their return to his office as a "discussion," not a punishment, and offers Yusuke tea along with the conversation. Whereas Iwamoto considers Yusuke to be a "weed" that should have been plucked from their school long ago, Takenaka is determined to help Yusuke bloom.

If we're continuing the flower metaphor :D

Yusuke isn't in the mood to play along though. He gets away by using a fake ear, startling Takenaka when it unexpectedly pulls free. Yusuke escapes the school grounds and Takenaka, suffering a back twinge from his fall, can't chase after him. Poor guy. I understand that pain lol.

Yusuke heads home where we're introduced to his mother, Atsuko. Most notable in her first shot is the soft lighting that highlights her looks. We're not told how old she is here, but I believe she's around 28 — and she looks it, if not younger. Given that Yusuke is 14, that means Atsuko was a mom at his age. This is a quick and subtle way to tell us about Yusuke's home life. There are more overt details in this scene — it's at least lunchtime and Atsuko hasn't left her bed yet, she demands that Yusuke make her coffee instead of greeting him, it's all meant to imply (before we actually see) that she's an alcoholic — but her age is another way to highlight the broken household here. There's no partner in sight and she clearly had Yusuke as a teenager. He hasn't had a strong parental figure to take care of him. If anything, Yusuke is taking care of Atsuko here.

"Oh great, mother of the year!" basically sums things up.

Atsuko wants to know why Yusuke isn't in school and he says that everyone is pissing him off today, particularly with their preaching. "Dear, if you hate preaching so much you should live on your own... but you can't do that, can you?" Alongside a rough upbringing, Yusuke is suffering from the common problem of being trapped in a dead-end life. He hates his school, his town, and coming home to find his mom hungover. Yusuke has no prospects and, outside of one principal, no one who is actively working to help him find some. Even the little things he hates, like being preached to, are unavoidable because if you want to live on your own, that requires money. Good luck pulling that off as a middle schooler whose only skill is street fighting!

Yusuke walks off in a huff, literally shouting in a street about what a bad day he's having (and hilariously scaring off pedestrians in the process). His shout brings trouble though. A couple guys appear to ambush him, their boss close behind. The music increases the tension, Yusuke's expression is serious, and we even get a Dutch angle thrown into the mix.

For any who don't know, the Dutch angle is a popular film technique to establish that something is wrong. There's tension in the scene, something uneasy is at play, and the world is now literally off center. It's perhaps most famously used in Do The Right Thing to establish the friction between an Italian-American pizzeria and the predominantly African American neighborhood it's based in.

But it's also used a great deal in horror as a way to say: yup, shit just got real. Scary real.

This Dutch angle introduces a character you may not appreciate at first, but absolutely should: Kazuma Kuwabara.

He's initially the comic relief and that's clear in his introduction. Within seconds we move from that intimidating arrival to, well, seeing him. To be clear, I've got nothing against redheads with big chins, but compared to Yusuke's design, Kuwabara is meant to be the funny looking one. His threat level plummets the moment we get a look at his face, especially in a series that will occasionally use looks as a (supposed) measure of intelligence.

Also, Kuwabara is dressed in light blue so, like Yusuke, we know he's important!

Any assumptions that his appearance isn’t meant to imply a goofy, embarrassing personality are put to rest when Kuwabara starts rambling about how they last time they fought Yusuke just got a cheap shot in and he'll definitely win this time. Yeah, he won't. Yusuke is thrilled by this diversion though and we get a shot of him looking almost as creepy as Keiko's friends think he is. Whatever else might be said about Yusuke, he is absolutely a monster in a fight.

Which we see here. If anyone picked up the series without knowing this was a fighting anime, they'll realize it now. Yusuke's choreography is stylized to show off his skill: he disappears with a 'whoosh' and dark lines to suggest inhuman speed,

attacking Kuwabara with a knee to the face, utilizes flying kicks, lands perfect, precision punches, and ends it all with the toe-tip landing we've come to expect of all powerful fighters. Kuwabara never even got a hit in.

Happy as a clam now, Yusuke wanders off whistling and Kuwabara's friends are left to pick up the pieces. AKA, his likely broken bones. I love that they're legit friends though and not just nameless goons for the sake of giving Kuwabara a small gang (though their names won't come up until later). "That makes 0 wins an 156 loses!" one of them cries, trying to get Kuwabara to stop ending up in the hospital, probably. We establish that Kuwabara is The Most Dramatic Ever when he pulls his broken body into a seated position, shouting, "No! I almost had him that time!"

Then he passes out.

Kuwabara, honey, you obviously did not almost have him, but god bless you for the outlook. The most optimistic thing on this Earth is a well-loved Golden Retriever, but Kuwabara comes in at a very close second.

With his dream to one day beat Yusuke in combat established, we cut to Yusuke wandering the street where the episode opened. "Okay, I'm remembering" he says in a voiceover. "After that I met the kid."

The soccer ball reappears as it rolls to a stop at Yusuke's feet. He grabs it and immediately starts yelling at the kid. Horrible protagonist, right? Well, Yusuke is trying to instill in him the danger of using this street as a playground, a worry the viewer already knows is 100% justified. “Listen, kid, that’s dangerous! There are cars going by that will splatter you into the pavement!” It's one of those quick moments where we get to enjoy Yusuke's duality: he's someone who is nearly making a toddler cry, but for rather understandable reasons. He's got the right idea, but needs to go about it in a more mature manner.

Which is precisely what he attempts to do. Sort of. Yusuke changes gears, though whether it's a more "mature" route is certainly up for debate lol. He tries entertaining the kid instead, raising and lowering the soccer ball to reveal goofy faces.

When these fail to impress, Yusuke goes full out by stuffing the ball into his pants, pushing his nose up with a pair of chopsticks he got from god knows where, and generally just putting on a display.

So Yusuke cares very deeply about his reputation... but only when it comes to those who are an established part of his life. Keiko, Mr. Takenaka, and the other kids at school all need to maintain a particular image of Yusuke, one that he's carefully cultivated. But random pedestrians on the street? Who cares about them? Let them talk.

This shows us that Yusuke does indeed have priorities over his own, selfish goals. Namely, the happiness of some kid is more important to him than looking "cool" for a bunch of strangers. Lots of characters with Yusuke's surface attitude would sneer at the idea of degrading themselves for — their words — some brat. But Yusuke, as we constantly see, actually does have that heart of gold. “Well, if all else fails I can still make kids happy.”

Although... I'm not sure what to make of his display itself. I have the distinct sense that there's something prejudiced here that I'm not able to fully articulate, what with the chopsticks, slanted eyes, bald head, and the like, though to be entirely frank I don't have enough knowledge of Japan's history to say precisely what it might be. Or, really, whether it exists at all. Just something to chew on.

What I am sure about though is the importance of having the child label Yusuke as monster — "Yeah, monster! — but in a delighted manner. Yusuke is indeed some kind a monster, someone who disappoints adults and terrifies his classmates, a demon fighter on the streets too, but here that identity is reworked into something positive.

Having successful secured a laugh, Yusuke tells the kid — calmly this time — to go play elsewhere. The toddler stares up at him with the blank expression only kids can manage.

Well, kids and whatever headspace I'm in after writing these metas.

To absolutely no one's surprise except Yusuke's, the kid does not go elsewhere. Instead, he continues kicking the ball down the street, causing Yusuke to exclaim, “Dammit, what’s the use? The kid can get smashed by a car for all I care!” Liar, liar.

The picture becomes desaturated as the kid kicks the ball and it flies into the street, time slowing down to show it landing precisely in the middle of the road. Yusuke again yells for him to stay put, but when has a toddler ever listened? He begins to walk into the road as our driver arrives, speeding, swerving, and paying more attention to the girl at his side than what's in front of him.

This time, we see the accident from the front with both Yusuke and the kid presented equally.

There's a cut to black and when we return we're in the present, Yusuke floating above the policemen now investigating the scene. “So that’s it? I’m roadkill?” As Yusuke realizes he's dead, specifically that he's a ghost, a voice goes,

"Bingo! Bingo! You win the prize!"

A woman has appeared who is quite obviously othered by the standards of the episode so far. Unlike the greens, blues, and browns of the series' modern clothes, she's dressed in hot pink kimono with blue hair to match. She's also, you know, floating on an oar.

“I didn’t expect you to figure it out so quickly," she says, referring to Yusuke's revelation that he's dead. Apparently, those who meet unexpected and/or violent ends tend to take some time coming to terms with their demise. It's a nice acknowledgment of Yusuke's intelligence in an interaction that's otherwise... not great for his self-esteem.

Meaning, this woman is about to drag him lol.

She introduces herself as Botan, pilot of the River Styx and guider of souls to the afterlife. You might also know her as the Grim Reaper.

(Hey, RWBY fans: I originally wrote that as Grimm Reaper 🤦‍♀️)

It's an claim Yusuke takes issue with because 1. Botan is too pretty to be the Grim Reaper and 2. If she was really some god of death she'd be taking this much more seriously, not laughing and saying, "Bingo!" For the audience this does two things. First, it acknowledges our own expectations and validates them. Yusuke's world isn't so far removed from our own that he takes Botan's looks and personality at face value, he also expected a skeleton with a scythe. So don't worry, all the weird stuff in this series is weird to our protagonist too. They'll be explanations. Or, even if there’s not, you’re not wrong for being surprised.

Second, it sets up the very common theme in YYH of undermining those common assumptions again and again and again. We've already seen it with Yusuke, wherein characters who look and act a certain way are, supposedly, destined to be that person and nothing more. Yusuke is meant to be just a "weed," a dumb, violent, angry loser who goes nowhere in life... but we already know he's more than that. Botan is supposed to be scary and serious, but she says nah, I want to be cute and bubbly instead. No character in YYH embodies who they're "supposed" to be when you look past those surface characterizations. They play the part of archetypes — and do keep certain parts of their expected personalities — but they're also far more well-rounded than that. Which yeah, is something most people expect from any story nowadays, but YYH is particularly adept at making you think you're watching Simple Show A only to turn around and surprise you with More Complex Show B.

It's great, trust me.

So Yusuke is pissed that Botan isn't adhering to those expectations, in the same way that he works hard to validate others expectations of him. He doesn't know how to deal with someone challenging his world view yet. Rather than angering Botan though, she just nods and says that this response makes sense for him. “Rather than being scared, or surprised, you yell a lot and tell me I don’t know what I’m talking about." Taking out a notebook, she quickly summarizes everything we learned in the flashback — minus Yusuke's complexities: he's fourteen, in middle school, is ill-tempered, violent, hates authority, and is a horrible student.

Typically, Yusuke responds by getting angry and trying to snatch the booklet out of her hands, only for Botan to pull it out of his reach, laughing. The tables have turned! Rather than being surrounded by people who cower at Yusuke's imposed authority, he now finds himself faced with someone who laughs at his transparent attempts to take control of the situation.

Calming down, Yusuke wants to know if the kid he saved is really alright and Botan offers to let him see for himself. That offer produces Yusuke's first, genuine smile.

They fly to the hospital where a doctor is in the process of giving the kid a clean bill of health, his mother crying with relief.

That's enough for Yusuke. “Alright, Botan, I’ve got no regrets, so you can take me to hell or wherever it is I’m going.”

That tells you all you need to know about Yusuke's self-worth, despite his bad boy attitude. His life is a dead-end as far as he can see and most of those around him haven't done anything to dissuade him of that idea. He says he doesn't care if the kid lives or dies, but then instinctively saves him. Post his death, Yusuke doesn't have anything he considers a regret, or anything he'd like to do before he leaves, like saying goodbye to a loved one. Oh, he's also pretty sure he's going to hell and has resigned himself to that without a fight.

Uplifting!

Botan just laughs though, saying that she's actually here to offer Yusuke an "ordeal" that could bring him back to life. See, he wasn't supposed to die today — let alone die saving a kid — and frankly they don't know what to do with him. It's another neat summary of what we've already learned: Yusuke is a far more complicated case than the afterlife assumed and now, when push comes to shove, deciding whether he belongs in heaven or hell is... muddled.

There's a fantastic story there about the problems with an afterlife that reduces a person's entire life to a few surface characteristics recorded in a book, refusing to acknowledge the context of their situation, or their capacity for change. “Run someone with your credentials a thousand times and they never would have saved a kid like that." Except, of course, Yusuke did save him, so those "credentials" are suspect, to say the least. However, YYH is not a story that explores these issues. Instead, I recommend you watch this!

Rather than being upset at the afterlife's low opinion of him (because let's be real, Yusuke shares it), he latches onto a little detail Botan let slip. If he wasn't supposed to die today... then was the kid?

Mmm... no. Actually, without the chaos of Yusuke jumping into the road, the driver would have swerved at the last second and the kid would have not only lived, but actually come out with one less scrape.

So Yusuke is obviously upset by this news! I would be too!! Holy shit, hang onto the "it's the thought that counts" message with everything you've got.

Also, don't think too much about the fact that the afterlife apparently knows exactly what will happen to people, down to how many cuts they accumulate in an accident. Also, don't think too much about where the afterlife foreseeing the crash begins and the unexpectedness of Yusuke interfering ends. That way lies madness. This will never come up again, so just let it go.

Sorry, 2013 me hijacked the post for a second.

As said, Yusuke is understandably upset by this revelation and as he fumes I'm reminded that this series likes to pull some amazing expressions.

Botan reiterates that it's all fine because Yusuke can come back to life. Weren't you listening? He should feel honored, in fact, considering that an offer like this only arrives every 100 years or so. Well, that explains why all of humanity isn't grappling with people coming back to life on the daily. One person every generation isn't going to cause much of a stir.

However, instead of jumping at the chance Yusuke announces that Botan is just like the teachers at school: she doesn't know what she's talking about. “You said yourself my life was kind of pathetic, right?” he says, going on to explain that everyone will be happier now that he's dead. His school won't have to deal with his behavior, Keiko won't have to nag him, and his mom will be able to party whenever she wants. It's a win-win for everyone involved.

Hmm, this feels familiar.

Don't worry, Yusuke doesn't need to experience a whole alternate reality to get the message.

“I’m sorry you feel that way at such an early age," Botan says and she is sorry, because despite her teasing nature that's a legitimately horrifying thing to believe. Yusuke won't budge though and after a little back-and-forth Botan leaves, telling Yusuke he should think it over while visiting his wake. She'll come back once he decides what to do.

“Do you have worms in your ears, lady? I did decide!” but Botan is long gone.

We cut to that night where Yusuke has indeed decided to attend his own wake. Maybe because of Botan's advice, maybe because he's just morbidly curious. We’re not given insight into the decision.

Atsuko is a mess, to put it mildly, not dressed for the occasion and sitting slumped against the way, staring vacantly as the guests offer their condolences. Yusuke is surprised by the fact that his entire class is here, but quickly writes them off when he sees two of the boys laughing. I'm on the fence about this detail, which I'll unpack in just a second.

First though, Yusuke sees Keiko exiting the house, inconsolable in her grief. She collapses on the ground with her two friends trying to offer comfort, despite the fact that they had nothing good to say about Yusuke himself. Good on them.

Before he can think too long on this though, Yusuke is distracted by Kuwabara's arrival. Unlike Keiko's crying, he expresses his grief through yelling. Specifically, yelling at Yusuke. For dying. For daring to "run away." His own friends are physically holding him back as he charges into the wake, screaming, “Who am I gonna fight now, huh? Who am I gonna fight?" It's not really about the fighting, of course. At least, not the fighting alone. "You’re supposed to be here for me," Kuwabara finishes, the punch he's thrown at Yusuke's photo going limp and catching his first tear.

You know, for all the goofy expressions, this show really is gorgeous. Just wait until we get to the fight animations.

Kuwabara's reaction is why I hesitate to write off the classmates like Yusuke has. Granted, we have no reason to believe that they care for him as Kuwabara does — they're nameless background characters defined only by their terror of "the great Urameshi" — but it's still a split second taken out of context. We don't know what they were laughing at, or if laughing is a part of their grief. God knows I personally laugh at the most inappropriate moments. If you tell me someone has just died there is a very good chance I will laugh awkwardly as I try to process that. It’s just a reflex. All of which I bring up not because these side characters are important, but because Yusuke's perception of his own worth is. The point of each of these moments is to show that those around him have always cared for him, even if Yusuke didn't notice. It's nice to think that extends to his classmates too. The variety likewise exists to show us how people grieve differently, with Kuwabara's friends not understanding that this is how he's working through the trauma: “This place is for mourning!” He is mourning, even if his way of mourning isn't as socially acceptable as Keiko's. So if screaming and throwing punches is valid, crying is valid, staring stoically in a drunk stupor is valid... why not laughter too?

Not likely, perhaps, but possible.

As an additional possibility to chew on, watching this premier again, it struck me how more emotional Kuwabara's scene is compared to Keiko's. Don't get me wrong, crying and calling Yusuke’s name gets the point across, but it's two seconds of generic grief compared to a much longer scene rife with intensity. When Kuwabara arrives the music swells and everyone is forced to pay attention to him. His grief is loud, violent, and given symbolism with his fist and the photo. There's more effort put into his reaction, frankly, so it wouldn't surprise me if fans started shipping them after this. That grief combined with an "enemies to lovers" possibility is a pretty potent mix. To be clear, Yusuke/Keiko is the (oh so obvious) canonical endgame and in the fandom Yusuke/Kuwabara can't compare to another slash ship that will turn up later, but this is a good example of how writers can craft some Very Gay Scenes without realizing it. When you have the girl crying prettily for a second and the guy absolutely losing his mind over Yusuke's death, questioning his purpose now, his support network, and then collapsing in grief... don't be surprised if your audience goes, "Oh hey, maybe they'd be a good couple instead."

But I digress.

The only people who are unquestioningly happy about Yusuke's passing are Mr. Iwamoto and his co-conspirator, Mr. Akashi. You know Akashi is another bad guy because he has bucked teeth and "ugliness" is an easy way to code for evilness. YYH is not immune to those mistakes :/

These two are really something else though, standing in the middle of a wake and claiming it's “too bad that car wasn’t big enough for them too," referring to Kuwabara and his friends. Wow! What stellar members of the academic community. Iwamoto goes on to say that Yusuke dying at least accomplished something good. Not, mind you, saving the life of a child, but rather looking good for their school's reputation. Akashi agrees, but says it's likely Yusuke only accidentally saved him while trying to steal the kid's lunch money. Remember, that accusation of theft is the one thing Yusuke has said outright that he does not do.

He's pissed listening to all this — wouldn't you be? — but knows by now he can't do anything about it. In another fantastic shot, Yusuke hovers his hand over Iwamoto's shoulder, desperate to grab him, when Takenaka's arrives there instead.

“What do you suppose is more disgraceful? That boy showing his misery, or your insensitive and idiotic words!”

HELL YEAH. You tell 'em, Mr. Takenaka.

Yusuke gets his third shock of the night at this passionate defense. Takenaka leaves the teachers to go pay his respects, but admits to Yusuke's picture that he just can't speak well of him. He was surprised to hear that Yusuke gave up his life for another and it's a fact that he acted selfishly. Though he doesn't say it in as many words, Takenaka explains that he's not grieving because Yusuke was a good person, but because it's so clear to him that he might have been. “Why didn’t you stay? You could have made something great out of yourself.”

Normally, "Why didn't you stay?" is just something for the living to grapple with, as the dead obviously don't have any say in what happens to them. But Yusuke does. It's here that the lighting grows soft again and Yusuke considers Takenaka's words. Keiko and Kuwabara grieve for who he was, but Takenaka grieves for who Yusuke could have been — someone that might still exist if Yusuke decides to undergo this ordeal.

Atsuko adds fuel to the emotional fire, breaking down and hiding her face in her knees.

Finally, the kid Yusuke saved arrives with his mother. Because yes, Yusuke saved him in every way that matters, considering no one else knows — or will know — that he'd have lived anyway. I like that the show doesn't allow that knowledge to undermine the emotion of their arrival, or what Yusuke’s act meant to them.

The mom tells her son to pay his respects and the kid thanks Yusuke for saving him, and for "making faces." He clearly doesn't get what's going on here. This is confirmed as the two leave and he asks his mom if he can play with Yusuke again tomorrow. “I know some people sounded angry at him, but he’s really nice!"

They're probably just crying because they want to play with him too, he thinks, which just makes his mom join in. Everyone is crying in this club tonight.

Those words are the cincher for Yusuke and with a brief montage of all the grief he's witnessed, he makes his decision.

We cut to later that night where Yusuke floats above the city, admiring the moon. Botan reappears and he asks, “Have you ever not known about something that seemed obvious to everyone else?” Yes, everyone has experienced that at one point or another. She asks if he's made his decision and Yusuke agrees to try and come back to life.

Emotional revelations out of the way, we're allowed another tone shift as Botan yells with joy, speeding off and causing Yusuke to grab hold of the end of her oar, lest he be left behind. Cranky as always, he demands to know where they're going. "To the spirit world, of course!" They're off to see someone who can explain the ordeal and give Yusuke the tool needed to complete it. Just hang on and enjoy the ride.

Thus ends our very first episode! Ah, the nostalgia. This is part one of a four arc series, with the anime cutting out a lot of the filler stories found at the start of the manga — a smart decision, I think. They primarily do the work of teaching Yusuke what he learned at the wake, so if you can accomplish that as quickly as the adaptation did, all the better. Especially since Yusuke needs to grow a great deal beyond the basic understanding that people might, sort of care for him, and that work will occur primarily through a job he's going to take on. The series isn't really about his death and it's not about an attempt to come back either — it's about what happens once you get that second chance. So this is the setup, but it's important setup all the same.

No need to skip ahead though. I've blathered enough for one recap. I hope you enjoyed and I'll see you when the writing gods next bless me with energy! 💜

#YYH #Yu Yu Hakusho #YYH recaps #mymetas

45 notes · View notes

kim-ruzek · 3 years ago

Text

The unit beyond Hank Voight: or how Intelligence should look if/when Voight is written out

Finally, part two. This was very fun to write and I'm glad I actually did it before season nine airs (I'm cutting it late I know!!!). I've had how I'd want the show to do this in my head for the longest time-- although, I'll say, I technically get to the root of this further into the meta, after the second header. So if you don't want to read it all and just my general thoughts, you can just skip on down to that! But I hope you read it all!

In this fandom, as a whole, no matter what ship or characters are our faves, we've all be debating whether or not it's right to still have Voight as the lead, or if they should write out his character.

If we break it down, take out all the nuance and the external and internal factors, I say yes. But if we don't, it's much more complicated than that.

I watch Chicago pd primarily for Burzek, that is why I decided to emotionally exhaust myself with a new show. But I liked that it was set in Chicago, and it lent into all the bad/darkness of Chicago, and not just on the streets, but the cops (even if they can and should do better there, because it's still very much on the side of bad cop propaganda).

And like it or not, Voight is a big part of that. People call him an anti hero, and by definition, he is, but I struggle to like addressing him as such. But the way that he is, his characterisation, it is woven into the very essence if the show, into the unit, into their dynamics and group chemistry.

This is why it's a complicated matter, that should Voight be written out is not a simple question with either yes or no as the answer. Or, at least, not just a yes or a no.

Taking Voight out of the unit isn't like taking out Jay or Kevin, or any of the others. The other team members are easily replaced. Of course, their specific dynamics and chemistries will never be replaced, it's a sign of a badly written character and storyline if it is. But they are, in the grand scheme of things, replaceable. It is as easy as having Jay transfer one episode and introducing a new detective the next. (The only other exception, I should mention, is Trudy. You get rid of Trudy and you'll just get a desk sargeant as a replacement, with none of that chemistry in any way).

Voight is different. He's the lead-- and leads are always harder to move out a show without it crumbling-- and he's the literal leader of the unit. Every dynamic within the show is interlinked through Voight's character even if Voight has no impact on the dynamic. And so you can't just write him out one episode and then introduce a sparkling new sargeant the next-- especially if the sargeant is a pre-existing character.

A lot of this fandom wants Voight gone asap and Jay as sargeant immediately after. That's just unrealistic and honestly it would be a bad move on the show's half to do so. In general, I don't want Jay to be sargeant. Not even for the reasons I'm about to list-- well, not just them-- but for personal ones. However, if it's in a few seasons time, I'd be more up for that, if the show gave time to improving his character-- even if I'd still grumble to myself about it!

As I said, removing Voight's character and immediately replacing it would already be a bad idea because of how much the show's dynamics are mixed up in him. Jay being the replacement would fuck this up even more, because he's already got his own dynamics with his unit.

Jay is definitely a leader type character. He was brought in to be. I could see him being a sargeant, and he's definitely the 'big brother' of the unit, even if they're all around his age. He definitely can have a clear head and is tactical and has that aura that people would be comfortable following his lead.

But he's also ignorant, impulsive and selfish. People say he'd make a good sargeant because of his morals-- but they're very much surface level morals. It's actually why I can see what drew him to joining the military, not just that want to leave, but he's clearly got a good-bad black and white line drawn in his head and this is what makes the military attractive to him.

Jay always thinks he's in the right. And technically, on the surface, he is. But he misses the nuance and he gets very caught up in his black and white view. This is what also makes him impulsive. He mentally, clearly, orders people into the good and bad categories in his mind and then he's pretty rigid in them-- jumping to conclusions.

He's got a good heart, but he doesn't take much time to stop, think and learn. Like with the racial issues prevalent and blm, he's only got a surface understanding and he does not make any effort to get a deeper one. Mainly because he doesn't realize-- because he thinks a lot of himself, in his black and white view. He is "good" and he cares that people suffer and therefore he thinks he understands.

He does not.

Say what you want about Adam-- and I'll be leaving my own personal biases out of this-- but even if you say he has a worse understanding than Jay, he's better because he makes more of an effort. He gets that he doesn't understand, and he's brash and vocal when he shouldn't be, but he also listens. And he tries to learn, he really, really does.

Jay doesn't. And Jay's also from canaryville. He went to Catholic school, Catholicism was clearly very prevalent in his life growing up. His father was an emotionally closed off man. He went to war. He's got his own biases but he's got this basic understanding and thinks that's that.

It's not. And it's barely okay with his current position in the unit, and it would be definitely not okay if he was their leader. Especially if he did what the greater part of the fandom wants, and leans on Hailey. Which let's face it, he would, because Jay doesn't think he has anything to learn and what he may think he does he thinks he can do it on his own, that he doesn't need to ask Kevin for guidance.

And yeah, Kevin is "only" an officer (and I'll get back to this point). Jay's got the higher role. But Kevin has been a black man, living in Chicago... Oh yeah, all of his life. That trumps promotions and titles, especially when Kevin has also been a cop for a lot of his adult life and has raised two kids in this racially charged city.

And then there's the fact that-- and most of this is because the show refuses to show the team bonding-- he's actually quite isolated from the team. We rarely get to see his supposed friendships with them, and this would affect how he can lead them and how they can follow. The dynamics would be off and it would be filled with conflict and, at times, be like a herd of sheep without their shepherd.

So, Ree, you ask. How should the show move on from Voight?

The show has been incredibly short sighted when it comes to Voight. He's been a problematic character from the literal start, and now we're reaching a point that a lot of the fans want him gone. And since the most vocal are the upstead and Hailey stans, I do believe the show will be thinking of ways to do this.

In my opinion, this should've been built up from season five, from when the reform storyline began. Instead, the show just shaved some aspects away from Voight's character.

He has changed a great deal, has grown a lot. I don't see what happened with Roy as a sign he can't change, because everyone's journey has back and forths. Especially when Voight likes to have control when people are hurting his family, he sees himself as their protector, but not as a bodyguard, but as an executioner.

And so I think the show will do two things to eventually write him out-- either promote him, or have him retire. But even this isn't simple and needs a lot of build up and work.

The show should've seen that Voight's days are potentially numbered and set up things so it's easy to slot his exit in place. For example, they should've kept consistent with having a captain in the precinct, even a lieutenant. This would have pre-existing roles for Voight to slot into easily, so they can still have his character around but let other characters get promotions or take on more work.

This would also help set up for retirement. Because even if he just retires as a sargeant, we already have other leader characters in the show for the others to bounce off-- instead of just introducing someone new. This would also help a sargeant Jay storyline, because then he'd have bosses to report too, making it very much seem that he is just the next link in the chain and would help balance out those dynamics.

Although, in a way, I don't blame them for not having foresight in season five. For other reasons but also-- because back then we also had Antonio and Al. We had a more layered and diverse unit. Instead, now we have the dad and the five children. Antonio would've made a good next sargeant, especially if we introduced a lieutenant role. Because I can see him aiming higher and helping to groom Jay into his replacement. Especially if Al was still around as a nice wall to bounce off, although it'd still be okay if we didn't.

Antonio would also be a good stepping stone because he had well developed relationships with every member of the unit. Well, apart from Hailey, but if they went down this route, they could've nurtured a dynamic there.

It would've also helped if they replaced their characters when they wrote them out. I get why they didn't. Al leaving made the partners even numbered, Rojas was after Antonio. And I wonder if covid affected their ability for season eight. But it's still the massive problem-- they keep trimming the fat, when it's unnecessary and not believing that maybe they should fix that.

And of course. They're all young. Even when they did bring in others, they're still young. And officers. And that would be okay, if they actually bothered promoting Kim, Kevin and Adam.

The unit's dynamics and feel is already off because of the lack of diversity in characterisation, race and age. And the show is doing nothing to fix this, and Voight should not leave until they have. Especially when against popular belief, history actually shows that Voight doesn't like blank slates, but people whose core characteristics fits what he wants his unit to be.

So: what does life after Voight look like? Well, hopefully, a more racially diverse group, with more age differences, different dynamics and friendships explored, Jay (and Hailey) being called the fuck out on their biases, more out of unit bosses dynamics to stop it being so insular and a happy ending exit for Voight. Because let's be real here-- Voight is not going to be written out by going to prison.

Even if he deserves it because one-- the unit would not survive that and they'd be repercussions for all and two-- realistically, as he was in prison once, the brass would not let this happen because how it would reflect on them.

In this day and age, they'd rather force him to retire quietly than publicly admit they got him out of prison and now is putting him back in. It may not be right, but realistically, they'd cover their ass first.

#ree has thoughts #that no one asked for #chicago pd #hank voight #jay halstead #<- bc i talk A LOT about sargeant jay

14 notes · View notes

katsidhe · 4 years ago

Text

15.20 Final Thoughts

Supernatural is over, and somehow, despite itself, it did the very best it could to please me. That was always going to be an impossible task. But truly, sincerely, that finale was as close to my desires as the show could ever bring itself to come, and so, so much closer than I ever dreamed it would dare.

I am so, so glad that no other regular characters were involved (Bobby aside, but he was brief). How better to encapsulate their own emptiness? How fundamentally fitting, than in the epilogue to their final battle, wherein the entire world beyond them was erased, the wider universe is merely set dressing for them to move through. And it was so quiet this way. This finale wasn’t overcrowded or rushed. It kept its own peace. And it preserved the tangible claustrophobia that 15.19 invoked: that tangled, lovely, solipsistic, toxic conviction that these are the only two people on earth that matter.

It’s unclear exactly how much time passed between 15.19 and 15.20. I like to think it’s been at least a year, given that they’ve settled into routine and that their grief seems less fresh. (Although yes, the concept of Dean dying on his very first hunt without a resurrection available is hilarious, I must confess.) Their calm domesticity, their peace, was lovely to watch (Sam kicking the laundry machine! Sam with wet hair! Sam running! Sam cooking, Sam looking a little less bulky than usual, and happy!) But man, it really is Dean’s world, isn’t it? Even the DOG, which really, really, really could reasonably have been primarily Sam’s, was Dean’s dog first and foremost. Then on Dean’s say-so, they get in Dean’s car to drive to a pie festival for Dean. Sam is perfectly content to go along with all of it.

As if we hadn’t gotten enough delightful fanservice, we also got one last scene of Sam threatening to torture someone to death. :) what a king.

I love that Dean died to an OSHA violation while fighting a random loose end from season 1 (which, by the way, I CALLED IT, I am so proud of myself). It’s perfectly mundane. I truly and deeply do not understand anyone complaining that Dean should have gone out in a way that’s more epic. He’s been there, done that, guys, and remember how miserable it was? Now there’s no cosmic safety net. Dean died in a broken down old barn, saving some kids. Moments like these are when Dean is at his best, at his most fundamentally sympathetic: when he’s not trying to control the shape of the universe or dictate righteousness or let his anger drive himself down into a destructive spiral. He’s just putting his money where his mouth is. He’s not making a broad moral statement. He’s simply putting his life on the line to defend someone who needs defending. It is not an unworthy end. It’s so much better than going out to, god forbid, God.

Did Dean earn a lifetime of peace? The concept of just desserts is fraught. But I also don’t think it’s something Dean wanted. He wanted to keep killing things in tetanus-infested barns until he died. He got what he wanted. And while the arc of his wants has adapted over the years, MOTW hunting is fulfilling for him.

Dean’s deathbed speech was, oh man. It got me good. Like many of the things I loved in this episode, it was quiet. No desperation, no revising history (or not too much, anyway). Just, “stay with me, please. I love you. Tell me it’s okay.”

The quiet of Sam’s grief, alone in the bunker. How still his face is, until for a little bit it crumples again, and then it comes back and goes still. He’s not trying to control his reactions or press back against his sorrow. There is no work to do, nothing to avenge, no one to find, nothing to defeat. He is alone, and the washes of visible grief simply come and go in waves that he doesn’t try to fight or force.

I need the gif of him flinching at the toaster. His startle reactions are my favorite thing. He’s alone underground, there is not a living soul for miles and miles, he’s just buried his brother, not for the first time, but this time, he knows, for the last. And the goddamn toaster goes off and he cannot control the way his heart leaps up into his throat and the way every one of his muscles tightens.

Sam grows old. Sam. Grows old. Sam grows old! SAM GROWS OLD.

Ohhh my God, Sam grows old. Without Dean! Without hunting! Without Cas! With people outside that claustrophobic world, beyond the four tight walls of SPN, beyond the people approved by Dean and by Fandom, who give him peace and love and fulfillment! SAM GOT OUT. Even with the truly terrible wig the image brings me to actual tears. I cannot believe SPN would allow him to have this. I cannot believe that the show let him be happy without Dean. I want to read the set of novelizations about Sam’s recovery.

Of course this was the only way for Sam to get unwound, and of course it had to happen offscreen in flashes. Thank god for the ambiguity. There’s so much potential there, years and years, we were simply told: and at some point Sam’s life gets better, at some point his mental health improves and he feels safe enough to start a family, with someone, and at some point he has a child, and he dies peacefully, he dies loved and with people who love him, and dammit I’m getting weepy again.

Sam quit hunting. Not in a sudden jolt. We see him leaving the bunker on another job. But when he leaves the bunker, he leaves for good. He has so much knowledge, but he does not preserve the Men of Letters. He does not honor their legacy of extermination and experimentation. Maybe he gives someone else the keys, for the books. Or maybe he’s digitized it all, and maybe it’s done.

Maybe his wife is Eileen, or maybe it’s Amelia, or maybe it’s Piper or Cara or maybe it’s someone new. Maybe it’s not even a woman. And maybe she’s a hunter, but I hope she isn’t, and when Sam tells her, haltingly, in fits and starts, the bare outline of the truth, she looks at him and she believes him. And she understands the shape of the trauma he carries, even if Sam can’t quite speak the details, and maybe Sam goes to therapy. Maybe he doesn’t. Maybe he wakes in pain and fear for many years, but over time, it dulls.

Sam’s son is still a young man when Sam is on his deathbed, probably in at least his eighties. Think about the mountain Sam had to climb to reach that point. How many years and years of work did it take before Sam felt safe enough to want a child? How long for him to gently conquer his terror at the legacy his blood might carry: Lucifer and Azazel are dead, he knows this, but how long before he lets himself believe it enough to permit the risk? And then he raises his child, not in fear and loneliness, but with love and support and care. And he makes sure his son is protected, that he knows to salt his thresholds and ward against demons, but his son will not suffer the way he suffered.

Maybe he untangles his thoughts about Dean, maybe he learns that to feel angry with his brother is not to betray him or to dishonor his memory, maybe he comes to a more complex understanding of their relationship. Maybe he doesn’t. Maybe he simply enshrines Dean, and Dean’s memory becomes ever more golden and untarnished, and the Impala becomes truly an altar. The details of how Sam carries Dean with him—the watch, the car, the absurdly large photos, his son’s name—perhaps these are played straight, and perhaps Sam never finds a more nuanced love. In the meta sense I think we are certainly meant to think this. We are meant to see Dean deified here, canonized into a saint. We are meant to view Sam’s fifty more years of life as worship, as a dedication and an offering.

This is the long shadow of the finale. These are the things untouched by necessity and by design: this is Dean’s apology in 15.18, this is Sam not wanting an apology, and not wanting to hear Dean offer one. This difficult work was always and inevitably going to be elided. But there is so much time, decades and decades, offscreen, for Sam to come to a quieter peace.

I think he can do it.

I think Sam can do anything.

I’m crying again.

I really didn’t think I would cry much about the finale. I thought I would cry at the concept of the show ending, but not at what the ending was. I didn’t think any details would actually affect me. But then Sam got old. I am truly and genuinely hung up on the canonical image of Sam finding peace. Good god. He had GLASSES. Help.

My chief complaint (aside from that absolutely awful Carry On cover, why oh why, they should have just played the original again), if I felt at all like complaining at the moment, would be how happy this ending is. But I can’t begrudge Sam that. I can’t even get too mad at the scene that I was SO SURE I would despise: that of Sam and Dean content in a Heaven that is now apparently Great, Actually (even though a prison dimension with an open floor plan is still a prison dimension, but hey, I guess we humans can’t leave earth either). Supernatural clearly wanted Sam and Dean to not be facing down an abyssally bleak afterlife, and I think I’d be complaining about the lack of bleakness a whole lot more if it didn’t have the (perhaps unintended??) side effect of giving Sam even more freedom from Dean than SPN already deigned to give him. Sam isn’t in a shared cell with Dean. He can be with his friends and his wife and his son.

One of the fundamental questions of SPN is, would Dean ever let Sam go? And it’s a question that the bulk of s13-15 has rendered moot with Sam’s growing passivity, and one that 15.20 neatly dodged. And I’m glad it did, because I wouldn’t have liked whatever 15.20 had to say on the matter. This deflection feels true to the spirit of what the show has become.

It was impossible for Sam to find peace while Dean was still alive. And on its own that kind of says everything, doesn’t it? And Sam is still forever denied the peace he truly longed for. Sam didn’t want death to force Dean’s hand. Sam wanted Dean to want to let him go. But the only way Sam and Dean could heal is apart. The potential of their relationship on earth becoming untangled is forever precluded, explictly. And yet Sam’s freedom is validated, Sam is allowed what he sought in season 1 and season 8, Sam is something beyond a hunter and Dean’s brother, and the show let him be, the show let him grow.

Supernatural said Sam Rights, and the world shook.

#spn spoilers #sam and dean #15.20 #final thoughts #sam and romance #sam and peace #just leave me here to die #I did not realize how relieved I'd be #I do not believe how much tension has left me #at the realization that I liked this ending #and of COURSE there are so many people complaining about sam's peace #but guess what!!!#this isn't season 8!#this time the show agrees with ME!#SAM HAS riGHTs!

114 notes · View notes

doshmanziari · 4 years ago

Text

Musical Offerings for the New Year || What is “Radical Music” in 2021?

Near the end of 2020, a bunch of musicians populating a chatroom, including myself, each submitted ten minutes’ worth of our work to another musician, Chimeratio, who generously compiled it all into a set totaling nearly ten hours.¹ The work didn’t need to be new; just what we thought might best represent our abilities/style(s) and/or perhaps what we were especially pleased with. The set premiered in late January. Since I have some tentative plans for reorienting Brick By Brick this year, while not overriding its emphases, I wanted to share that music with anyone who’s interested.

I compiled the four videos into a playlist, although you can also access them individually: here (1), here (2), here (3), and here (4). If you care to, and are on a computer, you can also view the accompanying chatlog and read people’s responses from when they were listening to the live broadcast.

The compulsion for this project was sparked by excited discussions over and usage of the term “digital fusion”, most helpfully propagated by Aivi Tran, designating a computer-based body of work that for years lacked the rooftop of a commonly agreed upon genre-name. While describing my music has never been a big concern, even if it’s usually felt impossible (what, for example, is this? or this? I dunno!), I’ve appreciated how the spread and application of this term has brought together people who may have felt isolated.²

As “digital fusion” gained designative traction, I witnessed the activity in the aforementioned chatroom explode over the course of a few days. Before, a day’s discussion might’ve been a few dozen messages; now, there were dozens of messages every half-minute. This had positive and negative ramifications, the negative being that conversations often proceeded at a pace of rapidity which precluded concentrated thought. Eventually, I bowed out because the rapidity exceeded my threshold for meaningful interaction; but I was glad that significant invigoration was going on.

I wanted to share this music also because it intersects with thoughts and talks I’ve been having stemming from the question, “What is ‘radical music’ in 2021?” This was stimulated by a 2014 talk given by the writer Mark Fisher, wherein he contends that, were we to play prominent “cutting edge” music from now to people twenty years ago, very nearly none of it would be aesthetically shocking, bizarre, or revelatory (think of playing house music to an audience in the early 1960s!). Fisher also observes a trend of returning to music which once was seen as the future -- as if, deprived of a shared prograde vision, imaginations turn hazily retrograde; ergo, genres such as synthwave or albums like Daft Punk’s Random Access Memories.

It isn’t my goal here to argue about the “end of history.” Fisher’s time-travel hypothetical, however, rings loud and true to me. Visible musical radicalism has, for at least a decade, been strictly extra-musical, in the sense of songs like “This is America” or “WAP”, where one’s response is primarily to the spectacle of the music video, the performer’s identistic markers, and/or the manner in which the lyrics intersect with (mostly US-centric) ideological hotspots. Musically, there is really nothing radical here. Any vociferous condemnations or defenses of a song like “WAP” deal in moralizing reactions to semantics or imagery: how progressive or regressive is the political aspect? how propelled or repelled are we by the word “pussy”?

It would be a mistake, and simply wrong, to assert that the only music one can enjoy escapes the parameters outlined above; and my inability to coherently categorize some of my own music hardly raises that portion to the status of radicality. But the question here pertains to what is being made, and I think that if we’re going to seriously consider the nature of truly radical music today, we do need to question if such a quality can prominently exist when our hyper-fast consumerist cycle seems to forbid not just sustained, lifelong relationships to artwork but also the local, unhurried nourishment of creative gestation. Now, in my opinion, there are good, even great, examples of radical music still being made in deep Internet-burrows, and for evidence of that I would offer some of the material contained in the linked playlists. Moreover, I’d say that this quality can exist in part because these little artistic communities are so buried.

Let me share a quote that another person shared with me recently:

For culture to shift, you need pockets of isolated humanity. Since all pockets of humanity (outside of the perpetually isolated indigenous people in remote wilderness) are connected in instantaneous fashion, independent ideas aren’t allowed to ferment on their own. When you cook a meal, you have to bring ingredients together that have had time to grow, ferment, or decompose separately. A cucumber starts out as a seed, then you mix it with the soil, water and sunlight. You can’t bring the seed, soil, water and sunlight to the kitchen from the get-go. When you throw those things in to the mixture without letting them mature, the flavor cannot stand out on its own. Same thing with art and fashion. A kid in Russia can come up with a new way to dance, gets filmed on a phone, it goes viral quickly but gets lost in the morass of all of the other multitudinous forms of dance. Sure it spread far and wide, but it gets forgotten in a week. In the past, his new art form would have been confined locally, nurtured, honed, then spread geographically, creating a distinct new cultural idiosyncrasy with a strong support base. By the time it was big enough to be presented globally, it was already a cultural phenomenon locally. This isn’t possible anymore. We’re consuming too many unripened fruits.

The main impression I have here is that radical music today will, and must be, folk music. Our common idea of folkiness might be the scrappy singer strumming a guitar, but my interpretive reference rather has to do with the idea of a music being written, first of all, for one’s self, and then shared with a small-scale community, which in turn helps the artist grow at their own pace. This transcends a dependence upon image, the primacy of acoustic instrumentation, or the signaling of sincerity versus insincerity. It is a return to the valuation of outsider art, so rare nowadays. As someone who I was recently in dialogue with wrote, “Where can you find new genuine folk music? Pretty much just with your friends, imo. Even then, the global world is so influential and seeps into any crack it can find. I think vaporwave was radical and folk for a while. Grant Forbes made that music way before the world knew about it.”

Sometimes, a lot of fuss is made over what’s seen as “gatekeeping” within certain communities. It can be, depending on the context, justifiable to question and critique this behavior. At other times, the effort of maintaining a level of exclusivity, of retaining an idiosyncratic shapeliness to the communal organism, can be a legitimate attempt to protect the personal, interpersonal, and cultural aspects from the flattening effect of monoculture. Hypothetically, I welcome the Castlevania TV series and Super Smash Bros. Ultimate having introduced new and younger demographics to Castlevania. In actuality, stuff like “wholesome sad gay himbo Alucard”, image macros, and neurotic “stan” fanfiction being what’s now first associated with the series makes me want to put as much distance as possible between my interests and those latecoming impositions.

The group-terminology David Chapman uses in his essay “Geeks, MOPs, and Sociopaths in Subculture Evolution” is kinda cringey, but some of the cultural/behavioral patterns he lays out are relevant to the topic. Give it a look. If we cross his belief that “[subcultures] are no longer the primary drivers of cultural development” with our contemporary consume-and-dispose customs, we’re left with the predicament of it’s even worth attempting to bring radical/outsider art beyond its rhizomatic habitat. This is troubling, because it would mean that artistic radicality no longer might not only refuse to but cannot encompass cultural upheaval. It would be like if dance music were invented and -- instead of progressively permeating nightlife, stimulating countercultural trends, and ultimately being adapted as the basis for pop music globally -- only were listened to via headphones by a few thousand people on their own, stimulated a group meeting once a year or two, and never affected music beyond a niche-within-a-niche. That’s a very sad picture to me.

⁂

¹ Chimeratio has also maintained an excellent blog on here dedicated to looking at videogame music written in irregular time signatures, far preceding higher-profile examinations like 8-bit Music Theory’s video on the same topic.

² For myself, creative isolation has had its uses, because it has led me down routes that are highly personalized. The isolation can be dispiriting too. Although a lot of my music is videogame-music-adjacent, almost none of it uses “authentic” technology, such as PSG synthesizers or FM synthesis; and the identification of those sounds is fairly important for recognition.

#music analysis #radicalism #digital fusion

30 notes · View notes

sometipsygnostalgic · 4 years ago

Note

Do you think Pen Ward is over AT? Like mentally. To my knowledge he isn't part of creating Distant Lands (I'm sure he could have worked on it if he wanted to) and unlike other cartoon creators whose shows have finished he rarely mentions it or draws stuff from it. I don't know if I'm projecting but it seems like Pen has completely moved on from AT and that makes me sad because it makes me think he got so burnt out from it he doesn't care about his most well known work anymore :(

I think you’re projecting a bit. Sure, some creators do get burnt out and eventually want nothing to do with their work (Andrew Hussie), but Pen’s circumstances are different.

Pendleton Ward did get burnt out with AT, but that’s because he was sick of dealing with people at press conferences, Cartoon Network, etc, not because he hated working on the show. Pen was a very private individual. He hated dealing with people on the business side of things, he just wanted to be a writer.

He stayed in the writer’s room until much later, the end of Season 6.

He did leave the show eventually, but he kept storyboarding for it even. Pen also continued to voice act, primarily as LSP, which is probably why they kept bringing LSP back so much from season 7 onwards. They wanted Pen back in the studio!!!!

Around the time that he left, Pen wrote and storyboarded the game “Explore the Dungeon because I Don’t Know”, which was an early peak at some very late-series lore. It was the big reveal of PB’s age and origin, and it contains tons of material relating to the shift in tone of the later seasons. It makes me think that the show went EXACTLY in the direction he wanted it to.

In fact the eps he worked on are some of the most unsettling of all:

Bad Timing, which has LSP bombing a castle and killing her love interest, a joke about eating cyanide gum if youre captured by raiders, and drinking to cope, with one of the most surprisingly heartbreaking endings of the series. This ep is to this day unresolved - Johnny is permanently stuck in the other dimension, and LSP has still forgotten his existence, and Peebs still knows all about what happened but can’t do shit. Also what ARE those little guys? Are they micro bacteria? They are definitely a Pen Ward idea.

High Strangeness. This is the one where Tree Trunks is in a relationship with an alien and she has alien kids, but one of PB’s rockets crashes into the space ship and infects it with little pink best buds, who tear the aliens to pieces. TT stages a coup and wants guns and makes “fascist!” signs, PB retreats the program, and says she only did it because she thinks Ooo’s going to get destroyed. Pb’s anxieties are resolved by TT sending her space husband away with the tiny rocket for 40 years, and... uhh.... Ooo getting destroyed in the future. Oh and poor Mr Pig found out at the end. He didn’t seem happy. I love this episode so much.

Imaginary Resources. This ep won a fucking Emmy! Pen Ward co-storyboarded this and it takes place in VR, because it turns out the Humans built an entire island of people who wanted to escape to virtual reality. They’ve become consumed by it and need to keep using it to cope, their bodies no longer fit to move around freely. And how is this conflict resolved? BMO repairs the VR system and sends them all back to their slumber, where they live the rest of their days. The thing all 3 of these eps have in common is they dont have a neat lil bow wrapped on them by the end. They’re not neatly resolved, and the dark situations still exist. Johnny is still dead and it’s up to the viewer to decide whether reverting LSP was the right thing to do, Ooo is still going to get destroyed but there’s hope the candy people can rebuild elsewhere, and the people are still stuck in the VR world where they’re happy but unable to experience the joys of real life.

Anyway I’m getting ahead of myself. What I meant to say is that Adventure Time getting really grim and uncomfortable with a sugary coating on the top is a Pen Ward thing, and I think it retained a lot of his identity up to the very end. I bring this up because lots of people argue it changed a lot under Muto, when in reality he just expanded on Pen’s ideas. Pen was still in the writer’s room for the entire season 5 and 6 breakup arc, for example.

And as I said, he has been constantly involved on the voice acting side of things. I think if he truly wanted nothing to do with it, he’d tell them to involve LSP less, but he seems overjoyed to play as her!

But if you’re talking about his twitter... it’s no surprise he doesn’t engage there. Historically, none of the AT crew have talked much on twitter about the show. Even Adam Muto, who could go on making AT eps for quite some time before giving up, doesn’t talk to anyone about the show on social media. It’s a big fandom, and the crew NEVER were that open. They’d occasionally talk on stuff like Formspring, but it’s a bit redundant to do so these days.

I don’t think it’s terrible. I know what it’s like to be in fandoms where the crew talk FAR too much.

I do miss the days of watching Pen, Steve, Andy and Jesse banter on twitter.

Pen probably at this point wants to move forward with new projects. Imagine looking back at your old art all the time, you’d feel embarrassed!

#adventure time

32 notes · View notes

lewa358 · 4 years ago

Text

Game Retrospective: The Outer Worlds

Fallout: New Vegas was a blast. It had gripping worldbuilding, solid characters, and meaningful choices.

But like…it was also, you know, complete shit. I’m sorry, it was. It beats out the first _InFAMOUS _for being the single ugliest AAA video game I have ever played, the combat was a ridiculously clunky mess, and so damn much of the game is just dragging myself at an achingly slow pace across a wretchedly dull landscape while doing nothing but holding down W. and Cazdors have my permission to go to hell.

I believe these two contradictory elements to be true, and I can’t explain how. New Vegas was one of those games I liked experiencing more than actually playing, for want of a better word.

I bring this up because it is basically impossible to talk about The Outer Worlds without mentioning the Fallout games, and New Vegas in particular. Like New Vegas, Outer Worlds is a sci-fi first-person RPG with combat primarily—but not exclusively—relying on chipping away enemies’ health bars with guns (and sometimes melee weapons). You have a selection of companions to choose from—two at a time—and quests to complete, perks to earn, choices to make, blah blah blah.

And of course, both New Vegas and Outer Worlds are made by the same studio, Obsidian, though with nearly 10 years between the two games’ releases I’m not sure how many of the actual people in that studio were involved in both games.

So naturally, it’s inevitable that I compare the two. But I seriously wasn’t expecting Worlds to be this much better than Vegas.

The environments are bright, colorful and surreal! Combat is…mostly very easy, so it’s not intrusive! Because the game is kind of a budget title, the environments are nowhere near as expansive as those in Vegas, but that just means that there’s much less empty nothing in between locations! And even then, the terrain is just a lot more varied, with hills and valleys, and there’s this cool mid-air dash you can do that keeps you moving.

And in stark contrast to, say, Xenoblade Chronicles 2, all these improvements are very much not at the cost of what made the earlier game so engaging. Outer Worlds’, well, worlds are a blast to envelop myself in. The entire game is a shamelessly brutal satire of unregulated capitalism, with corporations acting as governments and demanding an almost religious reverence for labor and The Brand, even as the colony crumbles all around them. Each of the locations explores this in different ways, from the MSI’s flailing attempt to unionize to Edgewater’s blatant depiction of resource scarcity.

And the writing is phenomenal. I kept sending screenshots of dialogue to my sister, because there was so much that I thought was insightful or just plain hilarious. Despite how limited the character creator can be (why is long hair out of style?), every person feels distinct and every dialogue tree feels meaningful, reinforcing the game’s key themes while working excellently on their own merits.

The companions are a blast, too. There’s no romancing them in this one, so their quests are all about character growth without any uncomfortable expectations of a sultry reward—and they’re great. Tripping out with a vicar to have him confront the contradictory nature of his religion. Helping some idealistic kid come to terms with the unfortunate reality of his revolutionary ideals. Helping a mercenary lay her companions to rest. Cheating some scummy “parents” out of money they own illegitimately. That robot is cool too I guess.

But Pavarti. Pavarti! Her one dumb sidequest is so simple, but so shamelessly earnest and optimistic that I immediately fell in love with it. Just…how many games have you acting as a wingman for another character’s romantic exploits, helping a character achieve their best selves without immediately jumping into the protagonist’s pants—or for that matter, anyone’s pants? How many games have a romance subplot that checks off not just one but two letters in that LGBTQA+ acronym? How many games can even attempt half of these things without coming off as pandering or saccharine, especially in a world as snarky and cruel as Halcyon?

That’s enough coherent gushing. Here’s some extra bits I thought were neat:

No lockpicking or hacking minigames! As long as you have enough picks, and your hacking skill is high enough, you just hold down a button until the thing opens.

The game’s approach to stealth is…interesting.

On one hand, you have the whole thing where you crouch-walk around enemies until a meter over their head fills to indicate that they see you, and unlike, say, Deus Ex you can’t just stealthily pick off enemies one by one. You either sneak around or fight, and all the stealthy approach will do if you can’t or won’t completely avoid enemies is let you get the upper hand.

On the other, you have something particularly genius: if you find a particular organization’s keycard, you can disguise yourself as them when walking into restricted areas. This happens automatically, as soon as you walk past a “RESTRICTED AREA” hologram, and then a meter appears, showing how long until your disguise disappears. In a final twist of brilliance, the meter only goes down when you move, so moving around in these areas is about careful planning more than speedrunning.* The combat is fine. I was way overpowered well past the halfway point, to the point where this game’s equivalent of Deathclaws took me seconds to annihilate, often without a scratch, and my companions yelling about how my weapon was ineffective (due to its elemental affinities, but again, I was OP, so it didn’t matter). But I’ll take “dull” over “fucking cazdors” any day of the week. That, and the final area was oddly difficult considering how breezy the rest of the game was.

Look, man, I loved this game. It might even be one of my favorites ever. I truly do not care that the game as a whole feels a little cheap compared to, say the PS4 God of War, or that it lagged a little bit throughout my whole playthrough. When it came to the parts that mattered, it succeeded with aplomb.

Playthrough notes:

Played on PC via Game Pass.

Playtime: about 30 hours

Completed the game and seemingly most sidequests, including all companion quests (but not that one modeling sidequest). Sided with Phineas but used a smaller portion of the MacGuffin.

Source for images is the game’s official website, except for the skeleton guy in the hat, that was my screenshot.

#The Outer Worlds #Fallout New Vegas #New Vegas #Outer Worlds #Game Review #blog

22 notes · View notes

hongism · 4 years ago

Text

An essay on why i love kim hongjoong and why he’s my ult bias and one of my biggest inspirations in life; by me, you know who it is, the biggest hongjoong simp on the planet, and your local hongjoong lover

This isn’t really gonna be an essay pls it’s been way too long since i last wrote a formal and serious essay but instead it’s just gonna be a messy hodgepodge of me doing what i do best in life: rambling (about hongjoong). If you know me you know that i GUSH over the things and people i love, i could sit here for years just rambling about that so yeah this is about to be long as HELL and also embARRASSING as hell so PLS look away act like you don’t see anything no one talk about it hongjoong if ur here pls don’t look good god this is about to be so embarrassing bc here’s a list of things i don’t have: chill. Yall about to see me crumble for a Man of all things i can’t believe this is happening but yeah see im already rambling and i haven’t even started talking about hongjoong yet wow okay anyways look away i will cry and did cry okay thanks yeah BYE

im not gonna sit here and be like ‘bc he’s cool and handsome and yeah’ because those aren’t really reasons why you love Someone, those are kinda reasons why you might admire someone or enjoy looking at them but not why you like them necessarily, but it is a given that hongjoong is a beautiful person inside and out so i can’t go on without mentioning how beautiful and handsome he is ;;-; he has such pretty and delicate features, his nose his side profile his eyes his lips yes everything about him is beautiful and lovely and wonderful he’s just so objectively attractive. His smile is so bright and warm and full of love and joy, really he has one of those smiles where you see it and feel like your heart is full. Show me a picture of hongjoong smiling and my mood will spike and i’ll be happy bc he is a person who has infectious happiness and joy.

Hongjoong has so many neat and cool aspects to his personality, he’s really brilliant, he’s got an iq of 148, he’s an infp, he’s a scorpio, i’m gonna start rambling strap in — he raps, he sings, he dances, he composes/produces, he plays the drums, he plays the piano, he writes lyrics, he reforms clothes, supports the polished man campaign and paints his nails like!!! Listens to all sorts of music, enjoys rock music, loves to experiment with his style and hair, loves trying new things, just look back at inception era where he asked to wear a skirt for performances bc he thought it looked pretty moving while he danced just! Hongjoong has a very beautiful personality that i love to see because he is unapologetically him. And in an industry where it’s hard to be an individual and where it’s hard to let your own colors shine through whether it be because of pressures from companies/group image/so on so forth. I’ve always stood by the fact that KQ does really well with letting the boys do individual things and be individuals as well as have a say in what the plans are for their image, but it really shines through in hongjoong.

He’s a person who has his own color and his own sort of image that i feel lucky to look at bc it’s so special and unique and wonderful to see!! I feel that way constantly when i look at ateez and i think that’s why i love ateez so much and why they’re my ult alongside shinee bc there is so much individual color and personality and i adore getting to see that because people in general fascinate me that way.

There’s always a lot of jokes about hongjoong’s scorpio tendencies shining through but even beyond those jokes, he really lets us see parts of himself that are both intriguing and beautiful to see. I mentioned this the other night to a friend but while he was live, you could physically see the way he brightened when talking about music and when sharing his music, sharing the things he worked on, songs he enjoys, and when he talks about music, you can see that passion and love in his face. Same with when he talked about his tattoo, you could see in his face how much it means to him and how much thought he put into it, and how special it was for him to talk about it even with language barriers. Personalities are something that don’t need a language to see and perceive, and i’m always very careful to talk about idols’ personalities because you never know which parts are real and which parts are what they want us to see but seeing how clear hongjoong’s passion and adoration for music is is something so blatant to me. Like it’s just something i see every time he talks about music and every time he’s live and it’s so beautiful and special to see.

I’m a person who gets motivated when i see other people motivated and that’s primarily why i see hongjoong as such a huge source of inspiration and motivation because listening to people talk about the things they love makes me feel happy and encouraged. I love seeing the joy in people’s bodies and faces when they get happy, i love seeing people full of life and joy, i adore seeing them talk about their dreams and aspirations because you can see how determined and how meaningful something is to a person that way, and that’s something i see in hongjoong so much.

Hongjoong is someone who values art and all forms, and he’s someone who finds beauty and inspiration in all sorts of things. That’s something i try to do in my life but it’s hard and i struggle and sometimes i get it right and sometimes i don’t, and yaknow maybe we’re not supposed to get it right all the time, but i love getting to see hongjoong’s creative process and just listen to him talk about the things he finds inspiration in. Really honestly and truly getting to see people do what they love brings me more joy than i can put into words. There is something so special about it, and i feel it when i watch hongjoong perform because you can see how much every part of the stage and performance means to him even if it’s just 3 minutes and even if it’s something where he’s not front and center. Hongjoong doesn’t have to be the forefront of something to give his all and i think that speaks volumes to how much he wants to be on stage and how much it means to him

Then anOTHER thing i love about hongjoong because i could just talk for hours at this rate. Bc im emo and im in my feels so much i think about how sometimes it really seems like hongjoong was made to lead ateez. You could put 100000 people in a room and give me a list of qualifications and reasons why these 100000 people would be better leaders and i would still pick hongjoong because there is something so inherent in him about being the leader of ateez that shines through so much. The way he talks about ateez, the members, the things he does for them, the work he puts in because he wants them to succeed together. He talks about looking at their faces before going to sleep, not wanting to release a mixtape because he wants to share his music through ateez, he calls them kids, he wouldn’t post selfies so that we would focus on the other members’ teaser photos, he pushes them and encourages them to try new things and do new things, there is so so much he does for them and there are so many ways in which hongjoong loves ateez, just so many ways he cares for them and adores them even when he has that tsundere image, you can clearly see how much they mean to him and how much value he puts in those relationships with them

But yeah so anyways i’m gonna cut myself short good god this is oafiejrogbjieon so long already BYE this is embarrassing im so tired tho im gonna go sleep and probably forget i a) wrote this and b) posted this HTRWEFSFKHDLKFH yall know how it is pls dont ROAST ME for GUSHING just yeah if i could say one thing to hongjoong and only one thing like only one chance to say something i would genuinely thank him for being a person who inspires me and for sharing his passions with us i think that sharing your passions the way he does is so special and touching and yeah god im about to ramble again pls caly stop

#GOODNIGHT #jk i need to message joong on universe first #theN GOODNIGHT

12 notes · View notes

panharmonium · 4 years ago

Text

more rambling re: that last post (+ the merlin/will fic survey overview)

because i generally refrain from reading fic while i’m actively writing for a fandom, the only real ao3 reading i have done for merlin is my survey of the merlin/will ship tag. and the only reason i undertook that survey in the first place is because while i was doing an introductory cruise of the various merlin tags during my first exploration of the fandom (after i finally finished S5 and was able to start looking into fandom dynamics without fearing spoilers), i noticed that a LOT of the fic tagged with this ship was also tagged merlin/arthur, and despite the fact that i personally am more interested in gen stuff, i started to get both suspicious and annoyed about what i was seeing. but i also wanted to have the data to back up my annoyed feelings, so i made a little spreadsheet for myself and then just filled it in whenever i had time to kill and wanted something to do.

the data, when i eventually finished, backed up my annoyance pretty much as well as i expected, which was disappointing, but not surprising.

to clarify - i’m not annoyed by the fact that will and merlin don’t have a whole lot of material in their ship tag. will only showed up directly in one episode; i don’t expect him to be a popular subject. what i AM annoyed by is the fact that there are actually more merlin/arthur fics in the merlin/will tag than there are fics that actually focus on...merlin/will. by, like - an extreme margin.

(the rest of this is just me griping about fandom trends. popping it under a cut so folks can just move on with their days if this isn’t relevant to their interests.)

The Numbers

two quick notes before i get into the nitty-gritty:

1) i originally did this survey a few months ago, but i updated it this week with fics that have been added since then, so the numbers are current.

2) some of the data below would probably vary slightly depending on who was conducting the survey, so there’s a bit of wiggle room in either direction. the criteria i had to use [aka what counts as just a ship ‘mention’ vs actual content] would be subject to reader interpretation, obviously, but even with that, i do feel that most stories fell into pretty clear categories.)

so, without further ado -

total # of fics in the ship tag: 145

number of fics that are inappropriately tagged (meaning either will himself or merlin/will as a ship does not actually appear [which is kind of bizarre, but which i saw happen surprisingly frequently], OR where there is only a brief reference to will or past!merlin/will and that’s the extent of their inclusion: 50

number of fics that are duplicates of works already in the tag (ie podfic), or (in one case) a meta podcast about the show: 5

so, that brings down our total number of fics with some sort of actual merlin/will content to 90.

of these 90 works, only 17 of them are actually focused on merlin/will.

everything else in will’s ship tag, including the 54 works from the previously discussed "incorrectly tagged” category, is either a) fic where will is dumped, broken up with, or otherwise passed over in favor of arthur (and very occasionally gwaine, at least once mordred, once percival, once arthur and gwaine in a threesome, and once CENRED, which i’m sure will would be especially thrilled about), or b) fic where will is only included as a previous/ex relationship (again, almost always in lieu of arthur).

moreover - of the 17 actual merlin/will fics, 7 still end with will dying or the relationship ending for reasons other than him being passed over for arthur. an additional 4 are <1000 word PWP snippets, generally written for old LJ summer pornathons, one of which still somehow manages to be...you guessed it - all about arthur.

in terms of actual one-shots/full fics where merlin/will is the endgame/non-dead pairing, there are only 6 stories.

i repeat: will gets six earnest stories, IN HIS OWN SHIP TAG.

i repeat once again: will, in a non-dead, endgame form, gets 4% of his own ship tag.

The Content

the in-fic trends are frustrating, if you actually like this character.

the asshole. will is an abusive boyfriend. he is a jealous ex. he’s a shitty friend. he’s a stalker. he’s manipulative. he’s emotionally abusive. he’s physically abusive. he dumps merlin for someone else. he cheats. in one fic he’s so mad at merlin that he outs merlin’s magic to arthur. in multiple fics, i watched him literally go off the rails and try to murder somebody.

the fuckbuddy. they’re just messing around, guys! no, of course it’s not serious! they just do this for fun! of course there’s nothing to get in the way of arthur’s inevitable arrival! no sirree!

the unrequited. will is actually in it deep for merlin, but merlin doesn’t feel the same. this does not, however, prevent merlin from using will for sex, companionship, comfort, distraction, etc - until arthur shows up, when will either steps aside in deference to merlin’s all-consuming passion for arthur or is dropped like a hot potato.

“not even will.” that sentence. over and over again. merlin had never felt like this before, not even with will. nobody had ever understood merlin like this, not even will. even in fic when they were like. married. or engaged. fanon arthur pendragon must be truly mind-blowing, y’all.

dead long-term relationship. will was merlin’s husband/fiancé/long-term partner. now he is Dead. merlin getting together with arthur is what allows merlin to Heal. (these stories sometimes contain some variation of “not even will,” as discussed above.)

lastly, in a related phenomenon:

who are you and what have you done with arthur pendragon??? i suppose in a way it’s nice to know that will isn’t the only one who gets the OOC treatment, but it is still really...something, to read fic where will is twisted into an unpleasant, abusive, canon non-compliant version of himself, and then to see arthur, on the very same page, transformed into a gentle, solicitous, kind, caring, equally canon non-compliant angel. fanon!arthur is more worried about merlin’s well-being than literally anyone i have ever seen. he is so invested in merlin’s emotional health. he is so concerned about merlin’s boundaries. he says things to merlin that no version of arthur pendragon has ever - EVER - in any universe, thought about saying to anybody. he wants to hear all about merlin’s problems, and he’s all about taking it slow and making sure merlin feels comfortable and loved and worthy and safe (from all that horrible stuff done by that horrible other guy; that must’ve been so hard, merlin; ‘it’s okay, i’ve got you now’) - the man is utterly unrecognizable. and you know what? it’s okay! it is fine to make your characters as OOC as you want. it is fine to make them better/nicer than they were in the canon. sometimes we all want that, right? it’s fanfic! have a ball. i will never tell anyone to stop writing what they like, and i will NEVER interact negatively with a fic i don’t care for. EVER. do not do this, people - click the back button and move on with your life. but i reserve the right to be annoyed, in my own space, about a persistent trend of will and arthur’s canon functions being flat-out reversed, in service of merlin/arthur. not in the sense that canon!will is particularly gentle or sweet, because that’s not the case - but in the sense that will, in canon, is the one who actually cares about merlin’s best interests, whereas arthur is, quite frankly, the ass. a lovable ass (sometimes). but an ass nonetheless, and one whose relationship with merlin is, from start to finish, an unhealthy, oppressive mess.

The Point

the point of me typing this up is not to say that what people choose to write is bad or wrong. this is fanfic! you can write whatever you want. you can make characters as OOC as you want. you can create as many AUs as you want. i don’t mind fic authors writing stuff i don’t personally care for; someone else probably loves those stories! and i am never going to interact negatively with anything i don’t personally enjoy - i am going to let people continue to have fun in their own ways, and i am going to grumble about my frustrations in my own space, and then i’m going to direct my energy into writing stuff i would personally like to read.

the point is just that i needed a brief second to complain, on my own blog, about my most familiar bbc merlin nemesis (otherwise known as ‘single-ship ubiquity’). and what i mean by this is that it is REALLY FRUSTRATING that other little relationships are not even granted the tiniest concession of owning their own ship tags, in a fandom that is already so SATURATED with merlin/arthur content. like - even if i’m generous and use the number 17 for the number of actual merlin/will fics in the tag, that still means 88% of will’s ship tag is actually fic about merlin falling in love with people who aren’t will (*cougharthur*). eighty-eight percent! of his own ship tag!

(to put it another way - the ship tag isn’t supposed to be where you go to watch your character get repeatedly dumped or left behind for someone else, okay? it’s supposed to be literally the opposite of that.)

will’s ship tag is already tiny. and almost all of it belongs to arthur. moreover, a significant chunk of it uses will as a convenient villain (completely contradicting every canon aspect of his characterization), when in the actual story will dies to protect arthur (who he doesn’t even like) and then lies to save merlin (at the expense of his own reputation, and despite the fact that he personally thinks merlin returning to camelot is a bad idea). his behavior in canon is selfless, and wholly committed to merlin’s welfare, and yet in his ship tag he gets treated like trash.

the kid can’t catch a break. and it’s such a pervasive thing that even though i personally am primarily interested in merlin and will as friends (i am pretty romance-averse in general when it comes to media, and i have never written anything that isn’t gen, for any fandom, ever, in my life), i am also so indignant on will’s behalf that i’ve basically become invested in the well-being of this ship as a matter of principle. it’s not my main thing, and it’s not necessarily how i view the canon-verse, but i am SO IRRITATED about how virtually all of will’s shipfic has been taken over by merthur (and about how maligned will is in his own tag) that i have actively committed myself to supporting merlin and will together in as many AUs as possible.

(this is basically like when i trained myself to love allison argent after teen wolf killed her off. i did that out of spite, y’all. it’s the principle of the thing.)

so, y’know. all i am saying is that i think will deserves his share of happy endings, and i think it would be nice to see fics where he is not just a stepping stone on the road to merthur or an unrecognizable parody of himself.

more importantly - EVERY merlin ship deserves to have a tag that isn’t completely swallowed by the local fandom behemoth. merlin/arthur already owns three quarters of the archive. a gargantuan oil tanker like that can afford to let the little rarepair canoes float down their own streams in peace.

#tl;dr version:#GIVE MERLIN AND WILL THEIR OWN FICS 2K20 #I WILL NOT REST UNTIL THIS INJUSTICE HAS BEEN ADDRESSED #(y'all think i am kidding but i have already walked the walk ok)#(i am currently the internet title-holder for 'most words dedicated to this relationship')#(it might be the platonic version but if you don't think i will stretch myself and try something new)#(then you underestimate just how aggravated i am)#(and just how much i want this kid to get everything he deserves)#the once and future slowburn #no kings no masters #fandom

60 notes · View notes

popculturebuffet · 4 years ago

Text

Simpsons Review: Simpsons Comics #102 “Uncle Burn$” or Homercore Nudity!

Whelp out of all the commissions Kev has thrown me this one’s kind of a curveball. I mean it makes sense why cover it: It’s a pastiche of Donald Duck Comics done in the pages of the Simpsons long running comics. I cover duck stuff on here, and not only do I love the Simpsons but I tend to reference it for jokes a LOT. I just genuinely never thought of reviewing it till now, likely because earlier on in my new career of reviewing animated shows, I wasn’t really convinced I could do pure comedies. With my regular reviews of Darkwing Duck and as it comes out coverage of the Loud House (I still need to get around to Band Together), that’s no longer a real issue and I should consider doing the show in the future, especially since I have an unabashed love for the first 10 seasons and a few episodes beyond that.

As you can tell, I love the Simpsons. While I do genuinely wish it would end and have no real intrest in the current seasons, though if you’d like me to take a look i’d be willing to. The show in it’s prime was funny, witty and each episode was crammed with jokes. And refreshingly for an adult cartoon show of it’s time, the show genuinely wasn’t afraid to mix things up: Milhouse’s parents divorced and stayed that way for so long that them apparently getting back together decades later is itself a huge status quo shake up. Lisa went Vegetarian which stuck thanks to sir paul mcartney, and then went Buddhist, both of which have never wavered since and both fit her well. Skinner and Krabbable started dating. Barney went sober for a few seasons. Apu got married. These are minor changes but the show does have things happen occasionally and doesn’t just snap everything back and it adds genuine tension to plots knowing they might stay the status quo They usually don’t but the occasional change gives things stakes. I could go on for days, but I couldn’t go on for 8 weeks, point is the Simpsons are awesome, and deserve the praise they get early on I just wish they’d stop as by this point people really have stopped carring and it’s time to pass the torch and Let Bob’s burgers be the wholesome family comedy that runs forever.. and even then that one should stop at 10 seasons. Or if not at least let the kids age dammit. But that aside, while many of you simpsons fans looking at this probably have at least seen the comics, or a collection of them over the decades, many of you like me are wondering what the hell Bongo Comics is and how they managed to last so long. Bongo was founded by Simpsons Creator Matt Groening in 1993. Matt Groening had noticed that at the time there just weren’t any funny books on the shelves, funny books being comedy based comics primarily targeted for kids, with Archie and Disney being really the only ones left at the time. So he founded Bongo to rectify that, and given Fox naturally liked the sound of more merchandising dollars, the publisher was primarily used to produce simpsons comics, though looking at wikipedia there were one or two that weren’t including, of all things, a Coldplay comic tying into their album. Why did Coldplay publish a comic book at a primarily simpsons comic book company?

Though most series seem to be either short lived or one shots, there were a few exceptions: Naturally the company put out an annual Treehouse of Horror issue, there was a Bart Simpson ongoing focusing on him and the other kids of Springfield, I had a trade for that one once, and once Futurama premiered it too got a comic book that held through both cancelations. But standing above them all was Simpsons Comics, a 245 issue long runner that ran all the way up to the company’s closing, likely due to a combination of a lack of profits and the then upcoming Disney-Fox merger depriving them of the very heart and soul of the company.

Naturally being a Simpsons fan I have a connection to these comics having gotten the trades out of the library multiple times as well as the collection of Bartman’s solo series, which was my favorite and I might cover some day. In addition to the Free Comic Book Day issues i also picked up scattered issues over my life since, much like Archie, Simpsons comics were a mainstay of bookstores and super markets and the decline of both comic markets is likely why the Simpsons comics started to peter out in the first place. The quality and memorability of the stories varied but they were a fun thing to have around and it’s sad to see them go, as well as see Disney not even make a remote attempt to bring them back or at the very least republish the vast library they now have access to. Also finally if your wondering yes, there indeed was a Simpsons/Futurama crossover. And no I have not read it. So with that history, most of which I just learned some of which I already knew, in mind, it is very fitting the comic’s did a tribute to the Uncle Scrooge comics. Though it does feel very weird that I have yet to cover any Donald Duck or Scrooge comics.. yet i’ve already covered one of the Ducktales tie in comics and a Simpsons homage to it. I’m going to have to correct that but until then, join me under the cut as I dive into adventure with the Simpsons.

This issue was written by Ian Boothby and drawn by John Delaney, I feel mentiong the writers and artists should be important in comic reviews and I kick myself for not having done that or gone into them as much before. Boothby was apparently the Ian Flynn of these comics, writing more simpsons comics than any other writer according to wikipedia and winning an Eisner for his work on the comic if sadly not this issue. He was nominated for an outstanding Canadian Writer award for it though so that’s good. Point is the guy is a decorated vetran of this series and it shows in how good this issue is and I felt he deserved some recognition as most Comic Book Readers, myself included up till now, likely weren’t aware he even existed nor took over the comic in the 2000′s.

We open with Burns getting attacked by a mummy! Gotta say wasn’t expecting this as where we started out but the simpsons have started with wonkier premises to end up somewhere. I mean there was the time a bag boy strike ended up with them in Africa. Also i’d say Burns should call the police, being the kind of privileged white guy they actually care about protecting and all, but frankly the Springfield Cops don’t have the best track records with Mummies:

But no it’s just Smithers, who dove in heroically to save the company 15 dollars after Homer took a bet to see how many fire crackers he could jam in his computer’s disk drive. Lenny said 20 but he proved him wrong. And yes those are all actual jokes from the comic, this issue is very funny and feels very much like a Golden Age Simpsons episode. They also all gather to sign Smither’s cast.. which naturally is a legally binding contract. Burns takes his loyal minion to get some quality medical care only to find an arcade because he traded the Medical Bay in for one during an outbreak of Pac Man Fever... again I really can’t top that and there may be a good reason why I haven’t covered the Simpsons till now. But yeah as Buns gives Smithers a roll of Pennies, he wonders who to have replace Smither’s on their annual summer treasure hunt.. which would come out of nowhere but we genuinely don’t know what they do most summers. I assumed Burns just road Smithers like a horse to play cricket while Smithers enjoyed it way too much. But a stray comment from Homer getting a Krusty Doll from a crane machine about being king of the treasure hunters leads to this.

I mean it’s an easy joke but damn if it didn’t get a laugh out of me. So later at the old Simpsons place, because this comic is fantastic, Marge and Homer talk things over, but Homer insists Burns said he’d split the treasure, and Lisa wishes she could come along. And Marge says he should, especially for his own saftey.. and when Bart complains, says all the kids should go, she already packed their bags, she’s heading to Rancho Relaxo byyyyeeeeeee. Once again, this comic is amazing, and I would say this is out of character for Marge, but frankly that’s the whole point. Plus it really isn’t when she has to deal with 4 children on a regular basis, and her sisters, and a town gone mad.. yeah can’t blame her here.

The next day at Burns Office, Homer is wearing his navy outfit.. or rather Donald’s Navy outfit. But given I did a quick google and found him having at least 4 different outfits during his time in the Naval Reserves, it’s not a stretch to assume the Simpsons Version of the Navy gave these out too. Seriously Ian Boothby has put more thought into continuity than most writers on the show proper. Also Simpsons Tide, season 9 episode, still very memorable and hilarious and not due to childhood nostalgia. Just looking up this bit had me laughing hard.

youtube

I now want to watch that episode sometime soon so thanks Kev. Anyway Homer seems to have misplaced his plants. Now I could spare you the image since I don’t do things panel by panel anymore and only use panels from a comic when relevant. Buttttt

This traumatizing of my audience brings me to a point about this issue and why it works. While there are tons of nods to the Donald Duck comics and what their homaging is very clear, the issue doesn’t REQUIRE you know them to enjoy it. Knowing them I obviously enjoy it more, but most of the jokes aren’t reliant on you knowing anything about the barks comics and even someone with a passing knowledge of the Original Ducktales can still get the reference if not why Donald is here. It helps this is less of a parody, with the exception of some jokes, and more of an homage, using stylistic elements of those comics while telling i’ts own story as a loving tribute to it’s predecessors. Speaking of one of those jokes poking fun at the source material, Burns is delighted Homer brought child labor, which kept me laughing for a good minute, and when the kids introduce themselves we get this bit.

Not only am I 100% sure every version of Donald or Della did this to make sure they could tell them apart, very much including the reboot with Donald, but it’s a genuine hilarious bit. Donald’s response as they head off is “there’s somehting hooey Dewey and screwy about this. “ Also I will criticize the fact Bart isn’t the one wearing a blue outfit. For those wondering why, after all Maggie wears blue shouldn’t she get it, who haven’t seen this a LOT of merchandise early on had Bart in a blue shirt, due to early Merch being rushed out pre-show and since he wore one in some earlier concept art, he got to wear blue. He also wore it late into the 90′s.

Sidebar: I just found this and while it isn’t a bad joke given his character it is questionable to have a fourth grade boy tell you to buy him. Just saying. But the reason I bring it up is partly because the show itself referenced it at one point.

As well as it’s sister show Futurama

And you remeber that Bart Simpson solo I mentioned? That one frequently, both in and out of story, had Blue Shirt bart show up for some variety.

Also why yes each issue does have it’s own fun “Superman’s Pal Jimmy Oleson” Esque subtitle. And I love it so. Point is Blue Bart is part of the series legacy and this very comic company, so it’s VERY weird to not have that here. That being said there were a few Green Shirt barts apparently as a printing error, so he could just as easily be 80 steps ahead of me. I just don’t know.

Back at the plot Burns and the Simpsons show up at Frink’s lab, Frink rather obviously filling in for Gyro, with his own version of little bulb named F.L.O. who gladly shakes Lisa’s hand.. and releases a Pterodactyl but hey you can’t win em all. It’s a nice nod, though one only fans of the source matieral will really get, but the pterodactyl bit right after helps distract from it. Frink slotts into the roll well, as Frink has no reall affiliation with anyone and is basically, much like Gyro, there for various characters to go too when the story or joke needs him. Frink has two gadgets for them: Some Scuba suits that can go to any depth and a grappling claw that accidently gets him gripped to the pterodactyl. Also homer accidently switches suits with maggie, so we get an adorable shot of her serenely sleeping in a diving helmet while her daddy chokes to death.

So the next day it’s out to the open seas where The Simpsons are doing all the work while Burns lounges.. which yeah this is a typical uncle scrooge adventure all right. While the man unlike Burns does work hard and do things for himself, he spent most voyages talking about the destination while putting all the hard work on Donald, in case you thought there was at least one universe where Donald isn’t miserable most of the time. Lisa wonders what he’s doing and we get this lovely bit.

I just.. can’t stop finding that hilarious or a nice way to get the Uncle Scrooge bit in there while still fitting the Simpsons, and it at least explains what happened to Herb, whose been mentioned all of once in the 30 seasons since he last showed up. I checked. And yes for those unaware, which is fair, or who just now remembered Homer does indeed have a brother, one his dad had out of an affair who showed up twice, once with Homer unintentionally, and largely due to Herb’s own foolishness, ruining his life, the other time with Maggie helping him get back on top and him and Homer reconciling. He’s also voiced by comedic legend and your friend and mine, Danny Devito, whose still making us all laugh to this day and is a wonderful person from all accounts. Rock on Danny, here’s the only way I can think to honor you.

But yeah it’s a good gag. Burns claims to be watching for a Giant Squid.. and turns out to be right. So it’s up to the simpsons to fight the giant squid, a sentence I genuinely didn’t expect.. I thought like the Griffins they’d just ignore it.

I miss that show.. oh i’m aware Family Guy is still running but much like the Simpsons the show it USED to be is long gone. Anyways Bart tells a worried homer octopus suck out the innards and drink it first quipping “It’s not like you haven’t been drunk in the morning before homer. Homer chokes bart only for the squid to choke him which is easily the second best “Homer getting choked after Choking bart” gag i’ve seen.. the best being this one I found on youtube.

youtube

Though personally my faviorite part of that whole bit is Bart’s proud “THAT’S BECAUSE I SOAKED HIM IN SLIME!” Anyways Lisa figures out a way to beat the squid, painting the likeness of each of them on it’s tentacles and letting the thing devour itself. Lisa lampshades it making no sense PHysics wise but with that she reluctantly accepts calling Mr. Burns, Uncle Burns and we’re off to our next location. Next up is Mt. Donrosa, a very clear nod to Uncle Scrooge maestro Keno “Don” Rosa, an avid fan of Barks work who expanded on it and turned it into a solid continuity, most famously, and what got me into the ducks in the first place, with the epic “Life and Times of Scrooge McDuck” which I proudly own and.. well I did say watch this space didn’t I? Enough hinting at the future as the Simpsons scale the mountain with Homer carrying burns up on a rickshaw. Burns however looses his lucky #1 penny, SUBTLE, and cuts Bart down to get it. We then get the best line of the issue:

Bart thankfully survives and we find out the Penny, much like Scrooge’s Dime is how Burns started his fortune.. for this issue and nowhere else but that’s standard for the Simpsons. Specifically loading it into a gun and threatning to kill Jasper’s grandfather with it during the gold rush, a nice twist. At the top of the mountain they find the fabled key of Strobl, which comes from the Taliaferro tribe.. more refrenes this time though I didn’t know them and had to google. Tony Strobl was an artist on the Duck Comics at one ponit and Al Taliforino id forgotten about. He did the Donald Duck comic strip which I had heard of and weirdly hasn’t been collected yet despite Fantagraphics covering mickey, as well as reprinting barks and rosa’s respective works.

The key is suspended in the air by what Lisa suspects to be magnetics, and while Burns plan is naturally “Have Bart swim in it and see if he surivives”, Bart, still pissed from the penny and not wanting to die today, grabs the Penny and uses his slingshot to fire it at the Key. The bad luck from the penny casues an erruption, but Bart once again saves the day and has them surf down, with naturally tons more great jokes. The family enjoys some steamed Seafood, except Lisa whose eating Seaweed, while Homer enjoys a sting ray “It tastes as good as it stings, Ow, Ow.” ON to Goddfrodson Trench, an odd choice given Floyd Goddfrodson was barks equivalent for the Mickey Mouse Comics and not really a duck writer, but he still deserves the honor regardless. Under the Sea, no accusations just friendly crustaceans here.. our heroes are close to the treasure but loose the map to the Jailbird Boys, aka Snake and his cousins, who found out due to Lisa’s blog. She didn’t want to loose any more readers to Sheri and Teri’s Olson Twin’s Fan Page.. which.. it’s 2004.. weren’t they dead by this point? Nope still alive? Still are today in fact? Alrighty then. Also this bit, and some of the other references are a bit heavy handed, I will admit that, but the jokes are high quality enough otherwise that it just comes off as a bit of an adorable wink more than laziness.

Snake and co cut their air with Starfish used as throwing stars.

The gang tie their air suplies to avoid dying, and Maggie, in a clever bit, talks with the starfish, since they communicate via sucking, to attack the Jailbird Boys. Again..

I genuinely don’t know, but our heroes find the fabled vault of Barks Billion.. named after Bark Barks, that polar bear from the sonic games.. no of course it’s named after Disney Duck God Carl Barks, who created the Duck’s share of Donald and Scrooge’s supporting cast: Uncle Scrooge himself, Daisy Duck, a fact I just learned but given he created her first short “Mr Duck Steps Out, shouldn’t of surprised me, The Beagle Boys, Magica DeSpell, Goldie O Gilt, Flintheart Glomgold, Gyro Gearloose, Gladstone Gander, The Junior Woodchucks as a whole, Neighbor Jones, John D. Rockerduck, The Number One Dime, Gus Goose, April, May, June and Whitewater Duck. Just the sheer impact he’s had on the comics on all continents cannot be overstated. He is also the one who refined Huey Dewey and Louie from hellraising little shits to the good little boys they are today.. well okay they were, thankfully the reboot has created much better versions. Point is what a man, what a man what a mighty good man, he is truly missed. We get two great homer gags in the same page, one where somehow he’s put the giant key on a key ring and still can’t find it.. with Bart helpfully taking it from him, and then we get this, which I missed on my first read through.

Naturally Burns betrays them, using a Gold Magnet, kay, to suck up all the gold and naturally planning to leave the Simpsons for dead to no one’s surprise. But thanks to Bart teaching Maggie how to use the spittoons, Homer gets one stuck on his head.. and starts getting sucked up with the Simpsons using them to escape. Naturally Lisa’s first instinct is obvious.

But Burns weasels his way out by promising them free gold after their free lunch. Naturally the next day this turns out ot be a trick as their lunch came from frinks and thus, for now, their weightless.. but Karma gets Burns when he tries swimming in his new gold vault... only for the natural result of what happens when am an who never exercises and who doctors once described as having so many diseases packed into his body at once they tripped each other off and that a strong wind could kill him, trying to do with a similarly aged but still physically fit and well trained at swimming in money man does on a daily basis.

We then close on a quick gag of weightless homer getting caught on fire and we’re out.

Final Thoughts: This was a really excellent comic. It captured the tone of the Simpsons at their best and while stiff in a place here or there, it’s mostly just really funny, entertaining and a nice and warm tribute to Donald and Scrooge’s long comics history, not really mocking it but instead just homaging it, while still throughly feeling like the Simpsons. It honestly feels like the Treehouse of Horor Segement on the shining, a bit that parodies something, but for the most part the jokes still feel firmly rooted in the simpsons and their cast. This was a treat to review and i’m glad Kev comissoned it and I may take a look at more Simpsons in the future. If you guys like this review, you can follow me on patreon at patreon.com/popculturebuffet, or if there’s a specific simpsons or ducktales episode or a specific comic you want me to review, you can comission your own review for just five bucks. Just send me a direct message on here through Tumblr, or take a look at my ask box or submit. However you want to do it. I take payments through paypal and until next time: Happy Days are Here Again.

#scrooge mcduck #the simpsons #carl barks #simpsons comics #montgomery burns #homer simpson #bart simpson #lisa simpson #maggie simpson #don rosa #professor frink #bongo comics #waylond smithers #reviews #ducktales

20 notes · View notes

p-artsypants · 4 years ago

Text

Arcadia or Bust (16) Corner of Main and State

"Yeah, so mom…we made it to New Jersey, and we're all safe...but the Heartstone isn't really...impressive. So, we're bringing what we found home. See you soon!" In Which Arcadia welcomes back it's underground citizens, Jim gets used to mundane life as a Troll, and drama seeks them all out like a magnet.

Ao3 | FF.net

I’m rewatching Trollhunters, because it’s been like a year since I watched it, and the more I listen, the less the plot of Wizards makes sense to me. Don’t get me wrong, I loved it, but there’s some lore and continuity issues. That being said, I’ll continue to write this story using Trollhunter’s lore primarily, with a sprinkle of Wizards and 3Below lore as I see fit. :)

—

Jim had been through a lot of trauma in his life. At least since becoming the Trollhunter. But nothing was as jarring as looking down to his chest and seeing his ribcage, muscles, and heart beating.

They had taken the amulet from where it was nestled, and in return, left the gaping hole wide open, oozing with blood, and exposed. Could trolls get infections? Because humans certainly could, and this was just asking for infection.

He had been lying here alone for a few hours now. It was hard to tell exactly how long in the vast passage of time while drenched in pain.

When Colonel Kubritz appeared at his side, he wasn’t even surprised. Had he fallen asleep?

“How do you get this to work?” She bit. In her hand, she held the cleaned amulet, and it glowed, aching to be back with him.

“You can’t. You have to be chosen by it. Even if I die, it will pick someone else. And it might not be you.”

She slapped him for that, but it looked like it hurt her more than him, by the wince on her face. “Don’t give me that crap. Tell me how to work it!”

“Just speak the incantation inscribed.”

“We already tried that.”

He shrugged. “That’s all it is.”

She narrowed her eyes. “Teach me to use it, and I’ll let you go home.”

Jim sighed. It was pointless, but he may as well try.

—

Claire rang the doorbell at the designated house.

A surly man opened the door. “Yeah? What do you want? No solicitors! Unless you’re a girl scout…no, you’re too old. Are you with the tamale lady?”

“Hello sir, I’m not here to sell anything, I actually came to ask about the car you had totaled a few days ago.”

“Are you here to hunt down that devil that flipped my baby?!” He gestured to the smashed in car in the driveway. It looked drivable, but one bump away from death.

“Not quite...I’m actually here to fix it.”

“Fix it? You want to fix that? My mechanic couldn’t even fix it! And you want to! What are you, 15?”

“17, actually.”

“I doubt you have the experience for this, little lady.”

“Oh, I’m not a mechanic, I’m a sorceress.”

“A what now?”

“Sorceress, a witch! Do I have permission to fix your truck?”

“Girlie, if you can fix my truck, I’ll owe you a huge favor.”

“I was hoping you’d say that!” With a little skip, Claire went over to the truck and rested her hands on the hood. “Ad initium redire...” Her hands glowed purple, and pulsed against the metal, making it groan. Then it began to twist and crunch, popping out dents and welding pieces back together.

The old man stood in shock as his beloved truck knit back together, and when she was done, it was in perfect condition.

“How did—where did you—?!” He rounded the car, circling it like a vulture. “It’s perfect! You even took out that bump from years ago! You’re a miracle worker, girlie!”

Claire fell on her butt on the driveway, dizzy and winded. “Glad to help.”

“You alright?”

“Just a little winded. I’m still getting used to using magic, especially without a staff. It’s exhausting.”

“Well why don’t you take a seat up on the porch instead of the road? I’ll get you a beer.”

“I’m seventeen.”

“You’ve earned it!”

Claire chuckled to herself and climbed to her feet. She followed the man up his steps and took a seat on the porch swing while he went inside.

Only a minute later, he returned with beers in hand. “Here you are darlin’. Summertime ale. I’m partial to dark ale myself, but my neighbor got me this pale ale. It’s pretty good! You have a favorite?”

Claire took a sip and tried to hide the grimace. “I don’t really get to drink very often, unless it’s a special occasion.”

“Right right, we’ll keep it our little secret. Now then, I owe you a favor. You just saved me a whole chunk of change and a basket of anxiety. You must have something in mind since you offered?” He suddenly sat up straight. “Oh god, you don’t want my soul do you?”

Claire snorted. “No no, you can keep your soul! Don’t know what I would do with it anyways...You know the boy that damaged your truck in the first place?”

“I only saw a glimpse of him, that blue devil? What about him?”

“He’s actually my boyfriend, and he’s really very sweet and usually not like this. But he was...fed something he shouldn’t have had and it made him go berserk.”

“Crying shame.”

“I’ll say! So the army came in and took him away! They wouldn’t listen to us at all!”

“So what do you want me to do about it?”

“We are going to run a campaign to get him out. Hopefully, if we get enough attention on the issue, they’ll let him go.”

“Oh, I gotcha.”

“So if you could just...spread the truth around town? He’s actually the one that stopped that troll invasion back at the beginning of summer.”

The man looked surprised at that. “No kidding, that was him? Well, he’s a local hero! He’s been talked about a lot since then! Sure I’ll set the record straight! What’s this kid’s name?”

“Jim Lake Jr.”

“Got it! Don’t worry, I’ll bring it up at the lodge, and the rotary, and the chess club...”

—

The phone was ringing, he had been successfully patched through. Strickler sat in his office after hours, wanting to make the call as private as possible.

“Stricklander, I haven’t heard from you since the fall of the Janus order. What reason have you called on me?”

“Can’t I just call an old friend to catch up?”

“You? No.”

Walt cracked a smile. “Fine. I need a favor.”

“Changeling to changeling, or school principal to army general?”

“The latter, actually.”

The man on the other line laughed. “Color me intrigued.”

“You know of the human Trollhunter, correct?”

“Just what you wrote in your dossier, a human male, 16 years old, lives in Arcadia Oaks, California, turned half-troll by the wizard Merlin. Responsible for the death of Bular and Gunmar. Quite a remarkable young soul. Is there anything else to know?”

“He’s been captured by the United States Army.”

The man let out half a chuckle. “Captured? What dumb trouble did he get into?”

“His deadbeat father left out some cocaine for the boy to find, he thought it was trash, and ate it.”

Distantly on the other line, there was laughter, a strong bark of laughter that lasted far too long. When he came back, he was calm. “How unfortunate.”

“He’s a good kid. Why would there be a kilogram of cocaine in the trash anyways? I fail to see the humor in the situation.”

“Of course. So, I assume, he went on a rampage following his meal, and then attracted the attention of some of us?”

“So you haven’t heard about it?”

“Not where I’m stationed. But give me a moment.” The line went silent, only a very distant and quiet tapping of keys on a keyboard being tapped. Then the man returned. “I’m glad you told me about this. This incident hasn’t been reported to our database. That shows evidence of misconduct. Did you get the name of the commanding officer responsible, by chance?”

“Colonel Kubritz, I believe.”

More typing. “Area 49-B.”

“That name was also passed around.”

“Technically not my jurisdiction, and since she didn’t report it, I’m not supposed to know about it.”

“I’m afraid you will officially know about it soon.”

“Oh?”

“His friends and family, myself included, are going to put on a protest for his freedom. Drawing attention to the situation.”

That echoing laughter was back again.

“It wasn’t my idea, in case you were wondering.”

“I know, you wouldn’t come up with something so bold. Regardless, go ahead in through with it. I’ll make sure whatever protest happens gets brought to my superior’s attention, and then I will take it from there.”

“Thanks. I will owe you one.”

“Oh come now, Walter, we Changelings that survived the Fall of the Janus order have to stick together. Besides, I heard rumors that you’re caring for my familiar?”

“He’s still in the cradle stone, and the moment. One baby at a time, for now.”

“Then we’re even. Besides, this is the most interesting thing that’s happened in a while. I wouldn’t miss it for the world.”

“Your kindness is refreshing. I’m glad Gunmar didn’t eat you.”

“Gee, thanks.”

“We’ll be in touch then, Samuel.”

“Of course, Walter.”

—

“How goes the car repair?” Asked Merlin, as he met up with Toby and Claire in the park.

“Ugh, exhausting. First I stopped at the mechanics, and they’re still backed up with fixing other cars. Apparently, Gunmar’s army did a number and backed them up for months. But they gave me the names of all the clients who got totaled from Jim. I had to hit the scrap yard for four of them, and I just finished another two in driveways.”

“How many does that leave you with?”

“Seven more,” she sighed. “How goes the road work?”

“It goes. Now come along, there’s someone I’d like you to meet.” He didn’t wait for them to follow as he turned and started walking away.

Sharing a dubious look, Toby and Claire quickly caught up with him. He led them to a bookstore, where a young man was sweeping outside.

“Hisirdoux, my faithful and loyal apprentice—“

“You're damn straight I’m loyal!” He shouted. “Where have you been? I’ve been cleaning tables for the last 900 years!”

“Calm yourself boy, I’m here now, aren’t I? And I need your help.”

“Finally! What is it? Just say the word!”

“I need you to go with Miss Claire Nuñez and help her restore recently smashed vehicles.”

“What?”

“Or, you can repair street damage.”

Douxie crossed his arms. “What is this? I saw what happened! There were trolls, and evidence of Morgana! And now you need my help? To clean up, several months later?”

“That is correct.”

“Why didn’t you call for me back then?!”

“I forgot.”

“You forgot? About me?”

“Oh come now, don’t take it personally. I was busy trying to prepare the Trollhunter to fight Gunmar. And get my magic back from Morgana.”

Douxie seemed to become more sympathetic at that. “Morgana stole your magic?”

“Yes, but it’s all in the past now. Everything is fine. Well, not really. Seems that the US Army has declared the Trollhunter as a menace to society. We must get the trust of the city on our side if we are to get them to trust us, and agree that his capture is unjust.”

“Please,” said Claire. “We need all the help we can get.”

Douxie sighed. “Alright. Afterwards, you’re training me again.” He gave Merlin a hard look. “And no amateur magic either. I’ve been doing the same drills for 900 years. I think I’m ready for more advanced work.”

“Oh, you will be. Starting with helping Miss Nuñez field her shadow magic.”

Douxie looked at her, in awe. “You’re practicing shadow magic? Truly?”

“It’s a recent development…”

“She took Morgana’s Skathe-Hrün, and wielded it without any training. Because of that she has a tether to Morgana in the Shadow realm, who has been teaching her ever so slightly. I’m not allowed to train her, but she could use the guidance of a Wizard in the physical realm. Do you understand Hisirdoux?”

“I do, and I’ll be happy to teach her…I’m just…I’ll need a moment or two to digest the sentence you just said.”

“Well, don’t take too long, we have a Trollhunter to rescue!”

—

There was a heavy knock on the door, which was never a good thing. Especially nowadays.

Still, Barbara went to the door.

Standing there was Detective Scott and James Lake Sr.

“Does this belong to you?” Asked the detective.

“I don’t claim him, no.”

Her almost ex-husband smiled at her, pleadingly, “Please Babs?”

“What is he even doing out? You arrested him!”

“About that…” Detective Scott winced. “We don’t have enough to keep him on.”

“What!” She shouted. “He confessed in front of a bunch of people!”

“Which would be helpful if we had a case for a trial. But as it stands, he doesn’t actually have any drugs on him. And we don’t have a confession on tape. So…we’re shit out of luck.”

“Oh come on Louis, you know the cocaine came from him! Where else would Jim have gotten it from?”

“Look, the chief’s not thrilled that we didn’t arrest the guy responsible for trashing the town, but we’re supposed to arrest someone else without evidence?”

Barbara threw her hands up in the air. “With probable cause!”

“That doesn’t work with drug dealers. He’s clean, Barbara. All the blood tests came back clean too.”

“Ugh.”

The house shook slightly, and Barbara felt the floor bow behind her. “Is there a problem, officer?” Asked Draal.

“Nothing you can help with, Draal. Thank you.” Barbara sighed. “James is not being charged.”

“But he is a criminal, this degenerate flesh bag poisoned the Trollhunter! He should face banishment for his crimes!”

James withered a little with the glare Draal gave him.

“Well,” said Officer Scott. “Maybe you can keep an eye on him from now on. If you have evidence that he is dealing, like physical traces of cocaine on the premises, call us. But for now, there’s not much else we can do.”

“This is ludicrous.”

“I know, I’m sorry Barbara. How is Jim?”

She frowned. “You haven’t heard? The army came and collected him from the hospital!”

Louis sputtered. “The army came?!”

“Yes!”

“Where were they when Gunmar was terrorizing us?” He scoffed. “Again, sorry Barbara, I can’t help you here.”

“It’s alright. We’ve got a plan.”

“Love to hear it, but I’ve got to get back to the office. I’m sure Toby will tell Darci, and she’ll tell me. Good luck!” And he left James on the porch.

“Babs, I’m sorry…”

“Save it.” Barbara scoffed, but allowed him in the house.

Draal never took his eyes off the man.

“Well, you’ll be happy to know I have no more supply. And after Rudy found out what happened to my last Kilo, she’s not getting anymore for me. So…”

“I’ll have to thank Jim for keeping a kilogram of Cocaine off the streets of Arcadia. We have a fairly low rate of drug use around here, and we don’t need you to ruin people’s lives.”

James sighed, knowing he had dodged a huge bullet by being let off the hook. He’d rather deal with his wife than with his ex-associates in jail any day. “I think I’ve still ruined people’s lives anyway.” He walked into the living room, only to halt at the signs on the table.

Release Jim Lake Jr.

Justice for Jim

Let Lake Go!

“Babs, what is all this?”

“That’s part of our plan to free Jim! I’m friends with the councilwoman, and she suggested that we campaign for his release. Bringing a lot of unwanted attention onto his capture will stir the government to let him go!”

James jutted out his jaw, a sign of barely concealed rage. An expression Barbara had grown very used to in the last few months. “So, you’re going to put his name—my name in the news? You’re going to broadcast what city we live in?”

“Yes.”

He whirled on her, grabbing her arm. “Babs, people are looking for me! Horrible, mean, and ruthless people! If you put his name out there, they’ll know where to look!”

“All the better! Then they can come take you off my hands!”

“You don’t understand! I owe them a lot of money, and they’ll take it anyway they can! That includes extorting you, Jim, and whoever else they connect with me!”

Draal stepped in, removing his hand from Barbara’s arm. “This house is under my protection. If anyone dare tries to enter, they will be dealt with swiftly.”

“You don’t know what these men are capable of.”

“I assure you, I’ve decimated armies of flesh bags in my day. These men are no different.”

Barbara smiled. “If you’re really that scared, I hear Vermont is lovely this time of year.”

James just narrowed his eyes, before storming out of the room.

—

The first rally took place from 3pm to dusk, starting from after school, and leading up to when Trolls would be able to participate. Granted, it was only a handful of people, but standing in the middle of downtown did garner a lot of attention. More than a dozen people walking past had stopped to ask about the cause. They were then given a short synopsis of the situation, as it pertained to them:

“Jim is a 16 year old student who was chosen by the trolls to be our protector. He willingly gave up his humanity to defeat Gunmar the Black, the monstrous troll that attacked the city at the beginning of the summer. Now, he looks like a troll, and was sabotaged to go into a rage and damage the city. The US army took him away without a trial! He’s a hero to the city, and deserves fair treatment!”

Reactions ranged from:

“Oh, he stopped that thing?”

To:

“Oh my god! He’s just a child!”

Overwhelmingly, there was no negative feedback, at least in person. But it was only day one.

—

“This daylight...is it significant?” The colonel asked, as she circled his table.

“It’s just a name.” Jim lied. “A sword with a name is stronger than one without.”

“Interesting. Interesting indeed. According to my notes, trolls turn to stone in daylight. Any correlation there?”

So she already knew? Then what was the point? Was she just playing with him?

“I’m the Trollhunter, and I fight bad trolls. It would make sense to name my sword after something they’re afraid of.”

She hummed. “And what about you?”

“What about me?”

“Are you afraid of daylight?”

“Why would I be?”

The colonel laughed. “Oh Jim Lake Jr. You’re the worst liar I’ve ever met. You are honest and forthcoming with truths that work in your favor. You freely told me of your transformation, and of your victory against a Troll tyrant. But now that I’m edging on the topic of your weakness, you clam up and give me vague answers. I can do this all day, beast. What does daylight do to you?”

“Nothing. It doesn’t do anything to me.”

“Really? Even as a troll? That’s interesting.”

“It’s fortunate.”

“I would say so. Though, now you’ve got me curious. These burns on your skin…where did they come from?” She dragged her fingernail over one of the dark marks.

Jim winced. “I don’t know. I wasn’t aware in my rage state.”

“Then you won’t mind if I find out for myself?” She crooked a finger towards the shadows. Jim could hear the creak of wheels before a lamp with several fixtures was wheeled forward.

“Oh no…”

“UV lights, all different wattages. Let’s see what works the best, hmm?”

—

ARCADIA TRIBUNE

Justice for Jim

By Nadja Chamack

Who is Jim Lake Jr. anyway? This is a question I asked myself as I drove downtown three days ago. No doubt, you’ve seen the crowd of students and teachers holding signs on the corner of Main and State Street. It’s pretty hard to miss, quite honestly. Among the students, there’s also Councilwoman Nuñez, and resident Troll Mascot, ARRRGH! Signs range from ‘Justice for Jim’ to ‘Free our Lake’.

But who is Jim Lake Jr.? And what happened? A precursory search on my end showed only a scant few facts. Jim is a student at Arcadia Highschool, in his Junior year. He was nominated as Spring Fling King last year, and played the part of Romeo in the school play. His criminal record seemed pretty clean too. A misdemeanor for scratching a rental scooter was all that showed up. But hey, who hasn’t done that?

So I went to the source, his family and friends campaigning for him. On Saturday, the group was downtown, campaigning all day long, so I had the chance to interview each and every person about why they were there.

Turns out, Jim Lake Jr. might be the most amazing person in Arcadia.

From his mother, Dr. Barbara Lake, I learned that Jim is an Arcadia native, born and raised here. He enjoys cooking gourmet food, working on his vespa, and acting.

Oh, and he’s the first human Trollhunter.

What? You’ve never heard of a Trollhunter? Me neither. But Barbara and Blinky, another resident Troll, gave me the scoop.

You all remember that night at the beginning of the summer that we all promised not to talk about? Well, I’m going to talk about it. In fact, I’m here to give you all the answers you’ve been craving.

Many months before that fateful night, a new Trollhunter was chosen, after the previous one had perished. “The Trollhunter is chosen according to his mettle, by the amulet of the Trollhunter, as created by Merlin, the wizard of Arthurian legend. Jim was chosen after the fall of Kanjigar, his predecessor. Jim is the first human to be chosen, also the smallest and weakest. But, he was the first to defeat Bular, son of Gunmar!” Said his mentor, Blinky. None of this made any sense to me at first, though it was said with great enthusiasm.

It turns out, the trolls that we’ve gotten used to seeing around town, mostly ARRRGH, are ‘good’ trolls. The bad trolls, ‘Gum-gums’ are what invaded our town and destroyed my car. The Trollhunter’s whole job is to fight off these bad trolls, and gnomes, and goblins, and everything else that goes bump in the night. And so he did. The Gum-Gums invaded from the ‘Darklands’, being led by a fearsome troll named Gunmar the Black, the Skullcrasher, the Dark Lord…he had a lot of names, and it was obviously a bad dude. Gunmar had plans to invade the whole world by blotting out the sun, a.k.a the eclipse we saw. And he would have gotten away for it too, if it weren’t for those meddling kids!

Mainly Jim Lake Jr. and his friends.

And how does a sixteen year old defeat a couple millennia old, bloodthirsty, all powerful tyrant? With a fancy sword? Close. With some magical armor? Closer. By giving up a part of his humanity and becoming a half-human, half-troll hybrid? Now you’re getting it! Yes, to protect Arcadia, to protect us, Jim Lake Jr. allowed himself to be changed. You may have seen him around town. Blue skin, big horns...okay, I just described most of the trolls that are around here.

“Jim works the night shift at my store,” said Stu Harding, owner of Thrifty Furnishings. “He’s a very hard worker, and always willing to do the heavy lifting that is hard for the other employees to do.”

“Despite his appearance, Jim ultimately decided to attend school,” said Principal Walter Strickler. “After the school found out about why he had missed so many days of school, they were willing to move him onto the next grade to be with his peers. He was a good student before all this, and he fought really hard to keep his grades up regardless. We felt he should still have the opportunity to graduate. We were looking forward to having him on our football team, and in our spring production of Beauty and the Beast.”

So what happened to Jim? And why is there such a big campaign for his freedom?

Well, the truth is that Jim is a victim of unfortunate circumstances. In more ways than one, obviously. Trolls eat our trash. That’s why Arcadia has such a small carbon footprint! (Be sure to thank ARRRGH next time you see him!) And this trait was adopted by Jim too, when he was transformed.

“He just picked a bunch of items out of the trash. Cans, an old sock, and what looked like a VHS wrapped in duct tape,” said Jim’s best friend, Toby Dolmzalski. “It was a normal lunch for him. But right in the middle of gym class, he turned crazy town banana pants and took off! I had never seen Jim act like that! Ever!”

After an 8 hour rage through town, Jim collapsed and was taken to the hospital for evaluation. It turns out what Jim had ingested turned out to be a kilogram of pure cocaine!

At this time, it is unknown where the cocaine came from, or if it was planted purposefully. (Seriously, who throws away a kilogram of cocaine?)

But the damage that Jim caused was extensive enough to catch the attention of the US army, who has taken Jim into captivity from the hospital. No trial, no rights, they even took him while he was unconscious. His friends and family have not heard from him since.

“I’m so worried,” said girlfriend, Claire Nuñez. “He was injured from the battle with Gunmar, and didn’t completely heal. In the hospital, he was covered in burns from the sun. I have no idea if they’re caring for him properly, or dissecting him like some creature. But he deserves so much better than this. He saved our town, he saved my life, and the life of my baby brother. That’s why we won’t rest until he’s home!”

“Not bad,” said ARRRGH, long time friend of Jim. “Good troll have bad days, best trolls have worse days. Jim need some good days.”

Couldn’t have said it better myself, ARRRGH.

Friends and family of Jim are asking everyone share #JusticeforJim on social media, hoping to get the attention of someone in charge. All the damage caused by Jim has been repaired, and there were no casualties from his attack.

Of course, the whole ‘troll’ aspect of this story has to be a local legend. So when sharing it to social media, kindly leave that part out.

—

“C-Bomb!” Mary shouted from the other end of the hall. She came running and almost crashed into Claire and Toby, holding her phone up in the air. “My twitter feed is blowing up, girl! Look at all of this!” She held the screen up so they could see.

“Citizen abducted by the government, is this China or North Korea? Neither! It’s the US! #JusticeforJim”

“Imagine if this was your son. So sad, and so scary! #JusticeforJim”

“This is real life, not science fiction #JusticeforJim”

“Whoa, where did these all come from?” Asked Claire. “What did you post?”

“Did you know Snapper Karr did a report on it!?”

“Snapper Karr? From KTTV in LA?”

“Yes! Thankfully, he left out the whole troll thing. I’ll send you a link. In his story, Jim is just a kid that has a rare genetic disorder that makes him look different, and so the government took him away!”

Claire winced. “This is…kind of spiraling out of control.”

“I don’t know why you’re worrying, Claire,” said Darci. “We want people talking about Jim getting abducted. It doesn’t matter if the world outside Arcadia doesn’t have all the facts. They still know he’s been taken away without a trial, and that’s all that’s important. Besides, Jim doesn’t want the whole world knowing about Trolls, right?”

She nodded. “As long as this works, I’ll be happy.”

“And sensationalist stories like this blow up for like a week, and then they die out and are forgotten. This won’t last.” Mary waved her hand. “It should work long enough to get Jimmy Jam out though.” Then she squealed. “OMG you know what we should do?! We should totally have a welcome home party! Or-or a parade! Like they have for veterans!”

“Mary, I don’t think—“

“Don’t worry, I’ll take care of it! You’re not the only one with ties to the city!” And she hurried off, texting frantically.

“What’s up Claire? I would have thought you’d be ecstatic the hashtag went viral.” Asked Toby.

“Don’t get me wrong, I am happy. And I’m happy that Snapper Karr chalked the troll thing up to local legend or superstition…but I can’t help but worry that something bad is going to come out of this.”

“Like what?”

“I don’t know. It’s just a gut feeling.” She scoffed and went to her locker. “It’s dumb, don’t worry about it.”

No sooner had she said that, did Strickler appear. “Claire, Toby, come with me.”

“What?”

“I’ve already spoken with your teachers, now come along.”

Claire and Toby shared a look, but followed regardless.

—

They were led to the parking lot, where a black van with tinted windows waited, a huge red flag, if there ever was one.

“Umm…” said Toby.

“Don’t worry.” Strickler assured.

A man in an army uniform stepped out of the driver seat. “Walter, good to see you again.”

“Glad to see you as well, Samuel. And thank you for following through with your promise.”

“As I said, this is the most interesting thing to happen in a while.” He glanced at the two teenagers in attendance. “We’re just waiting for his mother, correct?”

“She should be here soon.”

Toby muttered to Claire, “Who’s Jorgen Von Strangle over here?”

“No idea.”

And just like that, Barbara pulled into the parking lot, haphazardly parked, and ran over to them, still in her scrubs. “I came as soon as I could! We’re going to get Jim?!”

“What?!” Screamed Toby. “We’re rescuing him?!”

“That is the goal,” the man answered. “I’m General Samuel Attila. I’ve been given authorization to intervene in this situation, given that this project, whatever it is, hasn’t been officially recorded. But, bear in mind, you may not like what you see. We may be bringing home Jim, or just his body. I don’t know. So if anyone is uncomfortable with that idea, I suggest you stay behind.”

“I’m going,” Said Toby. “No matter what.”

“Me too,” said Claire. “It’ll hurt, but I want to know what happened to him.”

“Alright, then let’s hurry. The facility is about an hour away.” He ushered everyone into the van, which had two front seats, two benches along the walls, and a gurney in the middle. As soon as everyone was buckled, they headed out.

“Hey, if you know Mr. Strickler, does that mean you’re a…?”

“A what, Toby?” Asked Walt, with a hint of amusement in his tone.

“A…man of culture?”

“Yes, I am a changeling.”

Toby exhaled. “Okay, it’s like super hard to ask that question when you don’t know who knows, you know?”

“I owe the Trollhunter a debt of gratitude for stopping Gunmar. After he ate the entirety of the Janus order, we the few that weren’t present for his return stayed in hiding. Had Gunmar taken over the world, my death as a traitor would have been slow and painful. We were thinking about sending him a thoughtful gift basket, but I think this is more fun. I love to bully those in lower ranks. The fleshbags get a few pretty badges and think they’re invincible. I love watching them cower!”

Toby leaned closer to Claire. “He was so nice and helpful, I was beginning to wonder if he was actually a changeling.”

“Same! But I actually feel better knowing he’s got ulterior motives, and that they have nothing to do with us.”

“Have you heard from Nomura lately?” Samuel asked Walter.

“She was in Arcadia for a while. She helped with the fight with Gunmar. Right now, I believe she’s on her way back from New Jersey.”

“New Jersey? What was she doing out there?”

“After Morgana and Gunmar destroyed the Heartstone, Jim and Blinky went in search of a new one.”

“Oh, yes. I forgot there were rumors of a source in New Jersey. Did they find it?”

“Yep,” said Claire. “But it wasn’t very big, so we brought it back to Arcadia in a truck. The rest of the tribe is making their way back on foot.”

“Ah, that explains it.” Samuel nodded. “You’re both very lucky. Not many Changeling’s are allowed in Trollmarket.”

“Now that Gunmar’s out of the picture, I’m sure you could visit too!” Toby exclaimed, before getting elbowed in the gut by Claire.

“It’d be nice to see it once. I’m sad I didn’t get to see the Heartstone in its glory, but such is life.”

The rest of the ride continued in relative silence. Strickler and Samuel spoke to each other, mostly catching up. But Toby, Claire, and Barbara were far too anxious to keep up with the conversation.

There were no windows in the back of the vehicle, so there was no way of knowing where they were. From the front, they looked to be in a weaving forest trail.

Then there were huge cement walls in front of them.

Samuel pulled in the front gate.

The man at the gate didn’t look up from his computer. “You’re not authorized to be here.”

“Excuse me?”

“I don’t recognize your vehicle, so I know you don’t have clearance.”

Samuel sat up a little straighter, glaring at the soldier at the gate. “How about you scan my badge first, and then tell me if I have clearance, Lieutenant.”

The soldier gave a little shrug and reached out for the badge, his eyes widening as he caught a glance at the four stars on the man’s shoulder. “Oh.”

“Problem?”

“No, sir. I just…I don’t need to scan your badge, you can go in.”

“Thank you. At ease soldier.”

Toby held back a snicker.

“And, let Colonel Kubritz know she has company.”

“Yes sir.”

“As you were.”

The gate rolled open, and they pulled through.

It seemed like Samuel’s message was received pretty quickly, because the woman that had taken Jim was waiting for them, flanked by soldiers with strange weapons.

“Stay in the car.” He told everyone, before getting out.

“I was not aware of any sort of inspection. You are not my commanding general, and therefore not welcome here. This facility holds highly dangerous equipment and confidential projects.”

“Stand down, Colonel. I am here on behalf of general Adele. I’m here to recover Jim Lake Jr. General Adele will be speaking to you about your discharge.”

“What are you talking about?” She demanded.

“You kidnapped a teenage boy from a hospital. Surely you didn’t think that wouldn’t go unnoticed? I have video evidence of you leaving the hospital with him.”

“He’s not a normal boy—“

“I’d say so! His whole town is hailing him as a hero for saving them from an invasion! I thought this facility was for research on protecting Earth from invaders. And you’re punishing a boy for saving a town?”

“He also destroyed it. Don’t give into their little campaign. Jim Lake Jr. may have done something good once, but that doesn’t stop him from being a monster.”

“I was just in Arcadia, Colonel. There is no damage. There’s no lawsuits against Jim Lake Jr. There’s not even any pending arrests.”

“I have video evidence of his destruction!” She barked.

“Then let the local police handle it.”

She growled, then commanded her men to stand down. “Fine. But if he does this again, no one will stop me from taking him.”

“Actually,” he clarified with a smirk. “You’re being discharged. So you won’t have any means to take him again.”

Her mouth opened in shock, as she fought to find an argument.

But he was a general, he was above her.

“Now, Jim Lake Jr.?”

She grumbled something and started off towards a big central building.

Samuel was quick to beckon the others out of the car to follow him, and headed towards the same building as Kubritz.

When Barbara reached them, she spoke, “you didn’t hurt my son, did you?”

Kubritz didn’t even look at her. “I don’t have to share information with civilians.”

Claire clenched her fists in anger, a black haze coming over her hands.

But Toby simply patted her on the back to ground her.

Colonel Kubritz led them through the research facility, ignoring their questions.

They reached the room Jim was being held in, and she entered her code to open the door.

Of course, Jim wasn’t the only thing in the room, being surrounded by specimens of all sorts of living creatures, but he was right in the center, with a spot light right on him.

“Jim!” Claire shouted first as she ran to him.

The poor boy was naked, lying on his back and strapped to the table with thick iron bonds. His wound from Morgana wasn’t the worst on him anymore, as he was covered in blackened burned spots. The spot that had the amulet was now just a hole in his chest, that went right down to the ribs. Claire could see his heart beating, and his lungs moving, thank god.

“Jim...” she cried, seeing the carnage.

“What did you do to him?!” Toby shouted at the Colonel, but she didn’t respond.

“Honey? Jim? Can you hear me?” Barbara asked, as she assessed the damage.

His eyes opened ever so slightly. “Mom? Is that you? Are you...really here?”

“Yeah kiddo,” she wiped some tears from her eyes. “It’s me, I’m here. Toby, Claire, and Walt are here too. We’re going to take you home.”

His smile was just a hint, and he stated, “I’m tired.”

“I’m sure you are. We’re going to get you fixed up!” She turned to the Colonel. “Get me a gurney or a wheelchair!”

She scoffed. “I don’t take orders from civilians.”

Samuel interceded. “Then get me a soldier who isn’t completely incompetent! If you’re going to continue to endanger the life of this young man, then I suggest you get out of my sight before I endanger yours.”

The Colonel didn’t waver, though a tremor went down her spine. “Lieutenant!” She called.

A man hurried into the room, standing at attention.

Kubritz just gave a roll of the eyes. “Follow whatever order the general gives you.”

“But—“

“No, I’m done.” With one last glare to Samuel, she added, “I'll be sending my evidence to General Adele, then we’ll see who’s the one putting the nation in danger.”

“Go ahead, I’ve already given my report.”

She growled at him, turned and left without another word.

The lieutenant just stood at attention in front of Samuel instead. “Orders sir?”

“Get someone to fetch the gurney from the back of our van, and send for the medic! And get someone to get these shackles off this kid!”

“Sir yes sir!”

Meanwhile, Claire stood right by Jim’s side, holding his hand, brushing the bangs away from his face and combing his hair with her fingers. He had a pretty strong fever.

“You’re going to be alright Jim. We’re going to take good care of you.”

“I’m…cold…” He breathed.

Barbara found some vinyl gloves nearby and got to work examining her boy. “I don’t know about the Troll half, but this tissue looks alright. I don’t see any infection yet, or any tissue death. Of course, we need to get this covered immediately.”

“Where’s the amulet?” Asked Walt. “That’s what’s missing.”

“The amulet!” Barbara addressed Samuel. “His amulet, we have to find it!”

He nodded, “we can’t let these psychos have it. They have no idea what magic it possesses, even without being the chosen wielder.”

Only a beat passed before the army medic came with the gurney, and another soldier came with a crowbar to undo the shackles.

“Lieutenant, we’re looking for an amulet that came with Jim. It’s what’s missing from his chest.”

The Lieutenant blanched. “I don’t know anything about it…I can ask the Colonel?”

“She won’t tell.”

The shackles fell free from Jim’s limbs, but he didn’t seem to register it.

“Alright,” said Barbara, “Let’s move him onto the gurney. We can worry about the amulet later.” It took everyone to lift him and carefully slide him over. Then, he was covered up to his stomach with a blanket.

“You’re going home, Jim. Mi amor, you’re safe now.” Claire whispered, kissing his forehead.

“Hmm…” Jim weakly groaned. “…for the…glory…” But before he could finish, he fell back into sleep.

#arcadia or bust #tales of arcadia #Trollhunters #troll jim #jim lake junior #claire nunez #toby domzalski #fanfiction

21 notes · View notes

itsclydebitches · 3 years ago

Text

YYH Recaps: Episode 4 “Requirements for Lovers”

Hello, everyone! It's been quite a while, huh? Ah, the endless cycle of wanting to write and yet, astoundingly, not writing. I know it well.

Good ol' writer's block has skedaddled for a time though, so let's make good use of that and dive into Episode Four: "Requirements for Lovers."

Ohhh, YYH getting spicy with its titles 😏

Actually wait, I shouldn't be making dumb jokes just yet. First I want to acknowledge a slight change to future recaps: YYH, RWBY, and anything else I might try my hand at. Namely, a lack of pictures moving forward. A few weeks ago — months? I honestly can't keep track — tumblr implemented a new limitation where no post can have more than ten images in it. It's a move that, while I'm sure has its justifications, makes sharing analyses of visually-based media all the more difficult. I'll be doing my best moving forward to describe scenes as needed, as well as combining connected images together to stretch out my limit, but I'm not going to pretend that it'll be the same as getting the visual play-by-play we’re used to.

Tumblr certainly is a website, huh?

Anyway, we open on Yusuke once again lamenting the difficulty of hatching a spirit beast that doesn't immediately devour him from the head down. On the one hand this is an admittedly easy way to reset the story over the course of this arc — the storytelling equivalent of waking your character up each morning — yet I cannot deny that if I were undergoing a resurrection test, it would consume my every thought too. Can't really blame Yusuke for endlessly bringing the conflict up when the conflict is this deadly.

Well, deadly for a ghost, anyway.

Specifically, he's worried about how embarrassing it would be to get eaten by something that came out of an egg this tiny. I'm torn between reminding a fictional character that things grow — a pissed off chicken could kick my ass and it started out in an egg too — and just shaking my head over the absurdity of worrying about embarrassment when, you know, you would cease to exist. It's not even a matter of, "What if I die and then I'm embarrassed about it in the afterlife :( " Yusuke is already IN the afterlife. He's got nowhere to go but oblivion!

Luckily, Botan takes a more practical approach to these worries, pointing out that he'll be just fine provided he does some good deeds. Yusuke starts a rant about how do-gooders are only ever out for themselves.

Yusuke, you dumb-dumb, you're a do-gooder now. What was all that help for Kuwabara, hmm? As said, these early episodes exist in a semi-reset loop, where Yusuke needs to stew in his main character flaws for a while before any real growth starts to stick. Those flaws being, primarily, "I'm a pessimist" and "also I hate myself."

Case in point, Botan accuses him of always seeing the glass as half empty. Which, while true enough (outside of his confidence in fighting, anyway), by now we've got a pretty good sense of where Yusuke developed this attitude. He affirms this by talking about how Koenma's got him by the balls, "just another idiot abusing his power!" With an alcoholic mother and those teachers from last episode, it's no wonder Yusuke thinks this way. Mr. Takenaka's interest and Keiko's care aren't enough to combat the rest of Yusuke's experience, not when Takenaka is an outlier and Keiko is Yusuke's peer. Her desire to keep him on the right track reads only as an inevitability at best (the downside of having a perfect childhood friend), or a legitimate annoyance at worst. Or, as we'll continue to see in this episode, a way for them to flirt.

Is it any wonder Yusuke would sneer at Koenma's offer then, expecting the worst? The fact that Yusuke is still undergoing the challenge at all, no matter what he says, speaks volumes to me.

However, Botan is less than comfortable with his criticisms. She panics a bit at Yusuke insulting the (junior) ruler of the underworld so blithely. That, and the fact that he's carelessly tossing his egg around.

(Yes we’re using precious picture space for memes are you SURPRISED?)

Anyway, Botan isn't just concerned for the sake of concern. She cautions Yusuke against speaking too freely because there may be investigators checking in on his progress. No sooner does he ask what those investigators look like than one appears.

Thunder! Lighting! An energy so intense that Yusuke is briefly blinded! It is, as he says, quite the entrance. What kind of being could possibly be at the heart of such an astounding show?

Why, this teeny-tiny cutie, of course.

Remember, few appearances in YYH coincide with the character's true self. Would you ever assume this is the all-powerful investigator who holds Yusuke's future in her hands? Of course not. That's the point.

The investigator introduces herself as Sayaka and immediately demonstrates that she has no more patience for Yusuke's attitude than Botan does. "These damn kids," he mutters and my brain briefly blue screens because Yusuke. You're fourteen.

Plus, Sayaka and Botan clearly have some sort of eternal youth situation going on, so there's that too.

Sayaka is, in a word, fantastic. She pulls no punches with Yusuke, teleporting away from him with what can only be described as a shit-eating smile, all while refusing to tell him what exactly she's investigating. “I’m sorry, but that’s a secret!” However, Keiko is clearly at the forefront of her interest. She refers to her as Yusuke's "girlfriend."

Botan is more than happy to point Keiko out — because of course they're still following her around! — and pulls a Et tu, Brute? on Yususke, leading Sayaka right to her. Like most of the Underworld, Sayaka is rather shocked that the pretty, popular, scholarly girl is supposedly into the delinquent. It's the power of childhood friendship, you fools! Specifically, Sayaka references the "positive markings" that Keiko has accumulated, but the audience already knows by now that such markings are suspect at best. Yusuke himself is proof of that. So if his terrible marks don't preclude him from being a young kid's savior, should we really view Keiko's as proof of superiority?

I mean, Keiko is fantastic, but that's not really the point here.

Starting her own investigation into Yusuke's life, Sayaka begins with one hell of a bombshell: "There's no point in doing [the resurrection] if the people closest to you don't care." WOW. Not only is that a harsh assessment, it's one I don't think I can personally get behind. The offer to restore Yusuke to life is built on the acknowledgment that their system is flawed (even if there's no work to change or dismantle that system): they thought he was worthless, his sacrificial death seems to have proven them wrong, and now they want further evidence, in the form of this trial, that Yusuke is a good person at heart. The whole point of this challenge is to give him a second chance, with testimonies like Mr. Takenaka's emphasizing that Yusuke has always been capable of more, so long as he applies himself. This, as we'll see throughout the series, applies to relationships too. The Yusuke with one friend he play-fights with, a distant mother, and a school worth of kids who are terrified of his very name is not the future Yusuke they expect him to become, so... why base his resurrection on what he's already (not) accomplished? Granted, the show is very unclear about what, if anything, Sayaka will do if she decides that Yusuke doesn't have a life worth going back to (even if I have my own theory discussed at the end), but the fact that this is suddenly a factor at all seems grossly unfair, not entirely unlike Kuwabara's rigged promise. We as the audience know that people love Yusuke. Yusuke himself is beginning to acknowledge that. But if this fourteen year old delinquent truly had no one that wanted him back from the dead... isn't that all the more reason to allow a resurrection and give him the chance to build a life where he would be missed?

This stupid shonen got me thinking too much istg.

Yusuke, ever the self-deprecating pessimist, bypasses all of the above thoughts and jumps straight to, "It's clear if [Keiko] had any sense she'd want me gone." I'd find that attitude incredibly sad if I wasn't distracted by how cute Botan and Sayaka are, sitting on the oar together. The spirit girls who fly together, thrive together!

Botan starts teasing Yusuke about having a crush, which just feeds his temper and Sayaka's confusion. Deciding that she needs to gather more info, they follow along for an average day of school because these earlier episodes are, apparently, ghost-stalk Keiko hours.

We see her reading aloud in class from Heart of Darkness (not the easiest book for some middle schoolers), scoring a point during volleyball practice, refusing to let one girl cheat off her homework, but happily helping another who runs up with a question. So she's pretty, athletic, and academically successful, the trifecta for any good love interest. Sayaka is impressed not just with her "nearly perfect" scores, but also the maturity that Keiko demonstrates, such as maintaining her morals about cheating while remaining compassionate.

Actually, I really love the contrast this provides for us, the viewer. Meaning, Keiko is shown to be at her least mature when in Yusuke's presence. Not that her responses aren't justified, but watching her dramatically snatch gum from his mouth, slap him across the face, or pull crazed expressions as she yells at him is a far cry from this calm, poised, soft-spoken Keiko. It's a way to visually show us that she's comfortable in his presence, despite the suspect humor attached. Not that the Keiko we see at school is faking or anything — she is legitimately that kind and articulate — but we see that being with Yusuke allows her to relax in a way she doesn't with others. School!Keiko is, as Sayaka says, pretty much perfect, 24/7. Yusuke's Keiko is a little rougher around the edges, in a way that implies a multifaceted personality shining through.

However, the only conclusion our trio draws is that, given Keiko's accomplishments, any attraction must be one-sided.

Poor Yusuke lol.

In a plot move that is so ridiculously contrived, just as Yusuke is grappling with the accusation that Keiko couldn't possibly like him back, a "handsome boy" arrives to ask Keiko out. He says that he couldn't bear it when she stopped reading Heart of Darkness because he's fallen in love with her voice. "Will you be my girlfriend?"

Please excuse me while I lose my shit over how ridiculous this is. I legitimately straight up cackled when I watched this scene.

Luckily for Mr. Absurd, Keiko takes him seriously — and lets him down easy. She says she can't be his girlfriend and when he presses the "Why?", asking if she already likes someone else, Keiko confirms that she does. This is done through a shot of her feet. Not a POV shot given the angle, but close enough that it feels like we're stepping into Keiko's shoes (haha), shyly staring down at the floor in embarrassment and regret.

Rejection complete? The guy screams.

I mean he screams.

I mean this nobody we're never gonna see again unhinges his jaw and lets out an unholy shriek the likes of which makes me shriek in utter GLEE.

It's insane. It's wonderful. I'm going to use one of my coveted image spots to show you his face:

Look at that and tell me this show isn't amazing.

Okay, I'm focusing again. As Keiko runs off Botan and Sayaka start dragging Yusuke, teasing him about how Keiko chose him over that "charming handsome boy."

...Please scroll up and look at that image again. I find YYH's definition of "charming" and "handsome" to be hilariously wrong.

Yusuke, as per usual, throws himself into damage control, claiming that Keiko didn't say who she liked, so really it could be anyone. They're not buying it. “'I like Keiko' is written all over your face!” Botan crows. Meanwhile, Sayaka is scribbling in her little investigator's journal that feelings on both side are severely misunderstood. "Suggest serious counseling."

Fantastic idea, Sayaka. I'd personally suggest counseling for the whole dying/best friend getting resurrected thing... but relationship woes work too!

We cut to later when school is out and Keiko has gone over to Yusuke's. To say that Atsuko has done a poor job of keeping the house clean lately would be a serious understatement.

Keiko points out the old food and broken glass specifically, cluing us in that this isn't just a messy environment, but a dangerous one as well. This is proven when she accidentally knocks a stack of books over and a used bowl falls onto Yusuke's face. What's interesting is that Keiko says that things are "back to normal" now, though I'm not sure if that's in reference to the state of the house, or just the note Atsuko left behind, asking Keiko to take care of Yusuke while she's out. I'm inclined towards thinking it's just the note, partly because of Keiko's shock when she first arrives, because the house wasn't shown to be in this state prior to Yusuke's death (first image above), and because the note is accompanied by a great voiceover that makes Atsuko sound quite sloshed when she left. That's what's normal, the drinking and carefree attitude, not the state of her home. If we buy that reading, it allows for another fantastic look into Atsuko's mental state. If she's already an alcoholic, the trauma of her son's death and the following revelation that he's coming back might make her struggle in other ways. Like finding cleaning to be an impossible task.

She's depressed. It doesn't excuse the state she's left Yusuke in and, as previously acknowledged, YYH is definitely not a show interested in this nuance, but I still find it fun to take what little we've gotten and run with it.

However, Keiko is firmly on team "WTF Atsuko." She hurries to make sure Yusuke wasn't hurt by the falling bowl, bemoans him being "covered in garbage," and says that leaving him in this state should be considered a felony. Knowing it's far beyond her power to fix Atsuko's failings, Keiko swears to come here after school every day until Yusuke regains his body. It's as she's cleaning him of the dust that's gathered that Keiko becomes entranced with Yusuke’s features. Particularly his lips. The soft lighting returns, their theme song swells, and Keiko gets thiiiis close to kissing Yusuke for the first time.

Which is a little weird, right? I mean, we know why Yusuke is freaking out. Beyond the embarrassment of a middle schooler receiving his first kiss while two ghost girls eagerly watch on, he's made a hobby of denouncing his interest in Keiko to anyone who will listen. But for the average viewer — for Keiko herself — don't we care the he's, you know, dead? Or if not technically dead, very unconscious? Don't get me wrong, I fully understand the appeal of this situation in a generalized, cultural sense (with the side disclaimer that I'm reading a Japanese product through an American lens). Sleeping Beauty exists for a reason and there's definitely an element of that here: a gender-reversed setup where Keiko’s kills may break the "curse" of Yusuke's untimely death. Even his in-between state of being mirrors the "death like sleep" of the fairy tale. But when you strip away those Disney-esque thoughts, we're left with a girl about to kiss an unresponsive body, not as a common gesture of care (the parent who kisses their child while they sleep), but as a first time, romantic milestone.

It's a little weird lol.

But embrace the romance! As well as its inevitable interruption. Just as Keiko is about to land a peck, the neighborhood watch committee announces a heat and fire warning, startling Keiko out of her thoughts about Yusuke's "beautiful face." (There's another gender reversal for ya.) She gasps at her almost-action, conveniently remembers that her mom wanted her to do some shopping, and hightails it out of there before embarrassment can really kill them both.

So she runs off for food... in a sweater? The outfit is cute and all, but I wonder what the animators were thinking, putting Keiko in a puffy pullover during an episode all about a heat wave.

It's about at this point that the plot goes from cute romance to absolutely buck wild. The fires the neighborhood watch committee mentioned are not, in fact, due to the overwhelming heat, but an arsonist that's going around tossing molotov cocktails through open windows. Why is he doing such a thing? I don't know. Arsonists be doing arson, I guess. The important bit is that Yusuke's place is his next target, considering that Atsuko forgot to lock the windows when she went out. Within seconds all that garbage is set ablaze, quite obviously putting Yusuke's resurrection chances at an all time low.

"Wake up, stupid!" he shouts at his unconscious body. Mood, Yusuke. That's me every morning.

So this is a full scale emergency now and everyone is scrambling trying to think of something to do. Yusuke comes up with the idea to possess himself like he did Kuwabara — nice attempt at a loophole there — but since it would technically count as his resurrection, no dice. Botan decides to go get Kuwabara himself, even though he's too far away to do anything. It's still worth a shot. Sayaka, meanwhile, watches all this unfold with a somewhat clinical detachment. She's not quite indifferent and she's definitely not cruel... she’s just not as emotionally invested in this as the other two. Which not only re-emphasizes her purpose here, as an observer judging Yusuke, but also highlights the bond Botan is forming with him. As mentioned before in regards to her hanging out with Yusuke rather than ferrying souls, Botan is well past someone assisting Yusuke simply because it's a part of her job. He's her friend.

We get some shots of the growing fire which includes a hazy texture to the animation I quite like and then we cut to Keiko several blocks away, shopping bag in hand. Word of the new fire spreads, with one bystander mentioning that it's the twelfth today.

"This is eerie.”

“Yeah, I can’t help feeling we’re under attack.”

That's because you are! Someone stop that man!

Sadly, I don't think the arsonist is mentioned again, let alone captured. We'll just have to relegate that to my incredibly niche fic wishlist.

Keiko also overhears that the latest fire is on fourth avenue, which of course is where Yusuke lives. Recognizing that he might be in trouble, she takes off at a run.

Meanwhile, Botan finds Kuwabara practicing his kicks against a Yusuke dummy. Amazing resemblance, right?

Watching for the purpose of recapping, I'm picking up on a lot of details in the animation I quite enjoy. I don't think anyone would claim that YYH, at this point in time, has the most impressive or flashy animation (the fight scenes later are another matter entirely), but there's a clear love for the product that shines through. The scared expression on Kuwabara's dummy. His unexpectedly dainty kick, complete with pointed toes. Botan's more translucent coloring to emphasize her supernatural status compared to Kuwabara. There are a lot of nice touches despite the overall simplicity.

Plus, you can't forget the lovely irony of Kuwabara fighting a defenseless "Yusuke" while the real guy actually lies defenseless amidst a fire. We already know that despite his tough talk, Kuwabara would be horrified to learn that his friend rival had died (again) in such a manner.

Capitalizing on that transparency, Botan runs a hand through Kuwabara's back to catch his attention. He gets his "tickle feeling" and instinctively looks around towards Yusuke's house, seeing the smoke. "Something tells me I should go that way." Gotta love a guy who drops everything to chase a vague, supernaturally induced hunch.

As Kuwabara leaves we cut back to Keiko arriving at the house, staring in horror at the blaze. We get an audio flashback to her talk with Yusuke where she promised to take care of his body until he got back. So she tries to run in, only for a couple of the onlookers to snag her, quite correctly keeping her from undergoing a suicide mission. We learn later that Keiko absolutely would have died without Yusuke's sacrifice, so her "You cowards!" is born more of emotion than justified accusations. It's not cowardly to look at the raging inferno in a small apartment and realize that recklessly running in will only result in two dead teens, not one.

I mean, the flames are already right there, licking the door. Even if Keiko somehow managed to avoid burns, the smoke alone would do her in. Still, Keiko tries to mitigate the damage by dumping a bucket of water over her head. As a kid I remember thinking this was the smartest thing ever. Utterly inspired. Keep that in the back of your mind, kid Clyde, for future reference. As an adult... I have no idea whether this would actually help or not lol. Any firefighters doubling as YYH fans?

Recklessness and iffy precautions aside, I can't express how much I appreciate the story giving Keiko things to do. Yusuke recognizes that she's the only one with the maturity and open-mindedness to believe in his resurrection. She's the one picking up Atsuko's slack regarding his day-to-day needs. She never hesitates for a moment, heroically throwing herself into this blaze for Yusuke's benefit. Yeah, a lot of that still falls into the emotional/domestic sphere — what we expect of the love interest in a 90s anime — but too often action stories don't have a clue what to do with their non-action characters, not even when it comes to just supporting the fighters. They're simply... there. Keiko, however, isn't window dressing. Whether it's helping Botan survive an upcoming, supernatural plague, or cheering the team on at the Dark Tournament, Keiko is an important part of the story, despite lacking the fighting prowess of the rest of the cast.

Just as important, this episode establishes a core equality between her and Yusuke. We just watched Keiko reject a (presumably) accomplished guy for him, telling the audience that these surface differences — academics, power levels, popularity, looks — don't matter to them. Yusuke is not Keiko's lesser just because he doesn't have the same scores in Sayaka's book and Keiko won't become Yusuke's lesser just because she doesn't have spiritual power like he does. The only important thing here is that they love each other and they're both willing to sacrifice everything for the other. In the span of about ten minutes, Keiko nearly gives up her life for Yusuke and, in turn, Yusuke gives up his resurrection for her. The level of care they show towards one another is balanced, despite those differences.

They’re a good ship, y'all. Even if this recapping's got me noticing Yusuke/Kuwabara potential lol.

To get back to the plot, a drenched Keiko charges into the fire, yelling Yusuke's name for the drama of it because we all know he can't respond. Despite the audience (hopefully) recognizing Keiko and Yusuke's equality, that memo hasn't reached Yusuke yet. "You're a lot more important to this world than I am!" he yells, hammering home that despite everything — knowing he instinctively saved a child, watching his loved ones grieve for him, helping Kuwabara just because he can — Yusuke still, deep down, believes that he doesn't deserve to come back; that he doesn't measure up to those around him. The self-sacrificial nature this insecurity produces shocks Sayaka. She points out that if Keiko doesn't save his body, he's not coming back. "What's the point of being alive if Keiko has to get killed for it?"

Keiko means more to Yusuke than the rest of his living existence. Jot that down in your notebook, Sayaka!

Kuwabara arrives and runs into one of his friends who informs him that Keiko just went inside. “Yusuke’s girl? The one we saved from those thugs?”

BOY does that tell us a lot about their rivalry! I mean yeah, we've already established several times over that Kuwabara — just like Yusuke himself — is not the cruel street thug he'd like to present himself as. If these characters actually wanted to hurt each other outside of a martial arts challenge, don't you think Kuwabara would capitalize on the "Yusuke's girl" bit? Everyone seems to know that they have feelings for each other, but Kuwabara never once wields that as ammunition against Yusuke. There are no taunts about him not being good enough. Or rather, I should clarify there are no serious taunts — Kuwabara is well known for his teasing. There's also no attempt to steal Keiko out from under him, the common treatment of the love interest as a "prize" that many stories fall into. Indeed, later this episode YYH will deconstruct this a bit. Yusuke sees Kuwabara grab Keiko's hand and yells that he better not be getting "fresh" with her. But it's purely Yusuke's worries shining through. The audience gets a crystal clear picture of the situation and knows, categorically, that Kuwabara has only the most innocent of intentions in holding Keiko's hand.

(Well, running from the police isn't innocent, but...)

I keep getting sidetracked. Plot! Keiko makes it to Yusuke's room and finds that he is already on fire. She then proceeds to try and put it out by patting it with her hands. I take back what I said about Keiko's smarts in this scene. Now we know where that supposed recklessness comes from though. Apparently they're both immune to fire! Nothing to worry about here, folks.

JK she's actually in danger, despite the animation choices. By this point everyone, including Keiko, realizes that there's no way out: the fire has blocked the door. Sayaka then reveals that there is one way to save her. If Yusuke throws his egg into the fire, the energy of the spirit beast will release and guide her to safety. The catch? Hatch the egg early and it won't complete its intended function of guiding him back to his body. This beast is gonna guide one person and that is it.

Cue Yusuke's near immediate decision to sacrifice his life for Keiko's. Granted, it's not precisely one life for another. Yusuke's resurrection was always contingent upon the beast not devouring him whole — something Koenma claims would have happened at the end of the episode — meaning that it's not technically a fair trade. Yusuke might have sacrificed Keiko's life for his own... only to fail to get that life back anyway. (There's a tragedy for ya.) To say nothing of how Yusuke is currently dead and has been for at least a couple of days, whereas Keiko very much is not. There's some sort of philosophical discussion there about potential being pit against current reality.

BUT that's not the point! The emotional point is that he sacrificed his life for hers — the potential of his resurrection, the potential of that life he might have led — all technicalities aside. And I, for one, think that's very neat of him.

A blue light shines as the egg's energy is released, providing a lovely contrast to the fire surrounding them. A path forms to the door and Keiko, recognizing Yusuke's presence, follows it. "We'll make it, Yusuke," Keiko says, which is one hell of a sucker-punch now that we know she's just carrying a corpse. Unbeknownst to Keiko, Yusuke is very much not making it. That's the only reason why she is.

Kuwabara appears to help them the rest of the way which is also a pretty awesome thing considering that, from everyone else's perspective, the fire is still raging and blocking the door. Despite his spiritual awareness, Kuwabara gives no indication that he noticed this strange light, or Yusuke's hand in the rescue. Which basically means he lunged into a bunch of deadly fire for Keiko and doesn't question how in the world he isn't burned.

Keiko's hands are fine, Kuwabara's whole body is fine... fire immunity must run in the friend group!

Yusuke has another rare moment of vulnerability — "They're both okay" — and I cackle happily at the "both" because see. You love Kuwabara too, Yusuke! All this bluster about hating him and finding him annoying. The second he rushed into that fire you were crawling up the walls.

Except then that happiness gives way to something that sounds a little more shocked. Devastated. "Well, I sure am... relieved..." Kudos to Cook's voice acting. You can hear the exact moment Yusuke realizes what he's done. Not that he regrets it, but the consequences are finally sinking in. He's relieved that they're safe, yes, but now he's never going to be able to rejoin them.

As Yusuke has an(other) existential crisis, Kuwabara peels back the blanket Keiko had wrapped Yusuke in, revealing his face. “What are you doing with Yusuke’s body?! Are you some type of sick grave robber?” he shouts. God I love when a story actually keeps track of who knows what. Kuwabara, for all his recent involvement in the plot, doesn't actually know what's going on. From his perspective Yusuke died, he made a scene at the wake, he saved "his girl" from a bunch of thugs, lost a huge chunk of time only to wake up with her randomly hugging him (then slapping him), participated in a bet with his awful teacher and had a couple weird, Yusuke related dreams while studying, and has felt the presence of ghosts perhaps a little more frequently than usual. Now he's trying to help save Keiko from a fire only for her to reveal she risked her own life for Yusuke's body. Of course he's freaking out! What's she doing with that?

What's utterly fantastic though is that Kuwabara takes all of five seconds to process this and then enters immediate Ride or Die mode for Keiko. She's been hoarding Yusuke's body for undetermined reasons? Well, who is he to judge? The important thing here is that people are arrested for keeping bodies, so they've gotta skedaddle before the firefighters show up.

Hence, hand-holding and avoiding arrest.

As Yusuke starts threatening Kuwabara not to get "fresh" with her, Botan sadly reminds him that he no longer has a say in who Keiko does or does not fall in love with. The switch in tone is jarring. Whereas before Botan would have teased him mercilessly for the crush, now she knows that nothing can come of that — and it would be cruel not to remind Yusuke of that too.

"Oh no. I didn't think..." Yusuke whispers, further establishing that he knew the risks of using his egg, but hadn't allowed them to sink in yet. Now they have.

He gives a fake little laugh with, "Just when it was getting good" and I cry at the development in the span of just four episodes. Despite what I said at the beginning about the show resetting each week, there has been a lot of change thus far. Yusuke wants to live now! He wants to be there for Keiko! He looks down on his tiny family and screams at the unfairness of it all! They're talking about how they can't wait for him to come back and now that's never gonna happen!!

It hurts, friends. It hurts a whole lot.

During this conversation between Keiko, Atsuko, and Kuwabara, we see that a couple of hours have passed (it's nighttime now, the fire is out) and Atsuko is apologizing for putting them all in danger like that. And by that I mean yes, she does technically apologize with an "I'm sorry" and everything, but it's also a one sentence apology pit against... well, near death for the three people standing (and sitting) before her. Atsuko seems just as concerned by Keiko losing her hair as she does Keiko nearly burning to death and she kneels by Yusuke's wheelchair, baby-talking to him about how he forgives her, right? I love Atsuko, she's great, but objectively speaking she is not a good mother. Not right now, anyway.

Oh yeah, and just to reiterate that: Keiko's hands are fine after patting down Yusuke's on-fire body, but her hair, which I'm pretty sure never catches, has to be cut short. Ah, anime logic. Funny thing is, YYH isn't the only story to take the love interest and give her a cool, short cut thanks to a traumatic event. Anyone read Ranma 1/2?

During this conversation we also learn that, sometime between the fire and now, Keiko filled Kuwabara in on everything that's happening with Yusuke. Makes sense. He kneels beside the wheelchair, joining the others in telling Yusuke that they'll wait patiently for his return. Yusuke, above them, continues yelling about how they're waiting on a dead man.

“It can’t be helped. He made this decision on his own."

Except it can, in fact, be helped!

Just as all hope is truly lost, Koenma appears and announces that Yusuke will be returned to life. Why? Because sacrificing his egg for Keiko is a better indicator of his worth than the egg itself could have been. Despite feeding on his negative outlook and heading towards biting Yusuke's head off — something the animation backs up by showing us teeth during the fire

— Yusuke's act demonstrates a tendency towards being a "decent human being" that is "so rare." Wow. That's depressing. Still, yay that Yusuke has those qualities! And this, to my mind, helps explain Sayaka's presence. Koenma recognized that judging Yusuke couldn't be left to the egg alone and indeed, Sayaka took note of his worth before he ever threw the egg into the fire. First it was questioning why someone as amazing as Keiko would go for him, then it was solidified through the shock of Yusuke announcing that coming back to life was meaningless if she wasn't in it. Even if Keiko had somehow, miraculously escaped the fire before Yusuke's sacrifice, I bet Sayaka's report would have tipped him in resurrection's favor anyway.

Everyone is, of course, overjoyed and my heart swells at the intense gratitude Yusuke displays. My favorite part though is when Koenma cryptically says that “Your added experience with death could make you very useful" (a nod towards future events that goes right over Yusuke's head) and his response to this is a yelled, "YOU THINK I'M USEFUL?" This poor kid. The God of everything ever is chucking out revelations left and right, about resurrections and spirit beasts, but the only thing that really penetrates is the realization that someone thinks he's useful. Talk about relatable.

You know, I've been thinking about why this moment works so well. I mean, there are a lot of other stories where undermining the consequences our hero faces — either with humor, or by erasing them completely — can feel like the audience was cheated. I think YYH dodged that with a couple of crucial factors. First, Yusuke's consequence isn't something new that he's now avoided, it's just a permanent extension of something he was already dealing with. We did get to watch him inhabit the space between life and death, grappling with whether he'd ever be able to return. The story didn't deny us that growth, it just confirmed something we all instinctively knew: this tale won't end here with Yusuke permanently going to some afterlife. Second, the Deus ex Machina fix doesn't happen too soon. Yeah, it's only a couple of minutes in a single episode, but we (and Yusuke) still get to sit with that outcome for a while, soaking it in before its removal. Finally, there's no doubt that Yusuke earned this reprieve. Koenma's timing might be sudden and (if you're not genre savvy) unexpected, but looking back at the series as a whole thus far, we're able to agree absolutely that Yusuke deserves this. Far from feeling like we were cheated, this solution invites just as much celebration as we're seeing on screen, for the simple reason that we can buy into Koenma's reasoning. We know now that Yusuke is a good person. We saw him selflessly sacrifice his future for Keiko. We agree that he deserves a second chance.

Thus, the episode ends with Yusuke flying up to fill the screen in his joy, a far better, final shot than Harry Potter and The Prison of Azkaban managed 😰

And that's it for Episode 4, folks! See you later for Episode 5 💕

#YYH #Yu Yu Hakusho #YYH Recaps #mymetas

14 notes · View notes

wendell-or-something · 5 years ago

Text

it is time.

I want to compile a more complete rundown of my thoughts about homestuck 2. I want all the stuff in my head to be in one place, and I know this is going to be incredibly long winded and I don’t care. I want to be honest... I want to understand why I don't like this media. on more than a "but of course" level because there are a lot of people who have it as a gut reaction that this stuff isn't right. but I think there are layers to what produces that. I wanna get in depth with this. so that's what I'm gonna attempt to do.

okay, so, the first thing I think I wanna say is a disclaimer. I have not actually read the epilogues. or homestuck 2. I have a peripheral knowledge of what happens in them because, as a concerned citizen, I poked around enough to pick up details and know that I wouldn't enjoy this media if I fully engaged with it. my assessment of the material may be flawed because of this, but I mean... if the things I've heard about the epilogues deterred me from reading it, then I guess that's what I'm analyzing? not only what I understand based on my limited knowledge, but also why it is so limited to begin with. why this media is such a huge deterrent to so many people who care so much about homestuck. ultimately, this is not to shame people who like this media... I will be addressing common takes I've heard from people who defend the epilogues, but I'm not singling anyone out, and anyone who reads this has a right to disagree, or better yet, ignore me and find enjoyment where you are able, even if I cannot. I will not begrudge you that. additionally, I am considering the epilogues and homestuck 2 to be one unit. not necessarily in terms of structure, but because the events of one lead directly into the events of the other, and the two have similar issues. I think I'll shorthand the combination of the two as EP/HS2 for simplicity, and refer to either individually if I have something specific to say about one or the other.

I think the main problem that people have with EP/HS2 is that it's depressing. and it's depressing for a myriad of different reasons, but I'll get to those in a minute. first I want to establish why them being depressing doesn't work for so many people. I feel like this should be examined first, because a lot of the supporters of EP/HS2 are viewing the complaints against it as over sensitivity from fans who only liked the comic for its lighter elements. I keep seeing a "y'all just wanted your rainbow cotton candy fluff ending" kind of sentiment going around. and like... you are right that this isn't a fluff ending. but I think it's unfair to treat the particular type of content that EP/HS2 brought to the table as the only kind of substantial, fulfilling narrative that we could've asked for.

and I think a lot of the dissonance that people see between homestuck and EP/HS2 is based in the ratio of tension to levity, and how far it's shifted toward pure tension... especially because, at the end of homestuck, all the outside threats to this group of friends have already been resolved. and yet, shit feels leagues more catastrophically bad during the epilogues than it did during the comic when the characters were actually under attack, which is super weird when you think about it. I mean, "epilogues" my ass, am I right? it is true that homestuck was never 100% sunshine and rainbows... in fact, some of the darker events that it brought to the table became some of the most hyped shit in the comic. murderstuck is mostly what I'm thinking of first in terms of this, but there was a lot of popular angst laden content within homestuck that the fans latched onto. the thing is, the fans also latched onto the content that was super goofy, and the fan works that you can still find online from the era of homestuck's initial popularity reflect both sides of its tone in equal measure. there was a huge amount of goofy fan content (octopimp's youtube channel is still a record of that, and that wasn't even the half of it). and there was a huge amount of angsty content, and there was a huge amount of heartfelt content... turns out, homestuck had broad appeal, and spoke to different people in different ways. and back then, I never really felt like the goofy stuff was being treated as any less important than the heavy stuff. it wasn't brushed off just because it was seen as lighthearted. people liked to laugh, and I fully believe that Andrew Hussie began doing homestuck as a fun activity.

the reason why I bring this up is because homestuck as a piece of media could beget all of these various takes. the fan works could be tonally dissonant when held side by side with each other, but when held against the parts of the comic that inspired them, they made perfect sense. homestuck could spawn jokes, and angst, and social commentary, and theories... and even extrapolation on canonical events, in ways both silly and serious. and when you look at the kind of content that the fans produced during homestuck's height, you see what was important to them. they put time and effort into crafting even their dumbest meme shit. the fans reflected what the comic gave to them. and humor and heart were among the most beloved core engagements that the comic provided... these were pillars on which a lot of fan enjoyment rested... you really can't begrudge a person their fun.

and treating darkness and angst as the sole indicator of maturity in a work seems misguided to me. because, speaking personally for a moment here, one of the biggest lessons I had to teach myself when I was growing up was how not to wallow in negative emotions. how to find the fun, sometimes rather aggressively, so that you don't just drown. and with EP/HS2, it feels like at every turn, readers are constantly grasping for something nice or fun to keep them afloat in all this heavy stuff, and either they come to accept mere scraps of positivity, or everything they reach for is eventually dissolved as well. and I think the character of a piece of media as a whole can sometimes tell you what level of maturity it's operating under. like, if the text lingers over making the characters miserable, or seems to revel in shooting holes in people's positive interpretations of these people, you have to kind of wonder if this is serving the narrative, or just producing author schadenfreude when they release what amounts to shock content.

it almost feels like a twisting of the way homestuck used to treat the fans, because during it's run, homestuck was very reactive towards the fanbase. this kind of canon responsiveness to the readers was baked into homestuck from the very beginning, back when Hussie was accepting reader suggestions for what John Egbert should do. and need I remind everyone that the trolls were made as parodies of different types of personalities that were common to find online during homestuck's era? they are internet trolls, who are actually an alien race known as trolls, who communicate primarily online, and whose culture and species developed to produce an ornery and antagonistic population, so like... it's trolls all the way down. that's the whole joke. but the real, valuable benefit of parodying your fans with your characters, is that when the trolls act, they reflect the way real people acted. which means that when, say, Nepeta shoehorns RP lingo into casual conversation, some people will be like "it me!" and some people will laugh/cringe because they've seen people actually talk like that, and some people will be like "aww, that used to be me!" and every time a character produces this sense of identification with the audience, it works to create familiarity, and eventually, a sense of fondness.

that fondness is fucking powerful.

that fondness is born out of recognition and empathy, no matter which character you feel it for, and when a giant community of people loves a character that you have seen yourself reflected in so clearly, that is an incredibly validating experience. especially when you’re young, and the pieces of yourself that you saw were some of the nerdiest, weirdest, most awkward parts of you. a very large community of people loves a character that is like you, even, or perhaps especially, because of the flawed parts. and of course these characters were meant to tease the fans a little... these characters were also jokes to some extent the whole time. but they were never seen as cruel or insulting, because these characters were also important. the story literally built whole worlds around their identities... these kids altered universes. and they were allowed to be that important and special without being perfect first. they were dumb, and awkward, and nerdy, and cringey, and allowed to be there anyway. they were you, and you were important.

and this is where I think that EP/HS2 really misses the point. because in homestuck, the characters experienced hardship, but that hardship went on to fuel an overall sense of accomplishment when it was overcome. the road might be long, and it might be tough, and you might face shit that you don't feel prepared for, but when triumph is achieved, it feels that much more earned. and that is a key phrase I want everyone to remember homestuck for:

triumph.

it's the feeling that cascade gave me. it is the highest of heights that this whole thing reached. and it really has so much to do with how homestuck had built itself up until that point. we were mired in the minutiae of these kids' lives. we read their every chat log. we saw them dicking around doing next to nothing. we saw them contact each other and talk to each other for basically no reason other than to catch up. we saw them sharing stupid memes, and yelling at each other for wasting time on pointless bullshit, and dunking on each other's shitty taste in media... every one of them was "you" at some point. "you captchaloged this" or "you decided to do that" and it made a subtle connection in your brain that convinced you to feel things with them and accept what they "decided" as something that you had done alongside them. in some small way, you did homestuck. and this notion was further supported by how much of what the fans were doing would make its way back into what the comic was doing. the comic and the fans existed in a kind of symbiosis, and that fed into the feeling of connection that the fans had with this particular story. this thing was alive, and it moved in tandem with the community.

so when something big like cascade happened, you were right there with them. you were deep in the center of it. and you wanted to be, because this was your payoff. you did the work with these kids... you put in the time. and the triumph was yours too.

this is why EP/HS2 shouldn't be depressing. the core of the story was triumph against all odds. to take the triumph that was earned over the course of the whole story, and ruin it for the sake of generating angst... it misses the point. I did not read all 8000+ pages of homestuck multiple times because I wanted a tragedy. if I wanted tragedy, I would choose a different story. of course a lot of fans would have trouble liking EP/HS2... this wasn't what they signed up for. it pulls the rug out from under the fans of the original comic by pulling a mean genre bait and switch. why would people who liked a story like homestuck want a story like this? and I mean, obviously some people were okay with this. some people like EP/HS2. but you have to admit that it is an entirely different thing than what homestuck was.

I’ve heard some folks try to compare the darker parts of EP/HS2 to the darker parts of homestuck, and this is why they aren't the same. the darkness performs different functions in each story. in homestuck, it contrasts the lighter parts and creates a reason to keep everyone moving. in EP/HS2, it is the whole darn thing. the story is simply woven from it to begin with. I have heard some people say that they think of EP/HS2 as cathartic... as a reflection of life when things are painful or hard. but I think we really need to remember what catharsis is. catharsis doesn’t begin and end with pain. catharsis has to do something with that pain, or it��s just pain for pain’s sake. and the further I look into EP/HS2, the more I feel like the story is just playing it straight as a tragedy... though sometimes I wonder if it knows this.

so let's pull apart the tragedy of EP/HS2. because while I don’t really enjoy tragedies, (hence why I liked homestuck, and didn’t like EP/HS2... they are opposites in this sense), I still understand how tragedies work. catharsis can be part of it... to see something sad happen, and relate to that sadness, and feel a deep emotion... that does make sense. but the line between catharsis and just plain agitation is whether or not the pain actually provides you with a sense of relief. if the story leaves the character stuck in a bad emotional place, you feel stuck too... unable to confront the emotional burden that the story has saddled you with in a satisfying way, because it isn't even your own. in real life, when you are hurt, at least you have the ability to do whatever you need for yourself, in order to eventually feel better. I have grieved before, and somehow found it in me to laugh again since. but in stories, you rely on the author to construct the characters' response to bad events, and if things just go from bad to worse, sometimes with little resistance, the audience is eventually going to feel really agitated by the lack of relief. even stories that end in death provide catharsis due to the finality of it. the life ends, and provides a sense of closure. but EP/HS2 doesn’t give you an out. it just keeps driving many of the characters into more and more mundanely uncomfortable and dissatisfying lives, or turns them into people we would rather not know or read about.... which feels like a loss to the reader, even though the character is right there. at that point, the character's presence only makes you feel worse because they used to be someone you liked, but now they're just a reminder of your disappointment. and this level of your emotional discomfort isn't even something that the narrative will address, because it's just a side effect of how things are going. it isn't poetic, and there is no real comfort given to lighten that load... it's just unpleasant.

and on a more technical level, I would like to point out that stories create a kind of transaction between author and reader. and once you understand the status quo between you and a particular author, you can gauge the level of investment you feel safe putting in the characters. at their core, it stands to reason that stories should require conflict to be interesting. but in order to stay interesting, they also need to give us a reason to care about the conflict. in homestuck, I felt like the story set up a status quo in which we felt comfortable caring about certain characters, because we subtly trusted that the author wasn't wasting our time or jerking us around. like, you knew that a lot of crazy shit was on the table, but it felt like the story was growing, the author was interested in that growth, and thus he would not kill it. even if you couldn't begin to guess what was gonna happen next, you at least didn't have to worry about the author hugely ruining things that you liked about the story. he seemed like he liked those things too. we were all on the same page in that regard.

this is where character investment was very important to homestuck... the readers needed something to hang on to, or they'd lose interest in what was going on, and in homestuck specifically, the thing that kept us hanging on, was our love for these characters, and our wish to see them prevail against the odds. we were hoping for a satisfying ending, and interested in how we'd get there. and by now, I think homestuck fans in particular are very determined to stick to the characters by nature. if we weren't, then we would've been bored out of reading the comic in the first place back in act 1, when the most exciting thing that had happened was John going through his house and finding his dad in the kitchen. if you don't love John at least a little, you won't want to keep reading about him picking up items and describing them to you for a whole chapter, with not but the entertainment value of his character's particular perspective and voice to sustain you.

obviously, character investment isn't always a story's draw... but it was definitely homestuck’s. and even giving EP/HS2 the benefit of the doubt... let's say we're just judging it on the merits of being a tragic story. there are many levels of engagement that a story can hit, and in a lot of tragedies, the interest comes from the machinations of the plot. you already know it's going to end sadly, but you have the ability to process the sadness (a negative emotional experience and potential reader deterrent) while still maintaining interest, because you want to know how it will happen. it is unfortunate then, that EP/HS2 isn't a stand alone story, independent from homestuck itself. because if you tell a homestuck fan that the story will now only end in sadness, they likely won't want to know how it happens. because they already decided to like and relate to these characters, and wish for their happiness. they were taught it was okay to hope for that, based on the way the story used to be. basically, one of the essential appeals of homestuck (character investment) is actively working against the core appeal of a tragedy (understanding how sad events came to pass) because homestuck's appeal worked so well to begin with. it's basically nonsensical to try and jump track from one to the other, because the reader is much more likely to fall off the wagon entirely, and ignore your story in order to preserve their enjoyment of the story they already consumed.

but to get way more blunt about this... homestuck was good, and ruining what it left us with was unpopular for obvious reasons. fans were successfully invested in the story, the final triumphant payoff was a satisfying way to cap the narrative, and honestly... I think homestuck probably should've just stopped while the vibes were good. people were satiated. they were sad that it was over, but the sadness came from fondness, and that just sort of felt appropriate. we had it so good.

the transaction between author and reader was stable at that point. we had conflict. we had a reason to care. we got a resolution. there was a level of trust established, and honored... we trusted that there was a rhythm to the story. a push and pull between the kind of threat that would necessitate action from our heroes, and the ability of the characters to overcome the conflict well enough that we'd be left with something satisfying in the end. this trust no longer exists in EP/HS2. the epilogues broke it, and homestuck 2 has failed to repair it because, to be honest, it was already too badly damaged. it would take a full retcon to actually bring that back after the epilogues, but then it uh... screwed the pooch all over again. sorry, that was insensitive.

anyway. so like... what about the particulars of the story's content? I mean... I know I'm dissatisfied because a lot of the characters have been blatantly destroyed. Dirk will be my example for this bit, I mean, just look at him. in one epilogue route he commits suicide, and by making Ult. Dirk a thing, they effectively unestablished the identity of Dirk as he was in homestuck. and my limited knowledge of the epilogues doesn't allow me to really know about this, but was there even any acknowledgement of how death works in homestuck? Dirk must've known that if he killed himself, he'd end up as a ghost out in the dream bubbles. that is still a thing, right? Dave could've gone looking for him. considering Dirk's pesterquest route, he should've wanted to. and see, there's an example of what might've approached catharsis in a situation like that... pain, but also a human person dealing with that pain in a way that feels like fulfillment. but as far as I've heard, the story didn't go there? so it's just pain for pain's sake... or maybe just a bid to get rid of the more complex version of his character and replace him with an anime villain. and the method doesn't even make any sense, like, Dirk is the last character that would ever commit suicide because, by his own canonical words, he is scared to not exist. he literally couldn't bring himself to destroy the AR because of this, in spite of having every technical and emotional reason to want to. this is a major pain point for him, and I know it's typical to think of someone with self hatred wanting to kill themselves, but Dirk is a particularly different case. he should not be shoved into such an ill fitting generic narrative for shock value.

and beyond that, let's say you're someone who identified with Dirk. let's say that when homestuck said "you are now Dirk Strider" you were like "oh fuck I kinda am tho" and you were invested in him ever since. let's say that the points of investment you felt with him were in his troubles with self loathing, his fear of not existing, or his trouble communicating his true feelings to others. this is a rather dismal end for Dirk to have come to... and a rather dismal story for you to read if you still relate to this character. if you're coming off the end of homestuck still securely relating to him as heavily as you did when he was allowed to triumph, how fucking bad is it gonna feel to see him so thoroughly obliterated? to whiplash so hard from a perceived success to such abject failure is just mean. this story is so mean now, like, everyone's got the bug it seems.

and not only do several characters perish (literally, or by being mismanaged) for cheap drama in EP/HS2, but some just turn into shitty people? like, Rose recently revealed that she cheated on Kanaya. I simply hate the idea that Rose would grow up to be the type of person who would do that. I remember Rose in acts 1 through 5 being the kind of person who had misguided ideas about what course of action she thought would be effective. she would make some pretty big decisions, and act on destructive impulses, often in spite of what her friends thought was safe. in essence, I can see where the authors of homestuck 2 would get the idea of Rose going off and doing big shit without telling people. but this ignores why she was so determined to do any of that stuff in the first place... Rose was just as invested in protecting the people she cared about as anyone. and besides that, I thought her arc in those early acts had taught her something about that approach? I thought she got closer to people, to the point where they could voice a concern and she'd listen.

in regards to her relationship with Kanaya in particular, there's a huge difference between knowing someone for a day at the age of 13, and spending 3 more years getting to know and love that person before deciding to marry them. so even if this was the reflection of a quality that Rose had back then, I thought she grew past it... she had ample time and opportunity... we even watched her get better about this sort of thing. literally this rolls back her character development to when she was a child, and makes her a shitty adult. and if I’m being really scathing here, I might as well say that this feels like an example of that thing that stories sometimes do, where they only care about a relationship while the characters are struggling to get together. and then once they are together, it timeskips past their relationship being functional and lands you at a point where they're experiencing turbulence. at which point it leverages their relationship trouble for drama, rather than letting the two function well as a unit against an outside threat of some kind. like, no happy couples exist in fiction! gotta wring your conflict out of the fact that they’re falling apart! it feels like they’re being exploited by the writers.

and worst of all... this betrayal of trust by Rose either ruins Rose and Kanaya's marriage, or makes Kanaya seem like a fool. I keep thinking back to their time on the meteor, when Rose asked if Kanaya was breaking up with her because they finally reached that tipping point where Rose's drinking had to be acknowledged as a problem. and Kanaya said that no, she wasn't breaking up with her, and stuck with Rose because she was dedicated to loving her even if that meant helping her with a serious problem. that was such a strong character moment for Kanaya. it displayed her loyalty and dedication to Rose, but also a nuanced understanding of when a problem can actually be solved by dedicated effort. having her be so committed to staying with Rose in spite of Rose's transgressions is like a perversion of those positive qualities. now it just feels like Kanaya is irrationally willing to put up with anything from Rose, no matter how egregious. it takes a trait that was so nice about Kanaya, and uses it in such an upsetting way... and honestly, there was no reason to do that.

but this is a huge problem with EP/HS2... there's like, juuuuuust enough of a through line for people to think that it makes sense. so when I try to say that the characters are just better people than this, and that they're smart enough to do the most basic fundamental things to prevent pain in people that they care about... when I say I believe in the integrity of these characters, I could very well get someone adamantly insisting that I was just being naive. that sometimes, in reality, people disappoint you. what can I even do about that, without sounding like I'm in denial, or like I'm only interested in liking these characters when all their rough spots are smoothed away? how can I begin to articulate that these aren't decisions being made by the characters... they're decisions being made by authors who I don't trust for exactly this reason. and I very especially hate this because just... no! I know what these characters' flaws actually were! and what their strengths were! I had a solid read on their identity, because homestuck was so friggin good at establishing that! I know that a huge part of Rose coming into her own was learning how to cut all the snarky passive aggressive sarcasm and just be honest about her feelings... something that she actually advocated for when talking to Dave, but also had to learn to do herself. the logical escalation of Rose’s character would be a trend toward more openness... but also, just in general, Rose never had a kindness problem. like, I guess that’s the biggest thing I have an issue with. Rose was never this unkind.

it just feels like the writers want us to believe that not only was Kanaya played for a fool, but we were as well. we thought Rose was better than this. we thought we were better judges of character than this. and honestly... we were! the writing was not on the wall about this development. but that just doesn't mean anything because EP/HS2 said that it happened.

and this also harms the relatability of Rose for the people who used to identify with her. I'm not saying she has to be perfect... obviously, characters can and should be flawed. and characters can have flaws that you don't perfectly relate to the specifics of. Rose developed a drinking problem at a young age, which a few people might've related to, but it's very specific. but if you broaden the implications of that in the context of a story... a ton of people will be able to relate to the concept of developing an unhealthy coping mechanism, or doing something you don't really enjoy just to relate to a relative who has been distant to you for whatever reason, or even just having a complicated relationship with a parent. so what if you apply this kind of broadened meaning to Rose's cheating? the idea that she is not trustworthy. that she hides major, life altering information from people who are very close to her and should've been told. that she doesn't trust her partner, and would rather sneak around and hide this for years, rather than either letting her partner be involved in this part of her life, or accepting that her partner isn't comfortable with this development and respecting that boundary. this sort of thing is really alienating to people who know that they themselves are better than this. and “alienating” is the exact antithesis of what homestuck always was to the people who loved it.

what's especially interesting to me, is that the effects of this alienation actually come through in the way that people talk about EP/HS2 nowadays. I don't know if anyone has noticed this trend yet, but people tend to talk about the events of EP/HS2 as decisions made by writers, rather than decisions made by characters. which is weird, because people didn't do that so much with homestuck. and for this I wanna break out Vriska as an example. a lot of people like Vriska, and a lot of people hate Vriska. she's controversial. but no matter what, people always take Vriska's actions as though they're hers. and if they hate what Vriska does in the story, then they hate Vriska. not Hussie, for writing her that way. not even the vague concept of the narrative. they consider Vriska's actions to actually belong to her and form her identity, which they then pass judgment on, one way or another. Hussie is even a character that canonically exists within homestuck, and nobody ever thought to blame him, in universe, for being the origin of Vriska as a trouble causing entity in the story. compare that with how many times you'll see someone say that they don't like what the EP/HS2 writers have done with Rose, Jade, Jane, etc.... they tend not to actually level blame at the characters themselves. obviously this does vary a lot from person to person, but as a vague trend, I would say that people are starting to detach themselves from the characters, or at least detach the characters from their actions in EP/HS2. and to me it reads as a bit of a defense mechanism. it is a degree of separation that lets these characters keep their integrity, and the potential for positive development that they had when homestuck initially ended. it is a trend that, to me, proves the point that the level of pain for pain's sake in this story is too much. without relief, people disengage. even if they want to keep up with how the characters are doing, they no longer want to buy into the narrative's reality... so they acknowledge the author, and the fact that this is fiction. they remove themselves from the act of being invested. and the more adamantly you see people doing this, the more uncomfortable you can assume it feels for these people to buy into the events of the story and treat them as real.

to jump track to another odd point that I think creates a further barrier between cast and audience... has anyone noticed the age of the main cast's children that we've seen appear so far? all of them seem to be similar to the ages of the beta kids when we first met them. they're teenagers. and that means that, if my knowledge is correct, we kinda skipped a chunk of these people's lives. we never really spent time seeing the original homestuck kids as new parents... we never saw them raising their babies. and I get that this is an odd complaint, but it's an example of the story not growing with its audience. it's missing a huge opportunity, not only to show us this portion of their lives, but to fill in with some major world building when it comes to Earth C. are we supposed to assume that absolutely none of the main cast of homestuck made any new friends on Earth C? did they not explore what kind of culture popped up on this planet? what if one of the main cast had gone out and met someone totally new to befriend or love on this planet? but no... we're strictly only interested in the original cast and their kids, which they only ever had with each other, and nobody is really friends anymore, but nobody has met anyone new either... basically depression and isolation is the only option for these characters if the writers aren't willing to actually let them live in the world they're living in. and besides that, at time of writing, there is one friend of mine from my friend group that is just now planning on getting married. he'll be the first of all of us. and while he and his fiancé want kids pretty quickly once they're settled down, it still hasn't even happened yet. we're in our late 20s. and believe me, I understand the desire to timeskip to when the kids are old enough to be full people, but you have to remember not only that there are other ways to introduce new characters, but also who we're even trying to relate to here. is it the new kids, or their parents? because most of us aren't parents yet, much less the parents of teenagers, but we aren’t teenagers anymore either, and this isn’t framed as their story anyway. how are the majority of homestuck’s older fans represented in EP/HS2?

and when EP/HS2 skips the portion of these characters' lives that we, in real life, are actually living, it subtly hints that a story that would reflect what our lives are like isn't interesting, and tells us that not much good is expected to be waiting in our futures either. and the bigger problem with that is that the writing decisions in EP/HS2 represent the authors' answer to the question: how do we make this interesting? clearly they didn't think that anyone would be satisfied with a nice little romp through the lives these characters might've built. like, a slice of life type of story? or maybe something with a smaller stakes conflict? I dunno why, but my first thought was like... what if Jane ended up actually becoming a detective, and the story just had an intermission-style detour into her solving a case or something? at least a weird, hyper specific detour like that would signal that we care about what she's doing... that'd be fine by me! but they couldn't even give us something that would frame her as a good person... they just treated her like she never got un-possessed by the Condesce, and called it a day. it just feels like these are authors who wouldn't be satisfied with a story that lets the characters be at ease in their private lives. peace is something that is off the table, like, if the characters are living good, satisfying lives, we will never hear about it because apparently that counts as nothing to report.

but also... in the absence of the larger plot machinations that SBURB provided, what was left to create a struggle for these characters to face? it couldn't be Jack Noir, Lord English, the Condesce... those threats all got resolved. and they couldn’t let the characters exist in any facsimile of peace. so the writers needed something to stir things up. and in trying to find a new challenge to drive the story, they dug into the stuff that, in my opinion, should not have been used in this way. they began grasping at character drama, trying to wring conflict out of the deterioration of the relationships between the characters.

but at the same time, they're trying to capture the grandeur of homestuck during its more iconic moments. and okay, this is a pretty far out there speculation, but I've always made this observation about homestuck, and the way it got popularized. early on, fans would get into it with no real idea of how big or ambitious the story was going to be. going into act 1 blind, you wouldn't suspect this comic of being much more than a quirky, funny little weekly strip, set up for the sole purpose of making weird jokes about Nic Cage or Harry Anderson. then you get to the big shit. which in act 1 could just be the meteor destroying John's house. but that's a pretty impressive amount of escalation based on the expectations you had. fast forward to a bigger moment, like the reveal that the trolls' SGRUB session created the human universe, and you're super excited about this. so you tell whoever will listen that they should really read homestuck! and maybe they listen, and they go to page one and... well... they seem kind of unimpressed by the way the comic looks. this is what all the hype was about? and you really wanna sell it to them, so you're like, no, seriously, it gets so much better. and maybe you show them bits like the LOWAS walk around flash game, or maybe [S] make her pay, or something. and they're like, whoa, the comic gets like that? so perhaps they slog through the early acts, or maybe they just skip to the trolls and double back when they're confused enough... but either way, the comic's selling point is now it's climax, not the buildup.

and the problem with viewing the comic this way is that homestuck is both things. proportionally, homestuck is actually way more composed of the tedious little stuff than the grand big stuff. but homestuck was popularized via the grand big stuff, and sometimes I feel like EP/HS2 is attempting to fill itself with big stuff like that, but it isn't doing the legwork right. it's using character drama to fuel itself, but it's also trying to be highly epic in terms of its presentation. the lack of contrast flattens everything out, and as I described earlier, the story no longer has that essential push and pull between the terrorizing forces that threaten the characters/raise the stakes, and the unity and likability of the cast that makes you care about their struggle/gets you invested in seeing the conflict resolved. and I just wanna point out that those little interstitial bits... the ones that are typically viewed as the stuff you have to slog through in order to get to the interesting part? those were our main source of knowledge when it came to the characters. it's how we got invested in them and came to know that we liked or related to them in the first place.

the larger ramifications of this lean away from the little things, while also leaning into character drama to fuel conflict in the plot, leads to the overuse of bombastic character drama. sensationalized character drama. everything is always a huge fucking deal, while also being primarily concerned with the existing characters, rather than any kind of outside threat. so what are the tools? a wedding? a funeral? terminal illness, betrayal, a change in ideology that creates a schism... the loss of identity. all these high drama moments that generate conflict by sacrificing the bonds these characters shared. you know... letting that core piece of investment self destruct. the story is basically eating itself in order to sustain its momentum, but there's basically no point anymore. it's been gutted of the stuff that really mattered.

so why did everything go so badly? why do half of the characters not even like each other anymore? why do we not even like half of them anymore? why did the writers feel the need to dismantle them like this? well, because what else do we have to work with... how do you introduce a new threat to these characters without it being either SBURB all over again, or something entirely different that just makes these characters seem overwhelmingly put upon by the universe, like, more than any other individuals that have ever existed. it's actually a very rudimentary power escalation problem. gotta find that next level of bigger problem to set on everyone.

but do you wanna know what kind of homestuck fan I’ve been since the very beginning? I started reading homestuck 9 years ago. I think I was like 16 or 17? and at first I wasn’t sure how to interact with the comic, so I went to the “about” section of the website. it told me, in a broad sense, what mspaintadventures.com was, as a collection of work, and suggested that I begin by reading problem sleuth. not knowing that it wasn’t part of homestuck, I did just that. I read all of it. before I even got to homestuck. I am a fan that lives for the small, stupid, tedious fucking around. the slow buildup of total bullshit... the complex setup that gives you a million microscopic payoffs on it’s way to god knows what end goal. it’s like watching an explosion in reverse. all the tiny little pieces fly chaotically together and coalesce into a whole story, and you got to watch it build itself, piece by tiny little piece. I live and breathe for that level of detail. and the most fun I ever had with the story was when the characters were wandering around an environment, exploring and using various objects to set up these wacky chain reactions, half of which you’d never see coming, but which would all retroactively make sense in the end.

what I’m saying is that small scale conflict is interesting. and there are whole genres that build themselves off of this. I actually think that in certain instances, homestuck may fall under the slice of life genre. and slice of life is largely misunderstood as a rather bland genre, but the appeal is watching people with personalities that you enjoy. you watch them live their lives, and you go along for the ride. true slice of life is not a soap opera... it’s just enjoying the company of people who happen to be fictional. there's always been an element of that in homestuck... these were characters that you could see yourself getting along with if you met them. they were entertaining because of how they saw the world... how you would see the world if you were looking through their eyes. and homestuck gave you that opportunity. sometimes, that actually is all that you need.

I'm not saying that homestuck's ideal form is as a purely slice of life type of story... but wasn't that kind of what a lot of the fan works felt like? little comics about funny scenarios, or preexisting comedy bits with roles assigned to the characters they reminded you of... that stuff was the form that fun took for the fans of this comic. why is that so easily dismissed as frivolous? why is it so bad to want a little of that back? sometimes, you do wanna get into the hard stuff. maybe you wanna see Dave and Dirk have a conversation where they both admit that all they wanted as kids was a brother, and neither felt like they got to have that, but in very different ways. maybe you wanna see Roxy and Rose compare their similar feelings of estrangement, and explore the emotions that led them into their respective struggles with alcohol. maybe you wanna see John have a moment of sadness when he decides he wants to raise a kid, because he misses his own dad, and while Jane's dad is definitely family, he isn't the guy that actually raised John for the first 13 years of his life. maybe you wanna see Jade get inordinately clingy with every single one of her friends until one of them finally voices a concern about needing some space, only to see a glimpse of Jade's absolute terror at the thought of being alone again. and that pain is something that could definitely find a place in a story with more actual down time. maybe these moments of actually cathartic lingering pain could be explored with sensitivity in a story that gives them room to breathe. if the writers played their cards right and let the characters heal in meaningful ways, they might've even gotten tears of happiness out of a few of us. wouldn't that have been wild.

I just hate the idea that something is more realistic if it's dark. that's not true at all. I understand where the sentiment comes from. I understand the merits of taking an unflinching look at hard truths. but cynicism is not the same as realism. and realistically, people will try hard to seek good things for themselves in life. and even if they miss the mark... even if they fall into depression, or lack the ability to make their dreams a reality, these particular characters had already sought and found good people. people who would, realistically, absolutely help a friend if they needed it. I know this, because I watched them do that. the whole first five acts were literally about the trolls yelling at the humans because there was a huge problem that they blamed the kids for causing, and what did these kids do? they said "hey wait, let's fix that" and they did. even though the trolls made a horribly rude first impression. even though it was monumentally challenging. these kids have fought and died for each other's sake. they are family. if not by blood then by bond. and when that part of a story resonates with an audience, it is valuable.

I feel like I shouldn't have to defend the value of connecting positively with an audience. I get that this may be kind of a hokey take... I get that the people who currently like EP/HS2 will probably think I'm asking for something far too saccharine. but at this point I don't even care. once again, this is just my personal opinion, long and rant-like though it may be. and clearly it will change nothing about the current state of homestuck's most canon non-canon continuation. I guess my one major frustration is the extent to which some people have bought into what I consider to be blatant character defamation. it pains me when people talk about the actions of some of the characters in EP/HS2, because while many blame the writers for the unsettling behavior displayed by them in EP/HS2, some will readily consider this to be where the kids from the early acts really ended up as people.

#homestuck #homestuck^2 #fair warning this is all criticism #don't like don't read #and all that jazz #I'm pinning this post cuz I don't wanna lose it #because looking at it will be my self control when I wanna rant about it again and I know I will #like no you asshole you already ranted you don't have to do it again #cw: suicide #I legit forgot to tag that til I went to get a shower and realized halfway through #I basically info dumped all this here and then my head was well and truly empty #also #cw: cheating #?#idk that's the only other thing I can think of that I discussed here which might be a problem for some folks #btw subtle tag whispering that the reblog with tags explaining where a couple of the things I mentioned were addressed a little was nice #I knew I wouldn't get everything spot on... this is definitely criticism coming from a not 100% informed place #but yeah... I still kinda feel like even if the epilogues acknowledge the writer as an entity that differs from the characters...#that just kind of doubles down on the inability of fans to engage? like it cements it.#and even if meat does focus on their 20s while candy timeskips (which I wasn't aware of) like...#look at what happened to meat #look because I don't want to lol #is there anybody left who isn't sad?#cuz real talk I like using happy characters as wish fulfillment when I'm sad #and seeing a character get challenged and still come out with some determined positive energy... I love that #anyone remember when Aradia went god tier? I was overjoyed #literally all it took was her beating apathy and regaining her personhood #I love that stuff #god fucking damn it I'm still ranting what is even up with that

59 notes · View notes