#repeat after me: the time period these stories are written in impact the characters

[littlefankingdom]

"You're lying if you're saying Bruce didn't put Jason in the Robin colors"

Yeah, let's forget how this malnourished kid decided to fight Ma Gunn's men ON HIS OWN because he thought Batman wasn't going to come, and also saved Batman's ass that night. Jason was going to go fight criminals before he was Robin. Bruce gave him a way for him to help, which he wanted to do. Also, another version of canon (actually, the first) as him declaring himself as Robin when Dick informs Bruce of his retirement from the tricolor costume to become Nightwing. Like, neither Dick or Bruce made him Robin, he went "Mine now" like the little brother he was, taking his sibling's shit.

[ritsushinbro]

My Critique of Rebuild of Evangelion's Characterization: I originally wrote this post on the Evageeks forum and decided to post it here. It discusses the relationship between Misato, WILLE and the pilots and whether it is realistic and in-character. Warning this post contains spoilers and is very long. Also has references to self-harm and suicide.

With each revelation that comes out regarding the measures WILLE take against Shinji and their own pilots, it becomes more and more unrealistic for me to the point where it's almost comical. Let's go through some of them here:

They wear the explosive DSS chokers 24/7 which will kill the pilots should they risk awakening an Eva.

They are kept in a single room rigged with explosives.

In Shinji's case, he is (intended to be) put in 24/7 solitary confinement with explosives fitted as well.

Shinji is escorted around the wunder whilst restrained on a stretcher. (NOTE: The only time he isn't, is when Sakura takes him to Ritsuko).

It is confirmed in another thread that Misato gave clear permission to the crew for them to shoot Shinji on sight if they suspect he is attempting to get into an Eva. 

Now let me attempt to deconstruct these measures one-by-one:

It is understandable that Asuka and Mari wear DSS chokers because after all they are pilots and there is a risk of awakening. However in Shinji's case, he is forbidden from piloting and so there is no risk of awakening (remember Ritsuko did not think NERV would come after him, so they had no reason to think he would escape). So why place the DSS choker on him? Well we have already established it is simply because they have a resentment against him; there is no special, pragmatic reason. Is this realistic? Well I would say no for reasons I will explain later but I can certainly understand why others may say it is.

I don't think I will understand why they would keep their two main "soldiers" if you will, in an explosively rigged room. I believe others have  stated that from a tactical point, it's an extremely dumb move on WILLE's part. After all, if Asuka and Mari didn't have plot armor, what's to stop Gendo from tricking WILLE into killing their own pilots with these explosives? How would WILLE stop Gendo then? Will they use Shinji? No, for reasons I will state later. And another thing, we know that their rooms were already fitted with explosives so why on Earth would they add extra after the events of Q (when they stopped 4th impact). What do they hope to achieve with more bombs? Make the pilots more "deader" than they already are? In my opinion, this doesn't even come across as paranoid but just plain childish. Is this measure realistic from a story standpoint? No not in my eyes.

We know they intended to put Shinji in a solitary cell as this is what they do in Shin. If it was solitary confinement on it's own, then I believe it would be a realistic measure that would happen in real life. However I believe the writers did not factor in the effects of solitary confinement (especially one that is rigged to explode) on fully grown men; never mind a 14 year old who's just come out of a 14 year coma. Many people think solitary confinement is a walk in the park so I made another post a while ago highlighting why that's not the case:

"I remember when before Shin came out people here theorized that if Shinji stayed on the Wunder, they would eventually softened to him and let him help in ways that wouldn't have involved piloting. However with these revelations it looks like they intended to keep him in an isolated room far from everyone else that is (presumably) rigged with explosives as well as keeping the choker on his neck. Not even allowed to freely leave his cell without WILLE's permission (it is unlikely they would let him out judging from these measures). 

Even though Asuka and Mari were treated like this as well, at least they had each other and were able to leave as they had responsibilities in piloting. But Shinji was forbidden from piloting and was to be kept by himself except maybe being checked up on by Sakura now and again. So judging from these leaks (we will have to wait to properly see the full context) WILLE intended to lock Shinji in solitary confinement.

I have copied and pasted some of the effects of Solitary Confinement from Wikipedia below:

“Psychiatric: Research indicates that the psychological effects of solitary confinement may encompass "anxiety, depression, anger, cognitive disturbances, perceptual distortions, obsessive thoughts, paranoia, and psychosis." The lack of human contact, and the sensory deprivation that often go with solitary confinement, can have a severe negative impact on a prisoner's mental state that may lead to certain mental illnesses such as depression, permanent or semi-permanent changes to brain physiology, an existential crisis, and death.

Self-harm: According to a March 2014 article in American Journal of Public Health, "Inmates in jails and prisons attempt to harm themselves in many ways, resulting in outcomes ranging from trivial to fatal." Self harm was seven times higher among the inmates where seven percent of the jail population was confined in isolation. Fifty-three percent of all acts of self harm took place in jail. "Self-harm" included, but was not limited to, cutting, banging heads, self-amputations of fingers or testicles. These inmates were in bare cells, and were prone to jumping off their beds head first into the floor or even biting through their veins in their wrists. A main issue within the prison system and solitary confinement is the high number of inmates who turn to self-harm. Many of the inmates look to self-harm as a way to "avoid the rigors of solitary confinement."

Physical: Solitary confinement has been reported to cause hypertension, headaches and migraines, profuse sweating, dizziness, and heart palpitations. Many inmates also experience extreme weight loss due to digestion complications and abdominal pain. Many of these symptoms are due to the intense anxiety and sensory deprivation. Inmates can also experience neck and back pain and muscle stiffness due to long periods of little to no physical activity. These symptoms often worsen with repeated visits to solitary confinement.

Social: The effects of isolation unfortunately do not stop once the inmate has been released. After release from segregated housing, psychological effects have the ability to sabotage a prisoner's potential to successfully return to the community and adjust back to ‘normal’ life. The inmates are often startled easily, and avoid crowds and public places. They seek out confined small spaces because the public areas overwhelm their sensory stimulation.”

And this is just for solitary confinement. There are so many other things going on with and happening (or could happen) to Shinji such as the things below:

Shinji being only 14 years old.

Shinji being abandoned and neglected by his father.

Shinji being coerced/emotionally blackmailed to pilot Unit 1.

Shinji seeing girls he cared for "die".

Shinji being in a coma for 14 years.

Shinji being told he has a bomb on his neck.

Being told it is because he is being punished.

Being told he cannot pilot the eva anymore (he is effectively "useless" now).

Have his former co-pilot and friend try and punch him after he thought she was dead.

[Potentially] being told he started NTI and devastated the world.

[Potentially] being told that the girl he tried to save is "gone" and that she was a clone of his mother.

Being imprisoned in a cell (presumably) surrounded by explosives and not being able to freely leave.

Be completely isolated from everyone except when being checked up by a girl who's father he got killed. (NOTE: Mari might want to see him so Shinji at least has her, maybe). 

Have his mother figure (the woman who made him pilot the eva the most) threaten to detonate the choker around his neck and blow his head off when he tries to leave.

With the above list, is it any wonder his head is so messed up? I understand the purpose of these films is all about growing up and taking responsibility but expecting Shinji to willingly allow himself to be subjected to the treatment WILLE had in store for him is pure, unadulterated masochism. Much of what was is written here can safely be considered cruel, inhumane and arguably, torture. 

There is a massive difference between taking responsibility for one's mistakes and just letting the whole world torture you because you did something bad. My main fear and problem with Q and Thrice is that their main theme, which is accepting responsibility, is equated with accepting unreasonably cruel treatment. And I just think that is an EXTREMELY unhealthy message to send to people especially if they are depressed or live in abusive relationships."

When you take all these into account, does it place into perspective how messed up Shinji would have been had he stayed on the wunder? This is assuming that they thought they would never have a need for him, but as we find out in Shin, they needed Shinji in the end to defeat Gendo. If Shinji never left with Mark 09 and Misato successfully kept him "protective" custody, then one of three things would have happened when WILLE actually needed him to save everyone:

A: He would not have been in the mental state to pilot Unit 1 and Gendo would have completely wrecked him due to shit synch ratios. 

B: He would have told Misato and co. to fuck off and die. We've seen this nihilism before from Shinji (after the 5th angel). His incarceration alongside the humiliation and guilt from wearing the choker will have ratcheted up by a million.

C: He wouldn't have piloted because he would have killed himself. There's only so much a 14 year old can take and when subjected to a fate that causes even hardened criminals to resort to self-harm, genital mutilation and suicide, then what chance does Shinji have? 

Now back to my original point, do I think this measure is realistic? I would like to say yes if it was the solitary on it's own, however when combined with the other things, then I think the chances of Shinji commiting suicide is extremely high to the point where it's not believable for him to continue as an anime protagonist. You have to make sure the protagonist goes through difficulty in order to experience growth and change, however if you make it too harsh (to the point of committing suicide) then it seems less believable that they live to continue the story. On a separate note, many people think that Shinji was immature for leaving with Mark 09 the first chance he got and that this is proof that he is, in Asuka's words, a "brat". But let's be realistic, if this story is about Shinji's growth and maturation, then how exactly would WILLE's treatment of him be conducive to that? The truth is WILLE's sheer hostility towards him would have completely stunted any emotional growth and maturation in Shinji and it would have destroyed the point of the film. Also no-one can argue that WILLE would have eventually "come round" or "softened-up" towards Shinji because even after 14 years they still don't trust their own pilots. So yeah, Shinji most likely would have been stuck in solitary with a bomb around his neck until he either killed himself or the war ended (but even this doesn't guarantee his freedom).

Regarding the stretcher business. I don't understand why you have to restrain Shinji on a stretcher when the kid has already surrendered himself and has come voluntarily. Maybe WILLE are just full of bondage fetishists; it would certainly explain the chokers as well. 

If the DSS chokers and the explosive rooms weren't enough, Misato actually gave orders to the crew to shoot Shinji if they thought he was trying to pilot again. At this point, I just think this is just overkill. I mean the kid has a bomb on his neck that prevents him from awakening an Eva, you intended to keep him locked up even though he can't really leave the wunder except with outside help and now you intend to shoot him if you think he'll get into an Eva. The problem with this, is that piloting an Eva requires all the bridge-bunnies to sortie the damn thing. Shinji cannot enter Unit 1 by himself, especially since the thing is being used as an engine so why do they assume that Shinji is capable of being Sam Fisher and sneaking into Unit 1? We see that Sakura and Midori are actually willing to shoot Shinji in 3.0+1.0 and do so when he merely suggests that he pilot Unit 1. But seriously what harm would Shinji have done in Unit 1 considering the fact that Gendo was already going to start another impact anyway? Why actively try and kill (or injure in Sakura's case) the only guy that can save your ass? One cannot argue that they were just being "desperate or panicking" because in Midori's case, she actually takes the time to confirm her orders from Misato. This shows that at least, she was still of lucid mind. This particular altercation just beggars belief in my mind and the fact that Misato actually gave those orders on top of all the other measures is absolutely extraordinary. So as you can imagine, I do not think this was realistically executed.

However, I can already hear some detractors say: "So what? Misato hesitated to detonate the DSS choker and also took a bullet for Shinji. She redeemed herself from putting the DSS choker on him and the kill-order for if they thought he would try and get into an Eva." 

And to those people I say….not really. There is an idiom attributed to Benjamin Franklin and it goes like this: "An ounce of prevention is worth a pound of cure." How does this apply to Misato and Shinji's relationship? Well Misato wouldn't have had to hesitate to pull the trigger if she didn't put it on him in the first place. Misato wouldn't have had to take a bullet for Shinji, if she didn't give permission for the crew to shoot him in the first place. Let's take this following dialogue for example:

916-929:

Kitakami: "It's a good thing we got Major Shikinami back. But why'd we have to take that disease along with her?"

Aoba: "Just leave it alone. Better than Nerv still being able to use him."

Tama: "If he tries to get into an Evangelion, all hands have permission to shoot on sight. There's nothing to worry about this time."

Kitakami: "Come on, that's all for show. The last time he broke out of here, the Captain couldn't put him down. I've got zero trust about this time either."

Nagara: "He was a kid. I can understand why she'd hesitate."

Kitakami: "That 'kid' caused Near Third Impact and murdered my entire family!"

Hyuga: "Near Third was a consequence of what he did, not his goal. The Captain's doing her best to atone for that too."

Takao: "That's right. She's who Kaji entrusted with Wille, and it's our job to trust the captain."

We learn a few things from this dialogue. Firstly, the older WILLE members are much more understanding to Shinji and Misato's situation: Aoba and Hyuga understand that it's better to keep an eye on Shinji and that he never meant to start NTI, Takao is one who always trusts Misato's judgement and Sumire understands that Misato would have found it difficult to kill a child, especially one that Misato was close with. 

Secondly, it appears that the younger WILLE members (Midori, Sakura and Tama) are the ones that are fearful/hateful towards Shinji (NOTE: Tama is a strange case, he strikes me as the sort of kid that just follows what everyone else is feeling. He might not feel anything towards Shinji beyond what you'd expect). 

Finally it appears that most of WILLE crew members are actually reasonable people and are not the extremely desperate and paranoid individuals some people on the forum believe. Remember this is AFTER Shinji started the 4th impact in Q. The fact that some of the WILLE crew members speak of Shinji in this way, show they are capable of understanding. Most actually trust Misato and respect her judgement except for Midori, who questions Misato's capabilities in following through on her threats. 

Which brings me to my next point. Misato has had no hesitation in pulling rank in the past. In 2.0, she even has an altercation with Ritsuko, her best friend, right before they fight the 8th angel. Misato is a woman that will tell even her best friend to STFU, when it comes to doing what she wants. Having said that, (timeskip shenanigans aside) there's no reason why she couldn't have done the same with the younger WILLE crew members. She could have nipped all of it in the bud by telling Sakura, Midori and the rest of them that Shinji was groomed to cause NTI and it was not his fault.

Instead, despite being the captain that everyone loves and fears, she kowtowed to the crew's paranoia and had the pilots fitted with explosive chokers, put in explosively rigged solitary confinement and gave the order to kill Shinji if they feared the worst. This is the sort of thing that drives fully grown men to suicide, never mind 14 year olds that have just come out of a coma. Imagine if Shinji did commit suicide in his cell. Who would Misato and WILLE have turned to in order to defeat Gendo in the end? What if Gendo tricked WILLE into killing their own pilots with the explosives? They would be properly screwed then. If Misato actually cared, as we are led to believe from her hesitation to kill Shinji, then she would have told the rest of the WILLE crew to fuck off, instead of alienating and putting Shinji and the pilots in that much risk. Are we really expected to believe that Misato placed such extreme countermeasures on Shinji just to appease Midori and Sakura? Not likely. This is why I believe that Misato would not have put the DSS choker on Shinji in the first place, and her doing so in Q was extremely unrealistic and out of character, even with anything that happened during the timeskip.

Some of you will say: "Who cares about realism? It's a show about aliens and growing up." While this is true, Anno has proven that he is able to pull the themes off much better when you look at the NGE series. Disregarding the self-contained narrative, it is obvious that the purpose of Q was to bring Shinji to the same point he was at after episode 24 of the series. If we look at how NGE/EOE handled Shinji's depression, we see that it is quite realistic:

The neglect and coercion by the adults in his life, almost dying to angels multiple times, the sexual tension with Asuka, almost killing Touji, finding out Rei is a clone of his mother, Misato putting the moves on him and having to kill Kaworu all culminate towards Shinji's mental state during EOE. Shinji is passively suicidal but it's due to the *situation* and his own introverted tendencies instead of people actively trying to hurt and isolate him. He finds the will to live again due to his mothers words despite knowing just how difficult living might be. If you remove all the Evas and the Angels from the story, the themes that are touched upon (isolation, neglect, misunderstanding) still apply and the audience can still resonate with them. 

The rebuilds however go about it completely differently. They bring Shinji to that same suicidal state by having all the characters/plot actively harm Shinji's mental health by:

Putting him in a coma for 14 years so he is completely clueless. Imagine how groggy you are when you wake up in the morning and then multiply that by a million. 

Have Misato psychologically castrate Shinji by telling him he won't do anything with a look of disdain on her face.

Have Ritsuko make Shinji feel dread by telling him he has a bomb on his neck and it's because he is being "punished".

Not tell him why he is being punished when he asks Misato.

Have Asuka try to punch Shinji after he thought she was dead.

Tell Shinji the girl he saved is "gone”.

Have his "mother figure" threaten to blow his head off for wanting to leave with the girl you just told him is gone.

Have Asuka and Mari attack Shinji in Lilith's chamber even though Shinji was seemingly willing to listen to them had Asuka not kept attacking. (Watch that scene again and you'll see when Asuka learns what Shinji is trying to do, she stops attacking but instead of explaining that he's being manipulated, she just calls him a brat instead).

Even Mari was willing to potentially kill or cripple Shinji with the Anti-AT rounds. (We don't know what the AA rounds are truly capable of because the only time they are used on screen, they don't work. The round cartridges state that they are armor and AT field piercing and have explicit restrictions on their use. The fact that Mari requires Asuka's explicit authorization to use them imply that they are most likely lethal and would have killed/crippled Shinji had he been in a normal Eva). 

Have Shinji's friend's head explode with the device Shinji's "mother figure" actually meant for him. Imagine seeing someone's head explode and then remember that your "mother figure" actually meant that to be for you. That would certainly mess anyone up.

Have Asuka then kick and manhandle him when he is catatonic.

Have Asuka force feed him to the point where he pukes whilst he is still grieving the death of his friend. 

Have Shinji only be escorted whilst tied to a stretcher despite him coming voluntarily.

Have Misato place Shinji in 24/7 solitary confinement in a cell rigged with explosives.

Have Misato tell the WILLE crew to shoot Shinji on sight if they think he's getting into an EVA.

Have people tell Shinji that he's being a brat the entire time for reacting badly to all this.

By having Misato, Asuka, WILLE reject and "punish" Shinji so harshly so it kicks off his isolation and desperation, it makes Shinji's "recovery" seem less believable. Anno himself didn't even know how to make Shinji recover psychologically in 3.0+1.0 and he actually had to ask the voice actors on how to make that happen. The story made the WILLE crew go full scorched-earth and in doing so made Shinji's "growth" and his reconciliation with Misato seem impossible. 

I have already stated that I believe Q represents "Condemnation" and Shin represents "Compassion" and I think both films pull that off brilliantly. But that doesn't mean I think the characters acted in a realistic manner. I do not believe that Misato would have placed such harsh sanctions on Shinji in the first place for the reasons I have stated above. And if she did, I do not believe that Shinji would have easily forgiven Misato (even IF she took a bullet for him) as we see he does in the film. I do not believe that WILLE were merely "scared and desperate" because as the dialogue above shows, they are surprisingly understanding (but still disapproving) of Shinji's situation despite him literally starting another impact. I do not believe that Misato would have bent over to Sakura and Midori's resentment and taken measures against Shinji, just to ease their minds. 

In summary, my main problem with the post-timeskip rebuilds is that I feel they gaslight the audience in thinking that Shinji was just being a "brat" the entire time by having Asuka and Mari say: "You have grown a little/You smell like an adult now." However, the truth is Shinji's been through so much mental suffering perpetrated by the people he cares about, that it's a miracle he's not killed himself. It would certainly break most of us on this forum. The movies seek to show Shinji "finally" taking responsibility when the truth is, the plot went so above and beyond putting him down in such an extreme manner in the first place.

[ouyangzizhensdad]

WWX is an “unreliable” narrator but he’s not that unreliable either

I’ve come across takes within the fandom which disregard certain information conveyed in the novel by invoking the fact that “WWX is an unreliable narrator” in instances where there are very little to support the idea that this element was a discrepancy reveled to be so later in the text or through subtext. It made me reflect that the fandom’s tendency to repeat that WWX is an unreliable narrator (which is not unfounded!), especially in jokes, has perhaps landed a hand in over-emphasising the impact of the ways in which MDZS’ narrative is framed through WWX’s perceptions and experiences, thereby allowing people to cherry-pick certain information given by the narration. So here’s my bone to pick: WWX is an unreliable narrator to a degree, sure, but he’s not unreliable to the point that everything presented in the narrative can be put into question indiscriminately.

All narration, outside an omniscient narrator, will present a limited perspective. In fact, it is easy to argue that writing always offer a limited perspective in that, just like a camera lens needs to point towards something, the written form can only convey a limited amount of information at once. When the “lens”  or the frame through which we make sense of the events taking place is a character’s POV, the way our perspective is limited is further shaped by who the character is, their internal life and to what they bear witness. 

While it creates many challenges for a writer, framing offers as well many possibilities. It can amplify the characterisation or the work’s thematic discussions (we can think of a story being told through the perspective of a child to further explore themes around the loss of innocence, for instance). As readers, we don’t just see what the character-narrator is able to see of the world, but we also come to understand how they perceive the events that happen to them. Moreover, it can also be used to withhold information from or deceive the readers in an coherent or “organic” manner which espouses the psychology of the character and the work’s thematic explorations in order to create narrative tension. Framing will at times get categorised as a work featuring “an unreliable narrator,” although it tends often to be in the cases of more extreme examples. After all, not all books told through the perspective of a child are inherently said to feature “unreliable narrator,” but certain works which mobilise a child’s naïve/innocent perspective on the world to great narrative or thematic impacts will be said to feature an unreliable narrator.

MXTX clearly has a penchant for using this type of framing to withhold information from readers (as seen in her other works), but it is important to point out that it is not the only way she chooses to conceal information. The fact that MDZS contains a detective mystery plot further explains why it would be important to ensure that readers become aware of certain elements in a manner that maintains suspense and creates narrative tension that feels organic. However, the use of framing as a device in MDZS is not total. Not only does the narrative shows us at times things that WWX would not be able to have seen,  readers also often find themselves in the know in moments where WWX is still in the dark. WWX’s limited perspective never fools us into thinking that, for instance, it was a guniang who kissed him at Phoenix Mountain. On a subtext and metatextual level, there is not necessarily always a lot being withheld from us. All these suggest that WWX is not really a pure example of an unreliable narrator. 

With this preamble, here are the reasons why I have until now called WWX an “unreliable narrator” beyond the use of framing which limits, at times, the information we have access through because of WWX’s perceptions and experiences:

the fact that there are gaps in his memories (some of which he regains after a period of time and some which we never see him recover by the end of the novel)

the fact that he “conceals" to himself and others (and thereby to the readers) some of his feelings, suffering and, perhaps more importantly, his motivations (the core transfer and all the being the most striking one). 

It is important to remember that, when it comes to unreliable narrators or this form of framing more generally, savvy readers are provided the necessary tools to reconcile the discrepancies in the narrator’s account (unfortunately, perhaps the most important tool of all, reading comprehension, cannot be provided by the text itself). Novels with unreliable narrators are thus always more than the sum of their parts, since knowledge of the entirety of the work is generally necessary to reconcile these discrepancies. This is where fandom’s convenient mentions of WWX’s “unreliable narrator” status when questioning details within the narrative often ends up falling short for me, since these takes rarely explain how the novel suggests these elements need to be questioned. 

Further, I’ve noticed that some people seem to read “unreliable” to mean “untrustworthy” or “deceptive”. There are certain types of unreliable narrators who are deliberately deceptive, but this is not really the case of WWX. Extreme examples would be types of narrators who are lying, deluded or mentally ill, and this is not what we’re playing with wrt WWX. Instead, WWX is mostly unreliable in the same way we all are unreliable narrators of our own lives. The only times in the novel WWX’s concealment is deliberate is when he’s concealing his motivations or the true extent of his suffering and sacrifices. 

TLDR: Although the narration in the novel is in the 3rd person, it is almost always framed through WWX’s voice and limited perception as an individual player in all the events that took place in the narrative. As such, while it is important to consider how MXTX uses this framing as a device to create suspense and withhold information from the reader as well as strengthen her characterization of her main character and colour her thematic explorations, the fact that many people in the fandom call WWX an “unreliable narrator” should not be taken as a blanket permission to view him as someone whose perspective is not credible across board or that we need to question indiscriminately all the information we get from his POV.

[ithebookhoarder]

Chapter 11:  A New Equilibrium.  (The Gangster’s Daughter)

Masterlist:

Also available on AO3:

Warnings: Original Character(s), Canon-Typical Violence, Grief/Mourning, Implied/Referenced Alcohol Abuse/Alcoholism, Implied/Referenced Drug Use, Explicit Language, Gangsters, Period Typical Attitudes, Parent Tommy Shelby, Implied/Referenced Dubious Consent.

----------

Life adopted an unusual but steady rhythm the following weeks after the mens return home both in and out of Watery Lane. 

Business was booming again, with the Shelbys at the helm. Men, all eager to enjoy the spoils of life back home in the city, eagerly filled the shop day after day, money in hand and bets ready to be placed. 

There was something celebratory about it all. About seeing the hope in mens eyes as they’d handed over their bets. About hoping their luck had changed, even in most cases it hadn’t. Still, every win was significant as the staff handed over the winnings with a happy grin and handshake. 

The staff in the shop felt similarly. Many hadn’t seen one another since the start of the war, having been assigned to various regiments. For those men, to be reunited again was something they’d been dreaming of. There were cheers and hugs as they’d arrived their first day back, laying eyes on the lucky souls who’d returned. 

Not everyone had been so lucky, as the vacant desks reminded them. Of course, there were plans to find people to replace their positions but it was obvious it would be no small feat. There may have been hundreds of men desperate for work, but none of them would be those brave souls who had perished in France, all in the name of king and country. 

Still, everyone did their best not to dwell, as was the way of life in Birmingham. 

The Shelbys, in particular, had had a lot to catch up on. Four years worth of stories and news was quite a lot, even with the letters they’d been writing back and forth. 

For example, Evie told them all about her schooling, and the fact she’d managed to secure a prefect badge for the final year. She couldn’t help but beam as she saw the pride swell in her father’s face - even if John and Arthur laughed themselves sick at the thought. 

“A Shelby prefect? Ha! Now I have heard it all.”

She paid them no mind, finding it a little funny herself. At least she gave them something to laugh about, considering the bleak stories they’d shared. Granted, they made a valiant effort to try to liven them up, with the odd joke or two but even that couldn’t mask the death and horror of war, written all over their faces. Finally, something the Shelby smile couldn’t hide. 

It was the same look Evie saw in John’s eyes when she went with him to visit Martha’s grave. They’d chosen to bury her in the cemetery just outside of the city, knowing she would have liked the fresh air, and rolling green fields around them, full of flowers. Evie had been to visit many times during the war, using it as a chance to escape when the house and the people in it had become too much. 

She’d often sit and speak to Martha, telling her about what John had written in his latest letter, or even bringing her newborn child to see her. Evie knew Martha would have liked that, to see for herself that they were alright. She also knew Martha was probably happy to see John here as well, to know he was back in the city and safe. 

So, she pointed him to the grave and left him to talk privately, knowing he probably had a lot to say. Four years was a long time after all. 

There were other small changes too, since John, Arthur and Tommy had returned. The fact people tipped their caps at Evie when they saw her in the street - police included - was enough to make her falter. She’d hadn’t noticed it these past years, or if she had it had never been repeated enough to spark her attention. 

It was as if the whole city knew the Shelby men were back. As if, the whole city was watching. Waiting. 

Waiting for what?

It was an odd feeling. One Evie was quick to bury. No matter what Polly may have said had she known, there was too much to be happy about to let something as trivial as a premonition ruin it. 

What good was superstition anyway? It was all rubbish. 

Wasn’t it?

——

Evie should have learned a long time ago not to dismiss the idea of the supernatural, or that her aunt had a scary habit of being right. 

She should have listened to her aunt’s warnings of premonitions. Maybe if she had, she wouldn’t have been so startled when she awoke one night. 

It had been weeks now, since her father and uncles had returned to Small Heath. 

Evie bolted upright, panting as she tried to work out what had woken her. Normally, she was a deep sleeper. It took saucepans or someone jumping on her to wake her from a good night’s sleep. However, tonight, something had yanked her from unconsciousness. 

Then she heard it again: the muffled screams from down the hall. 

Evie felt her blood run cold. Never before had she heard a sound so full of pain and fear. It rattled her enough that she gasped, feeling a tremor run down her spine. 

It wasn’t a ghost or some demon in the night. This wasn’t one of her books, after all. The sound was painstakingly real and loud, echoing through the wall behind her. Wait. That was her father’s wall? Did that mean-?

Evie was already out of bed. 

She didn’t even think as she bolted for the door and towards her father’s room. Her trembling hand reached for the doorknob and threw it open, preparing herself to see some horrific scene or someone attacking him. 

But that wasn’t what she saw. 

Evie gasped at the sight. 

“Dad?” 

She assumed it was her father, but it was hard to tell in the darkness. All she could see was a pale figure thrashing about on the bed before her, illuminated by the thin strips of moonlight pouring in through the window. 

Tangled up in his sheets, a thin sheen of sweat plastering his body, Tommy Shelby almost looked possessed. Sobs and half formed shouts escaped him as his limbs thrashed about, reaching for something Evie couldn’t see. Some invisible demon.

It terrified her. 

What did she do? Her instinct was to rush to his side, to try and gently shake him awake. 

“Dad?” she encouraged, trying and failing to release him from the mental torment he was trapped in. How had he done it, all those times before, when she’d been small and similarly afflicted?

Evie couldn’t remember. Her panic was too strong as it rang in her ears, muting out anything that wasn’t her father. 

“Dad! Wake up! It’s ok,” she pleaded. “You’re home. You’re safe. Wake up.”

His eyes snapped open. A sudden cry escaped his lips, sending her staggering backwards in a panicked daze. 

“Dad. Stop. It’s me,” Evie began. 

However, her words clearly had no impact on him. He was a man in a trance, still gripped by whatever terror was still inside him as he flung out a hand onto the bedside cabinet and bolted upright. 

His eyes whirled to her. 

She then noticed what was in his hand… The gun was pointing directly at her. 

She screamed.

 It fired. 

Her legs gave way as she dropped to the floor, covering her head as she felt herself go numb. The sound was deafening, the shot ringing in her ears as she stifled a sob of panic. 

Plaster showered down on her head from the bullet hole above her. 

The sound apparently woke her father from his terror induced haze as she heard the gun clatter to the ground. She felt it as he hurried to her side, cursing and trying to get a look at her trembling body. “Where are you hit?” 

He repeated it again and again as he tried to get her to respond. It took a minute before Evie could even look at him, let alone move her tongue. “I’m fine… you didn’t hit me,” she stammered, pushing his hands off of her. 

“Thank God,” he croaked, his tone suddenly sharp. “What the hell were you thinking?”

What had she been thinking? Better yet, what had he been thinking? Or feeling? 

“You tried to shoot me?” Evie gasped. The moment finally seemed to reveal itself to her in painstaking detail. She didn’t know what to say. All she could do was repeat the statement over and over again. “You tried to shoot me. With a gun. A real gun.”

“I didn’t know it was you. I wouldn’t have fired if I’d known,” her father pleaded, his voice trembling as relief and remorse flooded through him. “Listen to me, Evie. Never come in here again if you hear me like that. Understood?”

Evie nodded dumbly. “But… I thought… I thought you were in trouble.”

By then, she heard footsteps and knew they were no longer alone. The gunshot would have been enough to wake the whole house. If any were brave enough to investigate it was different. 

“Tommy?” That was Arthur’s voice, bellowing from the doorway. He looked almost comical in his pyjamas, gun in his hand, ready to fight. He would have been more menacing if his hair wasn’t poking up in all directions. “You alright?”

“Fine, Arthur. Go back to sleep.”

“I heard shots.” That was Ada, accompanied by a frantic looking Finn. 

“It was a mistake. An accident, but it’s all good now, eh?” 

Was it? Was it all good? Evie knew no one better at saving face than her father. She’d learned that a long time ago even if she had yet to perfect the art. 

Somehow, he managed to settle everyone and send them back to the rooms in the time it took Evie to calm her breathing. She had only just regained control of her limbs when he re-appeared, slowly easing her up off of the cold floor. 

This wasn’t right. She was supposed to be the one comforting him? Not the other way around.

Yet, despite shaking still and panting as if he’d been running a marathon, Tommy began to escort her over toward his bed. 

“Evie. Look at me,” he soothed, brushing his hand through her hair and gripping her chin so that she couldn’t hide from him. “I’m… I’m so sorry. I don’t know what happened but it was like I was floating, looking down at my body. I didn’t even feel the gun in my hand. You know I’d never hurt you, eh? Never.”

“I know,” Evie whispered. A small nod was the best she could offer as proof. 

“It won’t happen again, alright? You have to stay out if I have another nightmare like that. I… I can’t control myself or my actions.”

“But-”

“Promise me,” he begged.

She’d never heard him so scared before in her life. His grip was tight on her, but not painful as he held her, held until she gave her word. 

It was clearly all she could do to calm him. 

“Y-Yes,” Evie gulped. “I promise.”

Thankfully, she saw the relief her answer gave to him. It was as if a literal weight had rolled off of his shoulders. 

Finally, he finally seemed calmer. Able to let go of her and resume something of normalcy. It was why he switched back to his paternal nature, reaching past her to light the the lamp beside them a moment later. He then leant back, pulling the covers aside so that they could both clamber into the bed.  

Evie wanted to laugh. The last time they’d done this, she’d been much smaller. 

“Are you sure?” 

Tommy nodded. “Would I offer it otherwise? We could both use some sleep and maybe with each other to protect us we’ll have no more interruptions.”

Evie hoped so. 

“Alright then,” she shrugged, nestling her way under the covers and curling up beside him. If only the others could have seen it. Tommy Shelby. Sleeping with his daughter curled in his arms. It was enough to make even the hardest of men melt. “Just don’t hog the covers.”

“It’s my bed, thank you very much miss. Should I read you a story?”

“Don’t push it,” Evie sniggered, even if a small part of her was tempted to say yes. She was curious which one he’d have chosen. 

However, as it turned out, it would have been pointless even if she had asked him. She’d only been in bed a moment before her eyes drooped closed. Apparently, coming off of such an adrenaline high was exhausting. 

So it was, Evie fell asleep that night, nestled in her father’s arms. Even asleep, her grip was deathly tight as she clung to him, as if trying to prove he was safe beside her.

She only hoped when she opened her eyes in the morning, it remained true. 

This was one dream she didn’t want to wake from. 

——

Tommy was gone when she woke. 

The empty space in the bed beside her told Evie that fact immediately as soon as she’d opened her eyes. However, her heart stopped racing as she noticed that along with her father, his boots were also gone - the boots her father normally wore when heading down to the muddy stable yards. His cap and coat was also missing. 

He must have risen early and decided to go for a ride. It was the usual Shelby tonic for most troubles, after all. No war could change that. If anything, he’d probably missed the horses and the chance to ride them for fun, not as part of a cavalry charge or supply chain.

Evie calmed down immediately. 

If Tommy had ever needed a ride, it was probably that morning. Evie wouldn’t forget the look of horror she’d seen on his face the night before. The ghosts that appeared to be weighing on his soul as he’d pulled that trigger and sent them plummeting into chaos. 

It would take a while for all of them to adjust. Evie was under no illusions of that and last night had made it all too clear. 

She sighed. She peeled back the covers, padding over toward the window and pulling the curtains back to let in the sunlight. 

Everything looked pale and starker in the sunlight than it had during the night. Then again, she’d never been in her father’s room enough to notice. It was his space. His sanctuary. One, she had always been eager to respect. He’d done the same. It was only right and fair. 

Well, until last night. 

It felt uncomfortable to be there without him. It had been one thing to intrude last night when she’d thought he needed her. But now… now she felt like she was somewhere she didn’t belong. Like she was about to be caught and scolded. 

Her uneasiness only grew as she turned back towards the door; the bullet hole directly in her eye-line. 

There was no way to avoid it. 

The hole in the wall was obvious. It was hard to miss, with the ripped wallpaper and plaster powder marking it for all to see. 

Evie couldn’t bear to look. Then again, at least it could be filled and mended, hidden away beneath plaster and paint. If only all such scars could be fixed as easily. 

With a soft sigh, she hurried out of the room and back to her own to dress, ready to face the day as best as possible. 

——

“Morning.”

“Morning, Pol,” Evie mumbled, skipping her way down into the kitchen. She wasn’t surprised to see her aunt there, pottering about as if she owned the place. She was there most mornings, choosing to come early before the shop opened. Then again, she only lived a few doors away. It wasn’t as if she had far to travel. 

“Breakfast’s on the table if you want it.”

Evie smiled gratefully, perching in a chair and beginning to fill her plate with toast and jam. It was her go-to in the mornings, and after last night, she didn’t know if she could stomach a fry up. 

 By now, Evie knew someone would have filled Polly in on what had happened last night. Even then, Evie wouldn’t put it past the woman for her to have found out through some supernatural means. She had an uncanny habit of doing that, always knowing what Evie was going to say before she even said it. 

This morning was no exception as Polly made her way towards the now cooling pot of tea on the side and began to pour herself a cup. “I heard it was an exciting night last night.”

Evie chose not to say anything. She didn’t know where to begin and honestly, she was too tired to start what was sure to be a long conversation. All she wanted was to get to school and pretend like the night had never happened. 

“You could say that.”

“I could. I could also say that, from what Ada told me, it sounds like your father gave you quite the fright.”

“I don’t know if nearly being shot by your father counts as simply ‘quite a fright’,” Evie grumbled, aggressively biting the edge off of her toast. “I didn’t… It’s not his fault, I know. It was stupid of me to think he could go off to war and come back the same person but I did. Alright? I did and now I don’t know what to do, Pol.”

Her aunt sighed. She gently perched herself next to Evie as she listened to her confession. She then pushed forward a bowl of porridge as an offering and made sure Evie ate some before talking. 

“You’re not stupid, Evelyn Shelby. You’re a lot of things and stupid isn’t one of them, alright?” she began calmly. “Secondly, I think you were being hopeful before, when you thought about your father coming home. You were just a child, Evie. What did you expect? There was nothing wrong with hope. God knows we needed as much of it as we could get with everything happening over in that Hell Hole. Your father did an admirable job hiding any details from you in his letters, but I’ve heard people talk. I know the horrors he must have seen.”

Horrors that now continued to plague him, or so Evie suspected. Why else did he sleep with a gun so close by? 

“You both did what you needed to survive, Evie. Now that everything’s changed, the war’s over and we’re trying to pick up the pieces of our lives,” Polly continued firmly, making it clear she didn’t want to hear her niece berating herself again any time soon. “There is no right or wrong way to feel. There isn’t a guide book on how we’re supposed to behave and act. It’s down to us to listen to one another. To protect each other and support our family."

She made it sound so easy. Evie didn’t even know where to start with such a request. Wasn’t it her need to make sure her father was ok that had got her into that mess last night? How was she supposed to support a man who wouldn’t even tell her the first thing about what he’d been through or how he felt?

Then again, it wasn’t exactly as if she was going to win an award anytime soon for her emotional honesty. She’d inherited that much from him. 

Evie sighed. She bit her lip as she tried to control the urge to cry. “Will we ever get back to how we used to be, before all this?”

“I could read your leaves but even then it isn’t a guaranteed thing,” Polly exhaled, letting loose a plume of smoke from her lips. “There are somethings even the spirits can’t help with or answer. This is one of those things… There’s a darkness in men, Evie. They each have their own demons to fight, just as we women do too.”

“Demons?”

Was that was she was calling the nightmares plaguing her father and uncles? It wasn’t fair. Hadn’t they all done enough fighting for a lifetime. They didn’t deserve to come home and have to continue fighting for their sanity as a result of a stupid war they hadn’t even started in the first place. To have their choices on the battle field haunting them. To have their sins linger…

“Does - does that mean,” Evie stammered, “being a soldier, he must have killed. They all must have. Dad almost did last night… Is he a good man?” 

It was the first time she’d ever uttered those words aloud, the first time she’d been brave enough to truly want an answer. Even after all she’d seen since she’d entered Watery Lane. 

“War changes men. I don’t think there is a set definition of ‘good’ but I know he loves you. He loves you so much he was willing to go off to war and be shot at for you,” Polly sighed, squeezing the girl’s shoulder comfortingly. “That’s all I care about and all you need to know right now. Your father needs to handle all of this, his own way. Give him time.”

“I gave him four years, Pol,” Evie sighed. “How much more time am I supposed to give?”

Nevertheless, she knew better than to argue any further, so merely looked back down at her porridge and ate silently. It was only as she went to place the dish in the sink that she finally saw the man in question. 

Her father was always a composed man, no matter how rushed he was. This morning was no exception. Despite the fact he was already running late, and hadn’t even done up his waistcoat yet, Tommy Shelby strolled about with utter composure. 

“Morning all,” he greeted, reaching for the teapot and a cup. His chipper tone was completely at odds with his exhausted appearance. The bags alone under his eyes alone made him look almost ill, no matter how hard he tried to hide it. 

“It lives,” Pol remarked, even if living was a bit optimistic for the state he was in. “Some of us have been up for hours, you know. John and Arthur are outside waiting to open. It was payday yesterday and half the town are banging on the doors.”

“What are you keeping the good people waiting for then?”

Polly rolled her eyes, murmuring something under her breath about Shelby men and curses as she stubbed out her cigarette and marched out of the room. It was time to unleash the masses and like a tidal wave, they would come, money in hand, bets ready to be placed. 

Hence why Evie was more than eager to make her escape. The last thing she needed was to be trampled to death in a stampede of factory workers and drunkards. So she hastily grabbed her bag and coat off the hook by the door, slipping both on as she made her way past her father and toward the rear exit. 

“See you later,” she gasped.  

However, she hadn’t even made it to the door before she heard her name called. She paused, looking back over her shoulder. 

“Yes?”

“I want you home straight after school tonight,” Tommy began, his tone oddly calm. “Alright?”

Evie paused. “But I was going to go by the yard-”

“Well, change of plans,” Tommy interrupted, smiling as he tried to soothe the sting in his words. “Look, these streets have changed since the men came back. I don’t feel comfortable with you wandering out there on your own.”

“But I wouldn’t be alone, I’d be with Uncle Charley-”

“It’s not up for debate, Evie.” His tone was starting to grate on her nerves, as was his distance. It was like when she’d first joined them all over again, barely seeing him except when he needed something or wanted to check she was still breathing. “I mean it,” he repeated, watching her for her acceptance. “For the time being I want you to come home straight after school. If you want to go by the yard then one of us can take you, but I don’t want you out there alone.”

Maybe it was last night that had rattled him. Evie couldn’t be sure, but if coming home meant he would relax for even a moment then it was the least she could do. “Fine,” she conceded, rolling her eyes and stealing a kiss on the cheek. “I’ll see you later.”

“See you later,” he echoed, a smile cracking his otherwise cool expression. “Now go and show them other kids what Shelby brains are capable of, ey?"

“On it.”

——-

Ever since that night she’d avoided his room or even discussing anything related to their nighttime conflict. Of course, she still heard the odd moan, thud or cry. Only the odd night or so passed without a sound coming from her father’s room, but Evie wasn’t blind. She knew nothing had improved, even if he had found a temporary relief.

Evie, however, had found no such relief. 

She was starting to go stir crazy in this house. It was now so loud, so crowded. Even though she wouldn’t have changed having them home for the world, she could have done without the noise and interruptions her father and uncles brought with them. Especially when she had work of her own to do that didn’t involve horses, betting or being a Blinder. 

She’d resorted to studying at Polly’s sometimes after school. She’d also resorted to utilising the Garrison during the quieter periods, when she knew almost no patrons would be inside. Harry never minded, in fact he was rather supportive, letting her and Lara (when her brothers drove her mad) utilise the private room for her study sessions. 

At least they both understood the struggle of a busy, testosterone fuelled house. They also understood the necessity of having female allies to get through it all.

Like now, Evie had strategically placed herself in the parlour where Polly just happened to be sprawled out by the fire, a book in one hand, a cigarette in the other. She felt somewhat bad, utilising Polly as a human shield like this, but considering it was that or failing her maths test, Evie would take her chances. 

“All done, Pol!” 

Her aunt was quick to appear over her shoulder, glancing over at the girl’s work for herself. It was only after she’d given her nod of approval that Evie closed the book and put it back in her satchel by the door. 

“Lord only knows where you get yer brains from because it certainly isn’t your father.”

“What can I say?” Evie grinned, trying not to let the praise make her too giddy. It wasn’t often anyone ever received it in this house, let alone from someone so important - or at least in Evie’s eyes. Her Aunt was one of the people she most admired in the world, and one day she’d have the confidence to say it to her face. “I’m a natural. Must be the Shelby luck.” 

“It’s something alright,” Polly smirked, lighting the cigarette she’d had perched between her lips. “At this rate you’ll sail right out of Birmingham and to the stars one day. There’ll be no stopping a smart woman like you, not in today’s world.”

Evie secretly hoped she was right, even if she felt guilty at the thought of sailing beyond the smoky horizons of Birmingham one day. “If we can now have a woman in Parliament then who knows what’s waiting for me out there?”

“Amen to that - but don’t let the others hear you saying it.” Polly smirked again before shaking her head as her name was bellowed from somewhere else in the house. “Now go on. Get out of here, I don’t need anymore Shelbys under my feet.”

Evie didn’t need to be told twice. 

She was quick to gather her things and run them back upstairs, to her room. As usual, she placed them back by her bed, spreading the rest on her makeshift desk by the window. She loved that spot. It always managed to catch any sunshine the city offered, as well as offering a decent view of the houses nearby. 

It was a great spot to think in. To write. To dream of a world beyond the smoky streets of Birmingham such as the one Polly had just described. As she argued, there was nothing wrong with her dreams and she knew it. It was more the guilt at thinking of needing anything other than what Evie had here that kept her quiet. 

She knew her family would never see her desire for more as anything other than insulting. Or nonsense. So, she was content to keep such dreams to herself, mere scribbles in a journal. Mere stories she wrote by candlelight and stored in her desk, under lock and key. 

Maybe one day she’d do more with them. Publishing them had always been a possibility, as had living them to the best of her abilities. 

Why couldn’t she have daring adventures?

She was a women. Yes. She was young. Yes. But why should that stop her from doing anything?

Evie chuckled at the thought, hurrying back out onto the landing. She couldn’t see her family sharing her opinions, other than maybe Polly and Ada. She knew giving them her copy of Mary Wollenstonecraft had been a dangerous idea. 

Speaking of dangerous, Evie couldn’t help but pause as she reached her father’s doorway, staring inside. She hadn’t dared step over the threshold since the other night and the ordeal she’d experienced inside. It wasn’t one either of them had been willing to repeat. Even now, she knew she should have turned away and kept walking. 

However, curiosity had always been a weakness of hers. 

Her eyes flickered toward the nightstand. 

It was as if a siren’s call echoed from it, coaxing her in, coaxing her closer. 

Before she knew it, she had strolled over, opening the drawer and staring inside. Just as she’d suspected, her father had left the gun tucked away, wrapped in a cloth and out of sight. He would never agree to throw it out entirely but at least they’d found a compromise. The bullets loose in the drawer were all the proof she needed that the previous threat had been eliminated. If he now woke up and tried to fire, the worst he’d be capable of was giving someone a fright. 

The wall, and the family’s sanity, were most grateful not to be at risk anymore. Despite that realisation though, Evie felt a sudden urge ran through her to hold the gun. 

She knew better than to touch it, even if a part longed to. To examine the item that had almost ended her life. To know what it felt like to hold one, to know what damage she could inflict upon an other if she so chose. 

She shook her head. 

She’d stayed long enough as it was. 

Yet, as she went to close the draw, something caught her attention. Something she hadn’t expected to see. 

A pipe? 

Since when had her father moved from cigarettes to a pipe? 

Evie paused, checking the coast was clear before she picked up said pipe and held it up to the light. Almost immediately her face dropped. She didn’t have to be an idiot to know what was inside wasn’t tobacco. In fact, it was a smell she knew uncomfortably well from the streets of her old home in London. 

Opium. 

It had almost been a pandemic in London. She’d heard enough talk of dens that had opened and of the roaring trade being run through the docks of the stuff. Her neighbours had always been ones for gossip and there had been more than enough of it to go around regarding the filthy stuff that appeared to be flooding the streets. 

She’d heard what it did to those consumed by its enticing grip. She heard of their decay, physically and mentally - if they escaped being caught taking it and sentenced to prison. 

She’d even witnessed it first hand. The amount of times she’d seen addicts, penniless and lining the streets as they begged for money to fund their habit, was heart breaking. But such was London. It was a place for both the elite and the tormented souls that comprised the lowest rungs of society. 

Evie’s blood ran cold to think of such a substance in her house. To think of someone she loved taking it. 

Anger flooded through her, followed by disappointment. 

She didn’t know what to say or think. Instead, she chose the safest option for now, which was putting the pipe back inside the drawer and closing it shut. Out of sight, out of mind, or so she told herself, hurrying out of the room. 

Confused was an understatement for how she felt right then. Did she say anything, even though that would prove she’d gone into his room? 

Did she not mention what she’d seen and simply hope her father would confide in her? 

Or, maybe he’d simply stop taking it?

It was official. Being a Shelby was too complicated. When had this become their life? Where had the care free, simpler version of their family gone? The family who had spent summers cloud watching, and made each other laugh so hard they peed. They were never perfect, but no family was. 

But nightmares and opium? It was a world away from what Evie was used to.

She didn’t care what Polly had said. Giving it time wasn’t something she believed she could do. Not when it made her heart race and her palms sweat. First, she had been shot at and now her father was an opium addict…

She had to get out of the house - preferably before she lost her sanity. 

——

She wasn’t the first Shelby to escape the house by covert means. 

Evie had discovered that fact for herself some time ago, after catching her Aunt Ada doing just that one night. 

Ada had often been off by herself, enjoying the higher sides of life in the city - or so she said after being caught by Evie one night, shimmying in the bathroom window. Apparently her window had jammed shut, leaving her caught off guard. 

Of course, Evie hadn’t said anything to anyone, finding the whole thing rather hilarious as Ada tried to gracefully sneak in, her fancy dress and mud stained heels doing their best to give her away.

In exchange for mutual silence, they’d agreed a plan. From then on, Ada had been all too willing, assisting Evie in selecting something appropriate to wear. She’d also been the one to give her the first pair of proper heels she’d worn too. 

“Here,” she’d smiled, offering a slightly worn navy pair of t-strap shoes. “They’re your size but I haven’t worn them in ages. They deserve to see some fun again.”

And, boy - had they seen some fun since then. It was that same fun Evie longed for then, staring out the window and sighing. Another night of house arrest was akin to torture, especially if there wouldn’t be anyone home with her anyway. Polly would be at her home, Arthur and the men would be down the Garrison, and she suspected Ada was going to be out herself. That only left her, and her father, if he didn’t have some last minute business to attend to. That, or if John and Arthur tag teamed him.

It was Saturday night. Was it truly so bad for her just to want to have some normality in her life, some excitement? Most people she knew would be out on the town… and now, so would she. 

Her plan made, it had almost been too simple to get away with it. After all, Lara had been begging her for a night out on the town for weeks now. She’d called her friends when it had been quiet, and agreed the details as per their usual routine.  

All she had to do now was sit back and wait - a task she didn’t realise would be quite so challenging. Not when every moment that passed made her all the more tense and itch with a need to escape the house and the chaos within it. 

For example, the meeting that had been happening across the house was making Evie’s mood steadily worse. Even sat with Finn by the fire in the parlour, it was hard to miss a word being said. 

They had been discussing business for the last hour, debating races coming up, issues with the office and staff, as well as a few skirmishes here and there. Apparently the Shelbys weren’t the only ones interested in expanding their business and takings now that the war was over. 

“We’ll need their support if we want to keep that side of the territory,” her father explained, watching a very irate John and Arthur rile themselves up at the prospect of a fight. “We need to offer an alliance to the mill workers. They know what’s going on in that part of the city, as well as the fact they sit dangerously close to the Lees.”

“We can’t let those bastards snatch their support,” Arthur roared. “We need man power. Tom’s right. We need to send over an offer of peace.”

“I can do it.”

“You, Tom?” Arthur blinked. “It’s dangerous territory over by the Mill. Let one of the other lads deliver the message. It ain’t worth the trouble.”

“Then it shouldn’t be a problem, eh?”

“Tom-”

Tommy shook his head, chuckling as he patted his older brother’s shoulder. “Come on, Arthur. I can take care of myself. Besides, there’s three Shelby brothers. Mum had her heir and John can be the spare if anything happens to me. What’s one less Shelby?"

The laughter from the group was instantaneous. Except for Evie. In fact, she could feel her blood boil as she turned and stormed from the doorway. Any guilt that had been lingering in her gut about her nocturnal plan had evaporated at the comment. 

How dare he? How dare he prance about like some king of the castle? He’d swanned off for four years, leaving everyone and everything behind as if they had been a pair of old socks. 

He could risk his life in the trenches? 

He could disrespect the miracle of his survival, something so many had been deprived, by risking his life again now? 

He could take opium whilst ordering her about? Lecturing her about self preservation?

The hypocrisy was nauseating. 

Evie swallowed, her fists clenching as she ignored the urge to say something stupid and start a fight she knew she would never win. There was stubbornness and then there was Shelby stubbornness. Instead, she stormed down the hallway, heading towards the parlour. 

It was official. If Tommy Shelby could do whatever the hell he wanted, then so could she. 

[appleciders]

personally, im also deep in the station 19 muck but like you i wish i wasn't. randomly watched it because pandemic and maya bishop is just so compelling, even with all the bad writing i still love her sm. is there anything you would want to see for season 4? your hair cut fic was so good and i cant stop thinking about how much better the season would have been had it ended like that instead.

first off, sorry to both of us for being here! but i guess let’s take escapism where can get it, hey. second, thank you so much for reading the fic!! i’m super honored you liked it <33

as for what i would want for s4...whew. a lot, lmao. i’ll put in under a cut to save my poor non-s19 followers.

mostly, i want them to please slow down the pacing. let story arcs breathe and build and develop. last season was so rushed—ryan’s death and rigo’s death and pruitt’s death all crammed in, andy and sullivan having a shotgun wedding out of nowhere, maya and carina fastforwarding to i love yous with only 30 second scenes and not a real date to be seen, vic hardly getting to process ripley—i could go on. it’s cheap and messy storytelling. cut it out. 

i also really want them to let relationships do the same. i want to see the friendships that were so strained last season to grow again. show me andy, maya, and vic being friends and supporting each other!! for the love of god!! (show me andy and maya being friends, period. for the whole season. the whole goddamn season. no drama between them, only supporting each other through outside drama. if i have to see another season where these ‘best friends’ are at each other’s throats half the time, i swear to god.) 

show me more team-as-family! a) i eat that shit up, and b) that’s supposed to be the underlying theme and premise of the show. show them laughing and goofing off together, show them holding each other up when things get tough, show them teasing each other to hell and back while they cook together in the beanery. invest in that again.

for the romances....develop that shit. honestly, i really hope andy and sullivan either break up or really do the fucking work to fix their relationship, because as-is, it’s a hot mess. and not a hot mess i particularly care to watch. i liked them fine in season 2, but the sullivan arc in s3 (which...not to out myself as having watched chicago fire, but which is a blatant rip-off of severide’s s1 arc in cf) puts him in a place where he’s not really ready for a relationship. and with the amount of shit they put andy through, she’s not, either. i know it’s impossible on a drama, but i would really like andy to be single this season? idk, i’m tired.

maya and carina better not be all sunshine and rainbows. they need to do the work! they need to show the work! after that rushed-ass ‘forgive me’ scene (where carina was...pressured into forgiving maya like the day after she cheated on her??? and that was framed as a good thing?? make it make sense), they deserve to show them actually navigating that broken trust and rebuilding something real. and as someone who doesn’t watch grey’s, i really don’t know carina very well? 90% of her scenes were her supporting maya through her ongoing breakdown (though a  totally understandable breakdown! not criticizing maya for having trauma), so i’d like to see more of a balance of support in the relationship and more development of her as an individual apart from maya. she’ll be sticking around, and that will be much more interesting if she bonds with other members of the team.

dean and vic...look, my hands-down #1 wish for season 4 is that they treat vic hughes well, with respect, with screentime, and with a good arc. she’s the absolute best. and as much as i love dean miller (hint: a lot), he needs to start guzzling his respecting vic juice if the writers are gonna try to set up anything. personally, i’d really like to see them move past it? awkward crushes between friends happen. putting myself in dean’s shoes, living with one of my best friends who i’m also secretly crushing on, watching her play with my baby...it’d be a lot too!! but that doesn’t excuse being a dick, so i’d really like to see them take some time apart, and then start their friendship back up on a foundation of honesty and communication. because they’re so good, guys.

individual character notes!!!

well. i want every person at this goddamn station to go to therapy. they won’t, but i want them to.

andy needs to go to serious grief counseling after season 3. compounded by what’s bound to be a shitstorm from the discovery that her mother is alive? please. in regards to the whole mother arc, i really don’t want it her disappearance to have been like...gang-related. i’ve seen that posited as a theory, and that’s just a whole bundle of stereotypes we don’t need to get into. i also want the mom reveal to be the main revelation that takes up the majority of her arc the first half of the season, just to have time to process it. the captain’s race took up all of season 1—you can give this twist time to marinate properly.  

vic hughes, my moon, my stars! i really loved the snippets of vic’s backstory that they gave us in s3. as someone who lost a family member to early-onset alzheimer’s in november, 3x09 was...oof. a lot. i love how they committed to fleshing out her past and her backstory more and i love the emotional depth barrett doss always brings to the screen. for season 4, i’d love to see vic get to process ripley and jackson properly. (and here i repeat my forever adage for female characters lol: let them be single for a hot sec.) i want her to move in with maya, because i think that dynamic is so fun and ripe for exploration, and then i’d love to see her digging in to her issues and getting help—going back to the firefighter group, actually talking, spending time with her found family. (sidenote: would love to see her help out with some like youth community theatre classes on her days off? developing connections with kids who have gone through losses, supporting them and in turn realizing the support she needs herself...tell me vic singing with kids wouldn’t be the cutest shit). anyway, i just rly want her to get a good storyline. but i’m not a screenwriter so like...hope they come up with one!

i’ve already written much more than i’m sure you wanted, so i’m going to condense the boys into one paragraph lol. i want jack gibson to heal himself and stop sleeping with taken women! his new found family is super sweet, so i really hope he gets to keep it throughout s4. i want travis montgomery to get only good and happy things, and the same goes for warren. actually, i’d love to see warren step into his new role as team Older Person a bit more? i think that would be a really fun and heartwarming dynamic to play with all the other characters. dean i think i already touched on, but i’d love him to take a breath, apologize to vic and explain, and lean on the rest of his found family. he’s gonna be such a good dad and i’m excited to see more of that.

finally: maya. oh, maya. she needs therapy. you can’t have a character say she’s been dealing with suicidal ideation and anxiety for nearly 20 years and just...magically make it all better. she deserves to get to unpack all the shit with her dad, and all the ways that’s impacted her. on some level, i kinda wish she’d not stayed as captain—i love her scenes so much when she’s allowed to be just chilling on the same level as her team. since that’s not the case, finding a right balance of her as captain and her as friend is gonna be super important. i want her to open up to her friends and lean on them. i’d love for mason to come back, too? i think her trying to heal herself, establish herself as a team member and leader, and rebuild her relationships with her brother as well as her found family and girlfriend would be more than enough material for an arc. it won’t always go great! this stuff isn’t an easy fix! but that’s why it’d be worth writing. plus, so many members of the team have shitty relationships with their parents that even though they won’t understand what maya went through, there’s some really fertile ground for compassion and cathartic ‘fuck our dads’ ball-busting i’d love to see seeded. bonus father’s day episode where literally none of them are happy and they decide to like...go play laser tag or something.

anyway, i’m sure that’s more than you wanted!! but thank you for the q lmao apparently i had a lot to say

[aion-rsa]

Doctor Who: Why Jodie Whittaker’s Doctor Needs an ‘Everybody Lives!’ Moment

https://ift.tt/39pw5MX

Doctor Who! The children’s own show that adults adore.

Doctor Who, as a format, requires an intrinsic joyfulness in its stories to be so adored. If adventures become too continually grim, or not sufficiently fun, then ultimately there’ll be a tipping point where it becomes implausible for the story to continue. Why, ultimately, would the character keep travelling if they weren’t enjoying it? And even if they did, would this be something that would sustain a family audience?

It’s not that you can’t have darkness in Doctor Who, it’s just that it can’t be sustained and eventually something has to give. As such, there’s an inherent optimism in a lot of Doctor Who, even in episodes where it isn’t high in the mix. For the show to make sense, there has to be some hope that wrongs can be righted.

For example: even though William Hartnell’s Doctor starts off trying break his own programme by getting rid of Ian and Barbara as quickly as possible, the show quickly settles into “a great spirit of adventure”; the Second Doctor comforting a grieving Victoria by pointing out that “nobody else in the universe can do what we’re doing” followed by the Doctor letting Victoria leave the TARDIS because it’s the best thing for her. In both cases, the gesture is one of compassion. The Fourth Doctor refers to Sarah Jane Smith as his best friend and she only leaves because he has to go somewhere she can’t (His home planet of Gallifrey, something that on original broadcast had more dramatic weight as he’d only visited it once before in the series and then been forced into regeneration and exile).

When Russell T. Davies relaunched the show in 2005, the unspoken idea became explicit. “Can I just say: travelling with you…I love it,” says Rose Tyler, who – despite portentous trailer statements – survived her travels. In episodes of The Sarah Jane Adventures Russell T. Davies expanded on the Tenth Doctor’s victory lap in ‘The End of Time‘ to make it more celebratory, giving past companions happy endings (some in stark contrast to their grim fates in Nineties’ spin-off media). The departures of Rose and Donna are tragic, but the journeys to get there are framed in terms of joy and excitement.

The next showrunner, Steven Moffat, preferred happy endings. Companions had previously been married off (Susan, Vicki, Jo, Leela, Peri) as they left the show. Amy Pond got married and stayed, travelling with her husband. This was a leap forward, but unfortunately the following series’ pregnancy storyline was handled poorly and attempts to deal with its repercussions were not successful either. Clara, the next companion, dared to be like the Doctor but unlike Donna managed to both die and have a happy ending.

Moffat enjoyed Immortal LGBT+ Women Having Adventures in Space so much that he used it again for Bill Potts in Series 10. An important aspect of both characters’ storylines is that they suffer a terrible fate, but the version of Doctor Who in which companions die is rejected in favour of one where they get what they live happily ever after. Moffat, a comedy writer to his core, was unwilling to make Doctor Who a story where travelling on the TARDIS left you in a worse place. Davies also tried to give his companions happy endings of sorts to ameliorate their loss.

If we look at the populist peaks of the show, Doctor Who has never been overwhelmingly cynical. Whenever it’s been taken in a darker direction it usually rejects that approach in favour of a lighter balance. In Season 21 the show put its characters through a series of almost unrelenting grimness (‘The Awakening’, the story where a demonic entity attempts to get an entire village to slaughter each other is the light and fluffy one) culminating in the Fifth Doctor’s heroic regeneration story ‘The Caves of Androzani’– voted the best Doctor Who story in several polls – where the Doctor goes to extreme lengths to save his companion and distances himself from the violence that surrounds him.

And then in the next story ‘The Twin Dilemma’, the Sixth Doctor strangles his companion.

Read more

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Taking ‘Grimdark’ storytelling to mean stories in which violence and misery is perpetuated throughout the story universe in a seemingly never-ending cycle, that period in the show’s history is a perfect example of it. Why diminish one of the finest stories ever by immediately negating the heroism involved? Why would you have the main character reject the violence that he’d become a part of only to immediately embrace it again? Among the many problems it means we have a Doctor/companion relationship that seems grim at best. Why would you keep travelling with someone who strangled you, refused to apologise and then continually harangues and shouts at you? I don’t watch Doctor Who to see the companion trapped in an abusive relationship. I also don’t think it’s a coincidence that the ratings went down as the production team systematically removed as much hope from the show as possible, ridding it of that great spirit of adventure. After ‘The Twin Dilemma’,the show was put on hiatus, and ultimately cancelled.   

Which brings me to the current version of the show.

I don’t think Jodie Whittaker is miscast or that the current version of the show is woke nonsense – which is a relief because I think using the phrase ‘woke nonsense’ unironically is quite the red flag. I think that the enthusiasm Jodie Whittaker has for the part hasn’t been used well, because we currently have a Doctor who is great at showing unabashed joy travelling the universe, but whose stories lean towards grimdark and don’t give her anything approaching ‘Everybody lives!’

One of the most lauded episodes in Series 11 is ‘Rosa’, which was co-written by Malorie Blackman and showrunner Chris Chibnall. In it, the TARDIS crew see Rosa Parks in the run-up to her being arrested for violating segregation laws, and need to stop Krasko – a mass murderer from the future – interfering in this event and stopping it from happening.

The inclusion of Krasko makes an interesting and depressing point in this story, and I’d be fascinated to know the villain’s development in the writing process. For what we have here is a story about an important act of defiance that changed human history, and is celebrated for its impact, alongside an acknowledgement that there will still be racists in the future. In fact, there will be racists who murder 2,000 people in the future. Racism and its associated violence is not, the episode says, going to go away.

In isolation this might seem like optimism tempered with caution, but since Chris Chibnall became showrunner, edgy, provocative ideas have crept in and given stories a cynical edge. Small moments have a cumulative effect, such as Epzo’s story about his mother in ‘The Ghost Monument’, Robertson surviving ‘Arachnids in the UK’ without learning any moral lessons and indeed likely to cause more suffering, ‘Kerblam!’ ending with the system that blew up an innocent woman being allowed to continue (while closing the warehouse for four weeks and offering employees two weeks’ holiday pay), Daniel Barton escaping freely in ‘Spyfall’ while the Doctor wipes the memories of someone doomed to die, ‘Orphan 55’ shows us the unavoidable destruction of the human race, as does ‘Ascension of the Cybermen’. Under Moffat, we had some episodes ending with cynical quips that left a bad taste in the mouth, but under Chibnall the bad taste is there before the outro quip.

Series 11 showed us a joyful Doctor in a nasty universe, and the latter regularly overwhelms the former, but at least ended with Graham and Ryan clearly rejecting murder as a solution. Series 12 was less focussed on real-world evils, and uses them on the fringes of its storytelling (with the Doctor now seemingly embroiled in the universe’s cynicism, using Nazis to imprison a Master now played by a British Indian actor), but we’re still getting real issues reflected back at us along with the message that the Doctorcannot sort this, which is based on the false assumption that this is what Doctor Who is for.

I hope that this is building towards a reversal, that the Thirteenth Doctor gets her Androzani moment where she gets to take a stand against everything that she’s seen. However, we have now had a fully grimdark finale as the lasting impression of Doctor Who for nine months. ‘The Timeless Children’ has proven controversial for its approach to continuity; as well as the retcon of the Doctor’s history this was a ‘Twin Dilemma’(also the last story in its season) to ‘The Day of the Doctor’s Androzani. The heroism is now nullified. When we watch ‘The Day of the Doctor’and the day is saved at the end of the story, now we know all the Doctor has done is defer those deaths (those two billion children’s deaths) and the cycle of violence will continue. At the end of ‘The Timeless Children’the following is presented to us as the good guys winning:

The heroine cannot bring herself to destroy the animated corpses of her entire species, so Joe from Derry Girls has to do it for her. An entire planet now a lifeless husk. The main character’s centuries of trauma are revealed. Their best friend is now a genocidal maniac.

cnx.cmd.push(function() { cnx({ playerId: "106e33c0-3911-473c-b599-b1426db57530", }).render("0270c398a82f44f49c23c16122516796"); });

This is Doctor Who in 2020: violent, cynical, cyclical. A mirror when it should be a window. If Series 13 repeats these trends then I fear history may repeat itself once more. But then, what is Doctor Who mostly about if not seeing a cycle of oppression and then breaking it?

The post Doctor Who: Why Jodie Whittaker’s Doctor Needs an ‘Everybody Lives!’ Moment appeared first on Den of Geek.

from Den of Geek https://ift.tt/39z4Rn4

[judemahoney-blog]

The Best Way to Learn History is to Read Fiction

Why study historic fiction?

A former ee-e book membership member HATED it while the organization study historic fiction. She become adamant that analyzing novels approximately real historic occasions become a waste of time. All the ones conversations withinside the ee-e book have been made up due to the fact nobody alive now may want to probably recognize what have been stated among characters in a preceding generation.

Historical fiction is simply FICTION, she declared.

I adamantly disagreed.

“Writers do lots of studies earlier than crafting a historic novel, regularly gaining access to real journals, letters, and newspaper articles of the time. They recognize the outstanding gamers of the period. They recognize approximately the dialect, the costumes, the residing conditions, the political situations, and the accoutrements of lifestyles after they write their novel. Isn’t it higher to get a FEEL for the generation and a few information of the problems and the peoples’ responses to them than to be placed to sleep with the aid of using a few dry, dull, dull nonfiction textual content or flat-voiced biography?”

(My apologies to biographers and nonfiction writers everywhere. This become a announcement I made earlier than I started out analyzing a number of nonfiction and knowing that now no longer all biographies have been dull. Not all records texts have been dull.)

My pal became her head away and lifted her nostril barely as though the scent of what I had stated become offensive.

We by no means got here to any type of settlement approximately the fee of historic fiction. For her, it become nonsense — a waste of highbrow energy. For me, historic fiction is a joy, the first-rate manner to research records.

Ironic, don’t you think?

I discovered extra approximately records from made-up memories than I did from a presentation of the facts.

What’s the first-rate a part of historic fiction?

History.

Of course, the tale is important. It has to have a compelling plot, interesting, third-dimensional characters, sensible dialog, and keep-it-transferring pacing. The writing is important. The cowl design, ee-e book blurb, strengthen reviews, and exposure are tantamount to a ee-e book’s success, however it’s the records of a historic novel that entices me.

I am now no longer by myself in taking part in historic fiction. It’s a famous style with the strains among literary fiction, women’s fiction, historic fiction, or even thriller and suspense blurring.

I discovered some distance extra approximately records from analyzing novels than I ever did from analyzing a textbook

I become a great scholar in excessive school. I sat withinside the the front row, took notes, and paid interest to regardless of the instructor stated. (No note-passing, spitballs, or having a pipe dream for me!) But as attentive as I become, I didn’t get plenty concept of records outdoor of some simple concepts. I discovered the Civil War took place from 1861–1865 and that the most important problem become slavery. I knew that World War II started out for America with the bombing of Pearl Harbor and that hundreds of thousands of Jews have been gassed in chambers with the aid of using Adolph Hitler. America received her independence in 1776; there has been a “Cold War” with Russia, and we landed a person at the moon in 1969.

My information of records existed of simple dates and standard terms.

But as an avid reader, I actually have discovered some distance extra records from novels than I ever did from textbooks. Not handiest have I discovered approximately historic movements, however I’ve internalized them. History is a part of my waking focus due to the memories I’ve study. I recognize how exclusive occasions impacted the human beings of the time. I get how the numerous viewpoints of a criminal selection stirred controversy and the way wars affected households on a private level.

What I’ve discovered approximately records from analyzing fiction constitutes a large catalog. If you consider it, you’ll in all likelihood give you a protracted listing of historic occasions you wouldn’t have understood with out analyzing, too.

Here are only some of mine off the pinnacle of my head.

America’s First Daughter with the aid of using Stephanie Dray and Laura Kamoie taught me approximately Thomas Jefferson’s slave-retaining past, his dating with Sally Hemmings and her offspring, and the lifestyles of his high-quality daughter, Patsy Randolph.

Julie Orringer’s The Flight Portfolio taught me approximately Varian Fry and his Emergency Rescue Committee who smuggled artists, writers, and philosophers out of German-occupied France on the onset of World War II.

The position of Guernsey Island in World War II — and the spirit of the Resistance Movement, as properly the transportation of kids to maintain them safe — have become clean to me from studying The Guernsey Literary and Potato Peel Pie Society with the aid of using Mary Ann Shaffer and Annie Barrows.

The Bronze Horseman with the aid of using Paullina Simons introduced to existence the brutal situations of existence in Russia all through Hitler’s march to Leningrad. (I didn’t recognise that human beings had been ravenous and died withinside the streets!)

I could now no longer actually have a touch of an concept approximately the American whaling enterprise of the 1850s with out studying Moby Dick with the aid of using Herman Melville.

Did you recognize approximately the child-abduction-trafficking operation run with the aid of using Georgia Tann withinside the early 1940s? Me neither. I found out approximately it from studying Lisa Wingate’s Before We Were Yours.

While I’m on Lisa Wingate’s work…I dabble in Civil War records, however I had by no means heard of the Lost Friends pages of the Southwestern Christian Advocate, a manner for greater than 3.five million freed slaves to discover misplaced pals and relatives. Check out The Book of Lost Friends.

I’ll possibly by no means get to the bullfights in Spain. And I dislike Ernest Hemingway’s writing, however I felt the color, the manic energy, the violence of bullfighting in Spain with the aid of using studying The Sun Also Rises.

How did they construct the ones big cathedrals 800 years in the past with out high-powered system or computer-aided design? I located out. Read Pillars of the Earth with the aid of using Ken Follett.

Did you recognize that one of the maximum beautiful, glamorous girls of all time became additionally the spouse of Hitler’s fingers supplier and one of the first-rate clinical minds of the time? Read how Hedy Lamarr helped create the cutting-edge mobileular telecellsmartphone in Heather Terrill’s The Only Woman withinside the Room.

I should cross on and on and on. You get the picture.

Reading ancient fiction has coloured my selections and modified my movements — I clearly accept as true with it has made me a higher person. — Crystal King

Reasons to examine ancient fiction

Anna Diamond in The Atlantic: “Using Historical Fiction to Connect Past and Present” gives motives to examine ancient fiction as adults — and as kids. She remarks at the strength novels have withinside the lecture room with the aid of using

easing into hard topics

providing a couple of perspectives

developing a story — a story arc — that heightens exhilaration and the choice to recognise what happened

growing empathy while the testimonies experience personal

“humanizing” records, and making it approximately actual human beings, now no longer dates and statistics.

reducing the skepticism of minority college students who won't accept as true with that textbooks appropriately constitute their testimonies

enhancing vital questioning capabilities with the aid of using encouraging discernment among truth and fiction, fact from falsehood.

She notes,

“ historical fiction books can provide the chance, if taught conscientiously, to interact college students with a couple of perspectives, that are crucial to information records; to assist college students recognize ancient styles and political analogies; and to introduce college students to historiography — how records is written and studied.”

No marvel I like ancient fiction. Not most effective does it assist me find out about the past, however it additionally enables me make selections withinside the present. From studying, I’ve visible the effects of different human beings’s comparable movements and might weigh my selections with theirs.

Reading ancient fiction also can assist me see tendencies for the future. If people repeat the equal styles over time, we recognise what may lie ahead. Heather Webb, the writer of Rodin’s Lover, says it best:

History is likewise a window into our future. As creatures of habit, we stay our lives in a chain of styles and movements. Studying those styles may be beneficial in predicting what comes next, how we need to put together ourselves, or maybe what we need to communicate out towards in a significant manner.

What greater should you need from a book? Reading ancient fiction offers you information of the past, readability withinside the present, and foreknowledge of the future. It takes you to exceptional eras and exceptional places. You get to recognise heaps of characters. It’s knowledge, however it’s additionally simply simple FUN!

[stop-breaking-my-heart-telltale]

Anons wanted an explanation for the placements I had on my previous tier list, but upon going back and looking it over, I realized that I wanted to move a few characters around, so I ended up getting a new template and remaking it. 

I wrote little bits about each character [yes, each one] below the cut, but be warned, it’s long. 

SS  

“I love you so much that I would sell my soul to make sure you’re happy”

Lee Everett: Lee is a goddamn legend. He deserves to be at the very top. He’s one of the best protagonists I’ve ever played as in a game, his backstory is incredibly interesting, and his relationship with and dedication to protecting  Clementine never felt forced and is one of the highlights of S1. Even now, having replayed S1 a million times, seeing him get bit and slowly become weaker and weaker as he refuses to give up on Clementine still breaks my salt encased heart. Watching him die in the end never fails to put that lump in my throat. I love him.

AJ: I love this kid. I was so worried that they wouldn’t do him justice when the game was announced and I saw the trailer, but I was floored by just how much I grew to love him. He feels like my kid, my responsibility and I want him to grow up strong and smart, but also human. His voice acting is terrific, and I think he’s one of the best child characters we’ve ever been given in video games. His relationship with Clementine rivals Lee and Clem’s relationship and that’s what I wanted. This kid earned his place at the top. 

S4 Clementine: This Clementine is my absolute favorite. While I love all the Clementine’s across the four seasons, I feel like she truly hit her peak in S4. I fucking love her, I’m proud of who she grew up to be, and seeing her journey to this point only solidifies that she’s my favorite. She’s strong and stern, but she has her softer moments with AJ and Louis/Violet, and what else is there really to say? She’s Clementine.  

Louis: ....Do I really need to explain this? I mean, c’mon. If you’ve been following me for a long time- shit, if you’ve only been following me for a few minutes, then y’all know how much I love Louis. I can say with 100% certainty that Louis is my favorite non-playable character across all four games. I’ve made numerous posts, answered over a hundred asks, written thousands of words about him. Everything about him from his character design, his personality, his traumas, his voice acting, his expressions, his relationship with Clementine and AJ and Violet and Marlon and everyone- He’s the best. I love him. 

Rosie: Rosie is the bestest girl in the world. ‘nuff said. 

S

“I fucking love everything about you.”

S1 Clementine: Alright, before y’all come at me with the whole “Why isn’t little baby Clem SS tier you monster??” let me explain: I adore S1 Clementine. She’s still in S tier, after all. However, after playing through these games several times over again, I realize that this really is just the beginning of Clementine’s character and her growth. She’s lovable, she’s cute, and I want to protect her, but she’s not... a compelling character? She doesn’t fully come into herself and develop a stronger personality until S2. Like I said, I still love her and I can’t deny the impact that she had on the characters and us players, but she’s not my favorite Clementine of the bunch. 

S2 Clementine: I fucking love S2 Clementine. I’d actually say that she’s my 2nd favorite Clementine. I give S2 a lot of well-deserved shit, but she is the high point of it all. Something about her character is compelling to me, like how she’s stuck with a bunch of adults who underestimate her yet want her to do everything for them and she just... is so done with it hahaha. But her growth is what it really does it for me. We went from little baby Clementine who whimpered at a small cut on her finger to a Clementine who fucking sews her own arm up, covers herself in walker guts with barely a flinch, can shoot a gun with great accuracy and take down walkers like they ain’t shit, and can survive and make her own decisions. Also, her instant connection with AJ is great. Love it. Love her. 

Javier Garcia: Yo, I love this beautiful man. This man is honestly the best part of ANF, and without him it would’ve been such a shitty game. I found his backstory as an ex-professional baseball player booted from the league for gambling a cool concept. He’s hilarious and charming, too. Honestly, he deserved a better game with better, y’know? The only reason he’s not SS tier is because of the writing and his nonsense with Kate when you don’t want to romance her. It makes it seem like he led her on and then was like “Wait nevermind lol” which is annoying, but other than that, he’s great. Love his relationships with most of the characters, and the ending he got was pretty good. 

James: I don’t talk about him as much as I should because I find James fucking fascinating. If they ever made a DLC or a mini-game for twdg, I want it to be about James and his journey in finding and joining the whisperers, his relationship with Charlie, and how he escaped them. His views on walkers, his survival and killing skills, his past traumas haunting his every moment for fear that he’ll revert back to what he was, his extreme pacifism that ironically turns violent- just what a cool fucking character. And while he has his wild moments [cave scene, anyone? “Oh ouch!” hahahahahaa] he’s still one of my favorites. 

Violet: Oh, Violet. She’s amazing. I love her so damn much. If there’s ever been a character that I see a lot of myself in, it’s her.... which is why I tend to be a little harsh with her sometimes, but I can’t deny that she’s one of the most well-written characters across the whole series. She’s not perfect [both she and Louis do have their tiny inconsistencies that I blame the writing for] but that’s a good thing. And while I don’t ship her and Clementine, I 100% get why a lot of people do. Their relationship is adorable and way more compelling than her previous relationship with Minerva. 

A

“I love you <3″

Carley: My beautiful girlfriend... you were taken away far too soon. Carley’s one of my favorite characters from S1. I wish we could’ve had more time to explore a relationship between her and Lee, but what we did get is enjoyable. She’s a badass, and I will always love the moment she tells Lilly off for being a little bitch, even though it results in her death. Not a day goes by where I’m not salty about that one. 

Molly: Molly’s a goddamn badass. She scales buildings like it’s nothing, she named her weapon Helga, and her backstory with Crawford and her sister is terrific. Also, she’s funny and I love her. That’s that.

Omid: This dude was literally a light in S1. He brought us some humor when we needed it [ “...You broke that dude’s face.” ] and his relationship with Christa was so sweet. Also, him and Lee bonding over being history nerds? Yes, please. It’s bullshit that he was killed off two seconds into S2 but hey... S2 had a lot of bullshit in it so...  Justice for Omid 2k19. 

Luke: *deeeeeeeep inhale* Big Brother Luke did not deserve that bullshit. Literally one of the best characters in S2 and y’all just.... did him dirty like that. And for what? To make room for Kenny and Jane? Bull. Shit. Luke was so damn good, and the only reason he’s not higher is because of what they did to him after ep3. He starts out so kind and supportive and seriously like a big brother character then SUDDENLY he’s stupid and “makes it” with Jane while walkers are trying to eat us and then he gets himself shot and then fucking dies and akjsjdlkjasdkjaslkjasdklerwedascasads- 

S3 Clementine: ...So, here’s where y’all will probably get pissed. S3 Clementine is my least favorite of the bunch. Don’t get me wrong, I still love her and she is still in A tier, but... how do I explain it? She’s in her 13-year-old, emo/angsty phase and it’s hilarious when it shouldn’t be. There are moments where I do become emotional for her, like when David takes AJ away and Javi hugs her, or when Gabe dies and she’s saying goodbye, or when she gets her first period, y’know moments like that! BUT... then we have moments where Javi goes to talk to her and she’s all “HAVING PEOPLE IS GREAT AT FIRST BUT EVENTUALLY EVERYONE DIES” or when she straight up shoots that guy who gave her faulty bullets OR WHEN SHE’S LIKE “IMMA KILL ME A LINGARD” AND.......... it’s too much for me! I can’t take her seriously when she’s this angsty, even when I understand why she is the way she is. Again, to reiterate, I still love her but in ranking all four Clementines, she comes in last for me.... and I can already hear the shit that’s gonna be thrown my way haha

Conrad: The most underappreciated character in S3 and it’s nonsense. Don’t come for me, but this dude is my favorite npc in S3. I love Conrad, and I wish we got more of him. He does have his own little arch if you keep him alive through the end. His grief over Francine is heartbreaking and his downward spiral that leads him to act out and threaten Javi, Clem, and Gabe so that he can get his revenge is wonderful. And btw, he does apologize for pulling the gun on them and makes up for it in the future. And y’know what moves him up into A tier? The moment you let him kill Badger. One of the best kills of the game. I prefer it over beating the shit out of Badger myself. 

Aasim: This boy is my son, and I’m sorry, but he’s really fucking cool. You’ve got this kid who was sent to Ericson for being a pyromaniac [according to Kent, it’s not actually mentioned in game] and grew into this guy who documents everything so that they’ll have a form of history to look back on and help not repeat mistakes. His banter with Louis is funny, and even though he gets fed up with Louis for not taking anything seriously, he still cares deeply about him given how he reacts when Louis loses his tongue. His crush on Ruby is adorable, too. I just love him, he’s great. 

Marlon: Now, originally I put Marlon in a lower tier [the “I like your role in the story” type of tier] but upon reflection I actually find Marlon to be a compelling character. He’s high on the list because of how well he’s portrayed. Marlon has some of the best voice acting across all the games. There isn’t a single moment where I don’t believe what he’s saying, which says something. There are moments where Clementine will say something and I go, “Really? That’s the take they went with? Okay...” but not with Marlon. For only being in ep1, he played his part really fucking well. I won’t defend any of the shit he pulled because it’s awful, but I understand everything he did. He is a coward, a sheep hiding in a wolf’s coat, pretending that he’s got everything under control and putting all the pressure of a leader onto himself and it eventually breaks him. I know they killed him off to further the plot and show how ruthless AJ can be as a child growing up in the world, but I wish he survived past ep1 so that we could really get into the meat of his character. I’ll say it: I love him as fake-friend-to-full-on-antagonistic-character and his role within the story. 

Mitch: I fucking love Mitch and the only reason he isn’t in SS tier is because of how goddamn dirty the writers did him. You give me this boy- this butterknife wielding, foul-mouthed, angry, hilarious, bomb-making boy and make me fall in love with him and THEN YOU KILL HIM OFF IN THE STUPIDEST WAY POSSIBLE. “Oh, lemme just run at the crazy lady with a knife and- OOF! It appears I’ve been throat stabbed bleh-”  I’ve complained about this since ep2, but lemme say it again: Mitch had so much potential to be an amazing character but never got the chance to because we had to add to the death count and make us more afraid of Lilly even though it didn’t do shit because it was a reaction kill rather than one made out of malice. 

Tenn: Tenn is such a tragic character for me. In my personal canon ending, he dies because he was “messing up again” and AJ shot him. This poor kid was so full of hope that the walkers would go away one day, he’s so genuine and never wants to hurt anyone, even if they’re trying to hurt him, and he’s so fucked up from seeing Minerva that he stops thinking and tries to go to her even as she’s being devoured right in front of him. Tenn is like this game’s Sarah, but done right. He deserved better, but he was a well-written character and I love him. His friendship with AJ was so sweet which makes it even more heartbreaking when he dies. Yet another terrific child character. 

B

“I like you and/or your role within the story”

S1 Kenny: This dude is such a chaotic topic. I feel like 90% of the fandom has an incredibly strong opinion on him, and of that 90%, 45% of people absolutely love him and if you say anything negative you’ll get a boat to the head while the other 45% loathe him. Then you’ve got the 10% who don’t have such strong opinions, and that’s where I fall. I like Kenny, and I like S1 Kenny more than his S2 counterpart. He has a great arch throughout the season regardless if you’re his best pal or not. He has some funny lines, some emotional scenes. I’ll never forget the first time I played the scene where Kenny’s crying over Katjaa’s dead body while Duck is laying against the tree on the brink of death. And I definitely will never forget the part where he finds the boy in the attic. Overall, I like him and what he brought to S1. 

Katjaa: She was really sweet and her death broke my heart. I don’t have too much to say about her, but I liked her a lot. She loved her family and met a tragic end. 

Ben: Fucking Ben, man. This poor kid. Another character with wasted potential. I’ve mentioned this plenty of times before, but I wish we could get an alternative ending where Ben was the only one who survived and became Clementine’s new caretaker. There was so much room for growth. He just wanted to help out but kept screwing up and it’s just.... sad. 

Christa: I’ll be honest, the first time I ever played S1, I didn’t like Christa. Something about her rubbed me the wrong way and I didn’t care about her as much as I did Omid. However, the more times I replayed it, the more I grew to love her. She’s strong but sweet, and you can’t deny how much she loves Omid. And while I wish we did get to know what happened to her in S2, I can live with it remaining unknown.  

Chuck: As much as I like our guitar playing hobo friend who deserved so much more, I would probably put him a tier lower if it weren’t for the advice that he gives Lee on the train. Because of him, Lee stopped treating Clementine entirely like a little girl in need of protection and cut her hair, taught her to use a gun, and furthered their communication by building a plan together. Without Chuck and his wise hobo words, Lee might’ve fucked both of them over. Also, Chuck’s pretty badass with that shovel, he got a lot of chuckles out of me, but his death was off screen and disappointing. 

Andy St John: Okay. Okay okay okay. Andy. He is so high here [and so much higher than his mom and brother] because to me, he’s the scariest of the St John’s. Why? Because he’s the most normal-appearing of the three. He acts and talks like any normal guy would. He’s someone that I could see myself running into in real life. He’s so good at hiding how fucked up he is from everyone, unlike his brother who you can just look at and go “hahahahaha no thanks” and his mother who’s character design is just awful. I find him to be the strongest of the three, the smartest and the most dangerous. And the final fight between him and Lee is amazing. I love how you can be so furious with him that you keep punching him even after the prompt goes away and then his face goes all purple and swollen. Easily the greatest antagonist in S1.

Eddie: This dude is the best character to come out of the 400 Days dlc. End of story. 

 Alvin: He gave me a juice box and that automatically puts him here. Real great guy but we didn’t get too into his character. Wish we could’ve, though.  

Rebecca: She grew on me tbh. Didn’t like her in ep1 when she was being all pissy and all, but for the most part, she’s pretty good. 

Mike: I will forever wish the writers went through with the concept of Mike being one of the guys who attacked Christa because then he could’ve had a better character backstory. Regardless, I still like him. He’s pretty funny. 

Nick: Nick? Oh, you mean PURE WASTED POTENTIAL. I mean, they really did give us this super flawed but sympathetic and interesting character and kill him off-screen. They really did that. Honestly, S2 really pisses me off sometimes for the way they treated these characters. It all goes downhill once everyone escapes. Yeah, yeah, blah blah not everyone gets a meaningful death blah blah but y’know what? You can do better than that. I loved Nick and I was so excited to see what they’d do with him in the end but NOPE! Justice 4 Nick 2k19

Pete: What a good dude. He stuck by Clementine’s side even when everyone thought she was bit. Love him. Wish we saw more of him. 

Sarah: Ha. Ha. PURE WASTED POTENTIAL 2.0. What else needs to be said? This girl had the foundation for a great character but again, NOPE! I really liked Sarah! I wanted to teach her to use a gun to protect herself! The loss of her father fucking broke her and it was hard to watch but I wanted more and just ahaklsdjlaskjdlkakjaskjsaadkljas ahhhhhhhhhhhhhh-

Ava: Yo. Ava’s a fucking gorgeous badass. Really liked her and how she was sweet on Clementine. Also, it’s interesting that she stuck by David’s side like that. 

David: I have a lot of mixed feelings about David. On one hand, the complicated relationship between him and Javier is good, even if it’s a little bullshit at times. On the other hand, David’s an asshole.  But he’s a great antagonistic character. I do love that about him. The shit with him and Kate was a little annoying, but only because they didn’t ever elaborate on anything. On what level was the marriage fucked? Was it straight-up abusive? What happened to David’s first wife? Why did Kate and David get married in the first place? I got questions! But, like Javier, I think David deserved a better game with better writing. 

Jesus: This dude parkour kills walkers. Pretty fucking badass. 

Tripp: I feel like I don’t like Tripp as much as some people. I like him fine, but I know a lot of folks gush about him. I think he’s a good dude, a little pushy with Eleanor, but he’s loyal and strong. 

S2 Lilly: I fucking hate Lilly. I hate her so goddamn much. She pushes every wrong button with her bullshit “Where's our new recruits?? Lee would be so disappointed knowing he taught you all the wrong things! You’re one of my people now, Clementine” AND THE GODDAMN “Yes, Ma’am” SHIT. Nothing irks me more than every time someone from the delta acts like Lilly’s the baddest bitch and call her “Ma’am” I HATE IT AND I HATE HER. SHE KILLED MITCH. SHE KIDNAPPED MY CHILDREN. SHE DARES TO TRY AND HURT LOUIS LIKE HE’S NOTHING. AND I HATE EVERYTHING ABOUT HER....... That being said, y’all are probably thinking “wtf if you hate her so much why isn’t she in F tier???” and that’s because no other antagonist in these games has ever gotten this strong of a reaction out of me. Lilly is a damn good antagonist. She’s not perfect, and there are definitely things I would change or add, but she does her job and makes me absolutely livid [yeah yeah I know ha ha ha ha] every time she’s on screen doing her bullshit. I hate her and that counts for something. She’s easily the best “villain” in the entire series. 

Ruby: I love my funny little hot-headed medic. Ruby’s amazing and I love her. 

Willy: This kid really grew on me. I thought he was weird and creepy at the beginning but I adore him now. His brotherly relationship with Mitch should’ve been explored more, and at times his voice acting is kind of jarring, but I still love him. 

C

“You’re fine, I guess...”

Duck: He’s fine. I like Duck. I like the “what if” scenarios we’ve come up with surrounding his character, and his death always puts a lump in my throat, but I wouldn’t go out of my way to say I love him, y’know?

Doug: Again, he’s fine. He has some funny moments when you save him, and he’s got a cool little panda bear on his sweater but... yeah. He’s okay. 

Mark: Oh hai Mark. He’s cool, and the reason he’s not lower is because the iconic moment of finding him in the hidden room with his legs chopped off choking out the words “Don’t... eat... dinner” forever haunts my nightmares. 

Russell: I’m not a big fan of most of the playable 400 Days characters, but I think if I had to pick a favorite, it’s Russell. His backstory of being with the group that believed in the power of 7′s [I think it was 7 I dunno going off of memory here] was cool and his weird thing with Nate was fun and disturbing. He’s a pretty cool character. 

Carlos: I’ve made posts about Carlos before and how I think he had a lot of potential, but looking strictly at his role in the game and I’m left underwhelmed. I did get a lot of shit for where I placed him in my previous tier because he was [and still is] above S2 Kenny but I’m not going to lie and say I like Kenny more than him because... I don’t. I just think Carlos should’ve been given more development.  

Carver: A cool antagonist who was defeated waaaaaay too early in the game. They were doing a fantastic job at making me hate him with his treatment of Clementine, beating the shit out of Kenny, murdering Alvin and pulling all that shit with Rebecca, but killing him off so quickly didn’t make it feel as satisfying. Again, underwhelming. 

Sam: This pup betrayed me and he ain’t no Rosie, but we played frisbee so he gets a C I guess

Gabe: Y’know, Gabe could’ve been so good. But every time I play through ANF, he ends up annoying me more than Ben. What does that tell you? He’s fine, but he could’ve been a lot better. 

Mariana: I’m not so much “meh” on Mari because I think she’s sweet and likable! The problem is I don’t want to put her any higher because really? What did she do? She died horribly because Badger’s a piece of shit. 

Abel: Meh this guy’s garbage. I only put him up a little higher because the scene with him in the basement is really good. 

Brody: Brody is like the Mariana of S4 for me, just a bit better. I do like her. She had some development but her whole purpose was to die by Marlon’s hand and get the plot going. Would’ve loved to learn more about her, but I couldn’t give her anything higher than a C. 

Minerva: Controversial opinion but........ I don’t like Minerva as much as a lot of people do. If I could be brutally honest, if I were ranking these characters solely on how I feel about them without looking at their roles in the games and character development, Minerva would be in E tier at the highest. However, I can’t deny how tragic and complex her character and backstory is. It’s similar to how I feel about Lilly, but different. I think she’s just so fucked up from the delta that she’s become a husk of who she was and it results in her constantly pissing me off with all her shit. Also, the bridge scene alone bumps her up. That shit was crazy in a good yet tragic way. 

Omar: At one point, I forgot Omar existed until he got shot in the leg...... but he’s also God so y’know. I like him but I also had to make up my own little backstory for him so...

D

“Meh”

S1 Lilly: I don’t care about S1 Lilly in the slightest, she’s awful. They made her way more compelling in S4. And she killed my girlfriend which is bullshit on it’s own.

Jolene: If I could rewrite S1, I would’ve thrown out the Stranger and had Jolene be the kidnapper. As Danny said, “What a waste.”

Bonnie: She’s pretty disappointing, tbh. I didn’t like how the game help pushing her onto Clem and overall she’s pretty forgettable. 

Vince: He’s okay, I guess. He killed a dude one time. And shot a guy’s foot off.

Wyatt: “Meh” hahaha Eddie was a cooler character than he was

Jane: I wish Jane had been the Molly of S2 and stayed gone after she left the first time. I like that she taught Clementine some useful survival tactics and that’s what puts her on this tier, but I think we all know how I feel about the whole Jane vs. Kenny thing by now so... 

S2 Kenny: This Kenny actually moved up a tier because I fully took in everything he’s been through thus far and.... “Meh.” I don’t think he’s good for Clementine, I think she and AJ need a group like Wellington. I recognize that he’s a lot of people’s favorite, but like I said above in his S1 counterpart, I’m the 10% that doesn’t have that strong of an opinion on him. I’d much rather discuss other characters over him. 

Sarita: Forgettable, really. Except for when you get the chance to cut her hand off. That fucking scream of hers is anything but forgettable, yeesh. 

Walter: Again, mostly forgettable. His death was sad, and I do think he’s a good example of what happens when you’re too trusting in this world, but overall he doesn’t stand out to me. 

Kate: I probably would’ve liked Kate more if her romance wasn’t so damn forced. She has some funny lines, but she’s also pretty selfish and fickle when it comes to a lot of things. And I will forever be annoyed at her inability to keep her mouth shut about her and Javi’s relationship [or lack of] in front of David. 

E

“I don’t like you but you’re not the absolute worst, I guess...”

Danny St John and Brenda St John: I put these two together because they have the same issue: They’re fucking creepy. Where Andy was normal and deceiving, these two look like they want to cut my legs off and eat them. I think they’re much weaker in character than Andy was, even with Danny’s weird sexual fixation of his gun and Brenda talking about her husband. 

Vernon: He’s not the absolute worst because I do feel a little sympathy for him losing his daughter, but everything else just makes me not like him. 

Shel and Becca: Easily my two least favorite characters in 400 Days. I had no real interest in either of them. 

Arvo: This guy. I didn’t put him in as the absolute worst because of all the unnecessary shit Kenny put him through. No wonder he wanted to get the hell outta there. 

Clint: I literally couldn’t give a single shit about this dude or what happens to him. 

Eleanor: I don’t like Eleanor. I found her annoying. Her one good quality is her want to help people, but that want didn’t do much to help Tripp now did it, Eleanor.

F

“The absolute worst”

Larry: Did you expect anything else? Fuck this guy. 

Stranger: Worst final antagonist ever. You’re telling me I have to fight this Mister Roger’s tootsie pop? I’ll bet you $1 I can do it with one hand. Fuck this guy. 

Troy: Fuck Troy. All he does is smack Clementine around and then get shot in the dick. 

Joan: This lady is a laughably bad antagonist. The worst fucking “villian” jfc...

---

There ya have it. Do you agree, disagree? Maybe a character I found boring you really liked! Maybe you want to tell me why Kenny is the best/worst again!  We can discuss it. 

I’m always open to talking about these characters!

[akash1023-blog]

Best Romance Books of All Time

Being a romantic book lover I have listed the best romantic books which I have ever read.

1.The Fault In Our Stars by John Green (2012)

The novel contains a heart touching and emotional Love story. It represents an unavoidable disability in the pathway of an immensely craving love. Haze Grace Lanchester, a sixteen-year-old thyroid Cancer affected girl who always carries an oxygen cylinder to breathe properly. Haze's mother sent her to an association where she meets with so many physically disabled persons. She gets the company of Augustus Waters, a 17-year-old boy who lost his leg due to Osteosarcoma (bone cancer) in that association. Association of Haze makes very happy to Augustus. They spend a lot of time together and through there often encounter they fall in love with each other. Both of them have their own disabilities and due to that they face lots of difficulty in their life to survive properly but the ending of the story concludes the most painful and heart touching verses which really makes a heavy impact and causes tear in the eyes. And the pathetic plot makes the story one of the best romance books of all time. To know more about this book visit my website Best Romance Book that you should Read- Reviews by Diversified Books

2. A Walk to Remember by Nicholas Sparks (1999)

The novel 'A Walk to Remember' is written by Nicholas Sparks, defines the pathetic love story of the main character Landon. Landon's priority for his beloved is depicted properly in this novel. Landon, a seventeen-year-old schoolboy, resides in Washington is an introvert guy. He feels very awkward to interact with the girls in his school. But still, in this love story, Landon finds his partner named Jamie Sullivan. And gradually they spend a lot of time with each other which makes them very closed to each other. But as an unfortunate guy Landon discovers the unbearable truth of their love story. Landon's realization about his love, sacrifices, pain, and emptiness amplifies his strong emotion as well as his deep feelings.

3. Elanor & Park by Rainbow Rowell (2012)

The novel describes how a strong Chemistry develops within an extreme pessimistic condition between a tortured girl with a horrible background and a humble boy. The author fabricates the story with the kindest feelings which really makes a great impact on readers' minds. Eleanor Douglas, one of the main protagonist, a girl who has a pathetic family background. She lives with her mother and siblings with unbearable adjustments where her step-father Richie treats her very badly. Being tortured a lot she feels very insecure and depressed. She meets with the guy named Park Sheridan in her new school who supports her a lot from being bullied by her classmates. And gradually their chemistry builds up with each other. As a school-going young child, their challenges are really very difficult to overcome through their relationship overcomes all the difficulties due to their strong passion for each other.

4. Me Before You by Jojo Moyes (2012)

The novel written by Jojo Moyes is based on a heart touching love story where through amplifying the strong emotions, the author defines the purity of love without being engaged actively in a relationship between the main protagonists. Being a jobless girl the main character Louisa Clark, a twenty-six-year-old girl, from a middle-class family, tries to find a job o earn money. And finally, she gets a job of assisting and caring for a Quadriplegia stricken guy named Will. Due to a continuous attachment and caring mentality, a relationship can develop between a normal girl and a guy, fully dependent on others. Louisa's choice to devote herself to a physically disabled guy is really very appreciable. But here Will's sincere personality also twists the conclusion which steals the attention of the readers' very amazingly. The strongly defined characters with a proper decision with full of sincerity make the book one of the best romance books of all time.

5. The Flame and the Flower by Kathleen E. Woodiwiss (1972)

The novel is about a pathetic life story of a girl named Heather Simmons a penniless orphan who faces lots of difficulty in her life to survive. The title of the story "The Flame and The Flower" consists of both the most painful side and the loving side in a particular life. In the beginning of the plot, she murders a person to save herself from being raped. But after that on the same night very, unfortunately, she gets trapped and raped by another man named Brandon due to a misunderstanding that she is a prostitute. But later when Brandon realizes his mistake, he feels guilt. After that when Heather feels that she is pregnant then she gains sympathy from Brandon's side. And like this way due to liability and feeling of guilt a relationship develops between them. the plot also features the antagonist characters who do the pessimistic interference in their life but still, their passion for each other is really very appreciable.

6. Perfect Chemistry by Simmon Elkeles (2009)

This novel features an evolution of compassion to its maximum level due to a strong feeling of love. Even a relationship can develop between two people who have totally different kind of mindset from each other. One of the main protagonists Brittany Ellis, a school going girl with a perfectionist kind of mindset feels very pressurized all the time due to her personal life. Whereas on the other side she meets with a boy named Alex Fuentes who is a very bad guy with an unpleasant mindset. And most interestingly the author has written the plot of the transformation of Btritanny's mentality and Alex's character.

7. Call me By Your Name by r André Aciman (2007)

The novel is based on the strong emotions between two gay personalities. The plot of the story begins with the nostalgic thinking of the narrator Elio Perlman where He recalls the memorable period of his life. When Elio was just seventeen years old then a guy named Oliver, came to their house to persuade his doctoral period who attracted Elio a lot. Their repeated encounter in the same house, spending lots of time with each other suddenly makes them feel that they like each other. For the first time, Elio feels regret about their relationship but later he accepts his bisexuality which really makes them comfortable to interact with themselves and persuade their relationship. The overall plot makes it one of the most romantic books from the viewpoint of homosexual personalities.

And if you want to read more about my selected list then visit my website where I use to enlist those book reviews which draws the attention of most of the Romantic Book lovers.

Best Romance Book that you should Read- Reviews by Diversified Books

[renzywenzy]

Joker Review

*Disclaimer* I held off posting this review until Phoenix won the Oscar. I promised myself that if he hadn’t won, I would have just left this in the drafts forever. That’s how much faith I had in this man and now here is my critique of my favorite film of 2019. 

I have a tattoo on my right arm. The tattoo is actually the Batman logo but altered. One half of the logo is normal but the other half is made up of red “HAHAHAHA’s” all over. There’s a reason why the dynamic between these two is my favorite of all-time. It’s two different interpretations of insanity colliding in an eternal battle. It’s two iconic, well-written, captivating characters having epic confrontations. 

Needless to say, I love the characters of Batman and The Joker. I grew up on them and they have played a huge part of my life. My ideologies, my way of thinking, my perception of the world, my behavior in private and in public have been directly and/or indirectly impacted by these two characters.

Any film or any form of media that have these two, separate or together, is already met with my high expectations. So obviously, my expectations for this film were through the roof. If this film was nothing short of great, I would have been really angry. 

I would have been the first to say how disappointed I was, I would have been the first to say that Joaquin Phoenix should never play The Joker again, I would have been the first to say that Todd Philips should stick to raunchy comedies and stay away from the character as far as possible....but that’s not the case here. 

I’m singing a different tune. A tune that I’m gonna be letting everyone hear with every chance I get. A tune that I’m gonna be playing in my head whenever I dance on the street. 

Ladies and gentlemen... please welcome Joker.

The Tragedy

First of all, I’ll begin with some faults that I found in the film. Not a whole lot but I have to get these out of the way so that I can end the review with high points. 

1.) The origin story we didn’t want but the one we got anyway

Now when I talk about origin story, I don’t mean Joker’s. I mean Batman’s. I’m really sorry to say but I am getting absolutely sick of seeing THAT scene. 

I have to point out that it felt like this scene was rushed. It wasn’t shot as well as the other scenes. Every other scene in Joker felt like there was a beautiful story behind it. As if there was a creative progress going through the minds of the people in the scene and off the camera but this scene felt rushed and was treated like an afterthought. 

I must admit, of all the films that showed Bruce’s parents in the alley, this one might be one of the weakest I’ve seen in a while. Even that piece of garbage Batman V. Superman had a slightly better way of showing that scene. If you’re going to show us a scene that’s been overly done since the beginning of Batman films, you gotta add a little more flavor and cinematic flair to it. Sad to say that for a film that was shot so well, this scene stuck out like a sore thumb. 

2.) A little too much dancing and a few too many ribs

As it says in the point, there’s a little too much there.  Don’t get me wrong, I love most of his dance scenes but there’s maybe 1 or 2 too many. I personally would have kept the first dance scene when accidentally shoots a gun, the one after his first kill, the one with his mother, and all the dance scenes once he completely transforms. These particular dance scenes were showing us a slow evolution and allowed to see how his mind was slowly changing. But there were a few dance scenes that didn’t really do that and instead was just kind of there. For example, the few dance scenes where he’s half-naked can be taken out completely and it wouldn’t make a difference. 

And speaking of him being half-naked. I understand the film wants us to see how weak he his and in some scenes, it wants to show you the literal scars he got from society. However in some of these scenes, it gets a little distracting. The first scene where he’s half naked and trying to adjust his shoe is just perfect because for one, you don’t know really know what he’s doing at first so it leaves you wondering for a few seconds and two, you get to see how much his frail body struggles with something so simple. 

But then you have a few scenes where he’s unnecessary shirtless like the one where he’s smoking and watching TV. It seemed needless for him to be shirtless for this scene because the main point of it was his reaction towards what was being shown on TV. Again, it’s no problem to show us how skinny and weak he looks but it has to be the point or a point of a scene or else it’s just distracting.

Small gripes but I had to find some criticisms for the film. But now that that’s out of the way, let’s put a smile on that face (I know they’re not the same. Just be like Joe and Chill).

The Comedy 

1.) Romero, Nicholson, Ledger, Hamill, and now...

 ...Phoenix

There have been numerous people who have played the Joker with each actor adding their own twist to the Clown Prince of Crime. Romero embodied the camp and goofiness of the Silver Age iteration, Nicholson provided a more laid-back and mafia-esque performance, Ledger portrayed him as a true anarchist who “wants to watch the world burn”, and the legendary Hamill basically performed multiple layers of Joker’s persona for his 20+ years as the character and is THE definitive voice (and laugh) of The Joker. 

Joaquin Phoenix joins this hall of fame (or infamy) by giving us a closer, more in-depth look at the mentally ill, physically battered, and emotionally abandoned man behind the smile. 

I honestly can’t give this guy the praise he really deserves but I’ll do my best. My lord...this man blew me away like I was a talk-show host. Powerhouse performance doesn’t even begin to describe his acting. 

This film, as well-made as it was, wouldn’t have worked nearly as well had it not been for its main star. This film hinged on how well Mr. Phoenix played the titular character and he absolutely delivered.

The film had a tough job in its hands: portray how a man was slowly dissenting into madness to the point that he lets the madness in and indulges in it. It was going to be a deliberately slow process that required an actor who can be significantly subtle enough to convey to the audience how a character is evolving but taking small steps to do so. Phoenix did that with flying colors. 

If you look at the first scene where we’re introduced to Arthur, it’s clearly not the same Arthur when the film reaches its ending. We went from a man who walks with a slouch and a noticeable stiffness to a man who vigorously dances in the streets without a care in the world. 

Don’t get it twisted, though. Phoenix didn’t play two different people nor did he play a man who takes a sudden huge leap in his personality. He played a person who displays slight changes to his psyche in each scene and these small changes eventually pile up. Arthur was meant to be a man who was layered like an onion and Phoenix’s performance mirrored that perfectly. 

Is he the best Joker? I can’t say that. Each Joker I’ve been introduced to, while having a different spin, is ultimately the Joker at his peak or even at the twilight of his criminal life. This is the first time where I’ve witnessed a Joker who is still truly staring out. And no, Nicholson doesn’t count because Jack Napier was an established criminal way before he became the Joker. So I’m not too sure yet where to rank Phoenix’s actual full-blown Joker as it doesn’t last long however excellent it was AND a huge factor for me when it comes to ranking Jokers is the interactions with Batman. There was no Joker and Batman clash here. Only Arthur and Bruce. As it stands, Phoenix’s spot on the all-time Joker list may not be the highest but in terms of pure acting, he may very well be #1. 

I know this sentiment has been repeated multiple times but I do honestly believe Phoenix deserved the Oscar here or at least a nod. 

2.) Familiar punchline, fresh set-up 

For any Batman/Joker fan, you’ve probably heard of this following quote:

“If I’m going to have a past, I prefer it to be multiple choice.” 

It’s an iconic quote and one that you will hear in almost any review of this film but there is a good reason for it. The line encapsulates one of the best things about The Joker: the mystery of his origins. 

As mysterious as the character is, it’s hard to keep The Joker interesting these days. He is the most over-exposed Batman villain of all time and quite possibly the most over-exposed villain in fiction period. Comic books, video games, tv shows, live-action movies. The Joker has been in EVERYTHING. Like his heroic counterpart, the Joker has been exposed too much to the point that there’s really not a lot of fresh things you can do with him.  

The last time any media brought something refreshing to The Joker was in Telltale’s Batman video game where you meet a man named “John Doe” who’s still looking for himself and finding out which path in life he wants to take. In the game, whatever John becomes is based on your actions. That was in 2017. 

The last time before that was in 2011′s Flashpoint where Martha Wayne became The Joker in an alternate timeline where Bruce dies in the alley. Even though this version of the Joker had a clear backstory and no mysterious origin, it was still fresh because of the sheer novelty of seeing Bruce Wayne’s mother as The Joker and his father as Batman.

So there are stretches of time where there’s nothing new and exciting for The Joker character but I’m happy to say that this film does breathe new life into the character. 

The filmmakers understood how this specific character should be handled and they did it in ways that are plausible. His abusive but vague childhood and his delusions help in keeping the film from being straightforward. 

Let me give some examples. In the scene where Arthur steals his mother’s files in the Asylum, it’s said that he was adopted by Penny and that he was abused by one of her boyfriends. 

Some people I’ve talked to believe that it was Thomas Wayne who put Penny in the Asylum and forged adoption papers. Some people even say that it was Thomas Wayne who abused them when Arthur was a child. Some people say that it’s true and Arthur really was adopted. 

We don’t know these things definitively and that’s the best part. It’s whatever you want it to be. Multiple choice. 

I personally want to believe that Arthur really was adopted because that just adds another air of mystery to him. If he was then we don’t know his actual birth name or who is real parents are.  

All in all, even though the evolution of Arthur into The Joker remains the ultimate goal, the film lets you make up your own path into how he got there. It’s handled beautifully and the script is clearly made with a lot of knowledge of and love for the character. 

3. A problem tackled with grace

I just wanted to point how well this film handles the issue of mental health and illness. This topic will forever be relevant and is an issue that’s been tackled in media before. Some handled it terribly, some handled it bad, some handled it ok, some handled it well. And then there’s Joker that handles it amazingly. 

As someone who sees mental illness on a regular basis, it was so sublime how accurate this film was. The image of a decaying mind and one that descends further and further down is so powerful in this film and it just never half-asses it and I loved that. 

My girlfriend is a nurse and she interacts with mentally ill people far more than I ever will and she praised it more because everything she saw from Arthur is something that she has personally had to deal with in her patients. I asked her if there was even one inaccurate and she said “No” because everything was completely plausible and has actually happened in real life on multiple occasions. Delusions of grandeur, uncontrollable ticks (like a laugh), murderous tendency, self-harm, stalking, hallucinating, you name it and most likely, this film shows it. 

Not only is Arthur’s mental illness accurate but what makes it better and why I praise it is how others deal with him. It’s scary how much it mirrors reality. Some people may know how to interact with him while others just get annoyed with him. Even those who are accepting of mentally ill people can still have be irritated with them when they come in contact with them. 

Arthur is beaten not just because he’s mentally ill but because he just looks like a weak man who can be pushed around. People don’t care if he’s sick, they’ll kick his ass or make fun of him regardless and in some cases, they’ll have even more incentive when they learn he has mental problems which is sadly similar to the world we live in today.

Joker is arguably the best adaption of mental illness for this decade (I say arguably because Bojack Horseman is up there) and I can’t believe that the director of the Hangover films got it right and speaking of which...

4. He directed what??

Todd Philips, the man behind the Hangover trilogy, Starsky and Hutch (2004), and Old School directed this film. Imagine late 2018 and you just heard who the director was and you search for the films he directed prior. Did you honestly believe, in your heart of hearts, he was going to pull this off?

Don’t get me wrong, comedic talents have proven to excel in other genres. Jordan Peele is a great example of that but that doesn’t necessarily apply to every comedian...However, it applied to Mr. Philips. 

His direction, his vision, his execution was top-notch and I have to apologize to this man because I honestly doubted him when I initially heard about it. I knew Phoenix was going to do well and I thought that the film would just rely solely on his performance but no. Todd Philips deserves a lot of credit here. Yes, he takes some ideas and cues from Scorsese (not a bad inspiration by the way) but he handles the psychological aspect in his own style.

In terms of performers, this was close to a one-man show as you can get but Philips’ contributions behind-the-scenes should to be given as much appreciation. Phoenix was the master painter and Philips gave him the tools.

Honestly, if Philips wants to direct more dramatic and heavier films akin to this, I’m all for it. If he wants to stick around and maybe direct some more DC films, I am definitely on board. In this time of uncertainty towards DC films, Philips gave me hope. Yes, I know this film isn’t part of the DCEU but if they want to create more films in the Elseworld universe, Philips should still be part of it in some way. 

5. The sound of laughter

I’m not going to lie. I rarely appreciate film scores. While I do believe they enhance a film’s quality, I’m not actively seeking it out unless it truly stands out. The only scores I truly remember and appreciate is the opening score for Star Wars, the Superman score, the main score for Indiana Jones, the Back to The Future action sequence score, Danny Elfman’s Batman score, and all of the scores from The Godfather films. 

By the way I realized the first three examples I gave all sound similar but it makes sense since John Williams made them all.

So out of the hundreds (possibly thousands) of films I’ve seen, these are the only scores I can truly remember and now we add one more to the list: the dark and beautiful score by Hildur Guðnadóttir. 

She absolutely gave me a much better understanding of how music can not only enhance a scene but be worked around it. Apparently, the music was made first and Todd Philips would shoot scenes with the score playing in the background so that he can craft scenes based on which part of the score he was listening to. This is the first time something like this has ever happened in the filmmaking process and it absolutely worked wonders. No wonder why each scene tied in so beautifully to a specific part of the score.

Hildur has made it and I hope to hear more of her work in future projects. 

6. To a bright future (hopefully)...

This section is more of a call to action than a positive point for the film. That being said, Joker’s success has opened up many possibilities for DC films moving forward. 

Let’s be honest here. The recent attempt of DC keeping up with Marvel in terms of films has not been great. DC is Marvel’s biggest competitor but when you just look purely at movie success, you wouldn’t think that.

That’s because Marvel started something solid over a decade ago and is currently having the biggest and most epic film franchise today and, quite possible, of all time. 

DC tried (and is still trying) to do the same but it has been a roller-coaster with some enjoyable ups (Man of Steel, Wonder Woman, Shazam) and terrible downs (Batman V. Superman, Justice League, Suicide Squad, Birds of Prey). 

Now with the huge commercial and critical success of this film, Warner Bros. need to take advantage of this while they have the chance. Joker is a film that is set in its own universe and not a part of the bigger DCEU and this could be DC’s way of being as successful as Marvel. Elseworld stories. Detective Comics was the first to put huge emphasis on a multiverse in their comics and I believe it’s time to bring that to the films. 

They’ve already implemented a multiverse with the television shows but now is the time to let the silver screen experience this. 

Unlike Disney, Warner Bros. has the movie rights to ALL of the DC characters. All of them. From heavyweights like Superman and Batman to less popular characters like Question and Red Tornado. They need to make use of that advantage because there are plenty of characters who have not had successful film ventures yet. Green Lantern, Martian Manhunter, Batgirl, Constantine (sorry Keanu) Lobo, Zatanna, Static Shock, Booster Gold (a personal favorite) and so many more. Give these characters a chance. They can shine in their own standalone movie that doesn’t have to do with the DCEU. However, if you want to put all of them in the same universe, you’ll need visionary writers capable of that. 

Consider this my call to action for Warner Bros. because I’m admittedly more of a DC fan than a Marvel. Don’t get me wrong, I love both franchises but DC was my first so I am biased towards them. I’m happy that Marvel has continuous success but it also makes me melancholic because it makes me question why DC can’t experience the same. 

Only time will tell if DC can keep this up because right now, they’re doing well overall but even if they ultimately never catch up, they can be proud of this one. 

Overall...

I love this film and its portrayal of an iconic character. They took an overused and overexposed character and somehow made him fresh again without taking away what made him so popular in the first place.

Todd Philips had a vision and he took it to a level that I didn’t think he was capable of. Joaquin Phoenix just absolutely killed with a performance that’s going to be remembered forever. 

As I write this review, talks of a sequel have already begun. I’m honestly not sure if they can do outdo themselves. My expectations will be even higher but they are most certainly welcome to exceed them again. 

[opallene]

You’ve Got a Friend in Me

So... This might be little known about me, but I was deeply into the Toy Story fandom (such as it is/was) back when Toy Story 3 came out in 2010.  Yes, I saw the original films as a child in theaters, and yes, Toy Story 3 shattered and wildly surpassed any expectations I might have had going in.  It was immediately, and I believe still is, my favorite film.  Period.  My love for Toy Story 3 is many layers deep.  I’ve produced fanfiction (the latter of which has suddenly aged poorly in some respects with the introduction of TS4!) and a carefully curated fanmix that I am still very proud of and still enjoy myself in regular rotation.

So now I’ve seen Toy Story 4.  It was certainly a good movie, and also certainly an entertaining entry in the Toy Story saga.  Did it live up to its predecessor?  No, it didn’t, but I didn’t necessarily expect it to, because that would be a very difficult feat to accomplish at this point.  But it had some very strong narrative points, which I’ll attempt to dissect and discuss.

Spoilers for Toy Story 4 ahead.

The thing is - Even though each entry in the series was probably written to be “final” at the time, TS3 brought a level of narrative closure and completeness that the previous films hadn’t.  3 made a perfect trilogy.  The end of TS3 led everyone to a metaphorical life-after-life.  Their struggles (literally to hell and back) complete, they could finally relax and be their truest selves, “into the wild blue yonder.”

Maybe I was forgetting that every film was actually very much about Woody, and that there were still lessons he could learn (and thereby teach the audience).  By the end of TS3, Woody had finally overcome his laserlike loyalty to a particular person -- But, we now realize, not his loyalty to his “career,” and to his very rigid ideas about how to perform that function.

(1) Single-child “Ownership”.  This idea has been out there throughout the series -- Either you’re an “owned” toy belonging to a particular person, or you’re “lost” (with a generally negative connotation, up until now).  This distinction has been drawn in especially black-and-white terms by Woody himself, while the other toys have been open to a gray area in the middle (e.g. Sunnyside Daycare, TS3).  In TS4, Woody is challenged to consider the extreme other end from his position - and lo and behold, he experiences firsthand the merits of it (namely, charitable work to enable other toys to live out their purpose) and decides it’s a shift in thinking that he can live with.  By the end of the film - radical character growth accomplished.

(2) Leadership means always being in charge.  This was made plain in the beginning of the film.  It’s difficult for Woody to fit in when there’s already an established leader, and he just can’t take orders.  He continues to act erratically (listening to his “inner voice” and acting on what he thinks is best) throughout the movie.  When he’s really out of his element (and his solitary efforts fail), Bo Peep is the only one who succeeds in “leading” him.  Woody finally learns to take a back seat when there’s an expert around.

Did Woody make the right decision at the end of the film?  For purely personal (sob sob sob) reasons, I want to say “WHAT, how could they?!”  For narrative reasons, I’ll resoundingly say Yes.  For all the talk Woody has done about the cycle of childhood, “Watching them grow up and then go on to do other things that you never get to see,” and so on, Woody himself has been stuck in a childlike mode perpetually.  Now, he has finally gotten to mature.

Exhibit A: He experiences a genuine (romantic) peer-to-peer connection and eventually throws himself into investing in it.  I’ve always seen the toy-child relationship as a deified one; a duty that must be done; the only way to Know your Creator, religious overtones and all that.  Personally, as a nonreligious person, I am rejoicing inside more than I thought possible to see Woody finally free himself from that dogmatism and to put some focus on an equal, of-his-own-world partnership.  He’s broadened his horizons in terms of the types of love that are out there to be had.

Exhibit B: He learns a new type of altruism that is completely non-self-serving (unless you count the positive emotion of gratification as self-serving, but that’s a whole other argument to be had).  Let’s face it: Pretty much everything Woody has ever done up until now has been fairly transparently self-serving, even when it’s under the guise of altruism.  He is even called out for it point-blank by Bo in this movie.  (Yess!)  I’m actually very impressed with how the whole “voice box transfer” went down.  Gabby started out as your conventional villain, but all it took was an appeal to logic to obtain Woody’s willing participation.  Woody was at a vulnerable place emotionally, but I do not believe he was ultimately taken advantage of.  Gabby’s logic was accurate and convincing.  Organ donation is by definition one of the most selfless things a person can do.  After donating his non-essential voicebox, Woody goes on to witness new life breathed into another (and, that person doing what she was meant to do) as a direct result of his gift.  In the end, Woody stays on with Bo Peep and the others to perform more “matchmaking” acts of getting toys together with children.  The thing that Woody can no longer do himself, he can go on to pay forward through others and make a greater impact in that way.  Ultimately, this is how I now see and accept that Toy Story 3 didn’t have to be the end, much as it seemed it should be at the time.

And plus, I like crying at movies.  If I’m crying, it means they did something right.

There was one thing that kinda bothered me.  As "good with toys” as Bonnie was supposed to be, she really cast Woody aside.  Even when Woody and Forky both went missing together, there was nary a mention of Woody’s absence.  Brutal.  I understand why they had to do this -- to drive Woody’s emotional crisis, to further establish that he really wasn’t needed in his current post and to free him to choose his own path at the end.  Also, kids will be kids, and it’s realistic for a child to act that way.  Still.  Brutal. ;(

I was also disappointed not to see much of Buzz and Jessie’s romantic relationship in this movie (I fell for them, HARD, in TS3), but - This was Woody’s movie.  Woody’s and Bo Peep’s - It was their turn.  And you can be darn sure, I Felt the Feels.  Shout-out to the lighting and color storyboardist(s) for the entire ending sequence of the film.  It was perfect. :’)

The pace, at times, was also frenetic.  Being a toy has always been portrayed as a stressful existence, but in TS4 it felt like every-time-you-blink-augh-there-he-goes-again-I’m-stressed-out-by-all-the-constant-separation!!

In all, TS4 wasn’t as sweeping of a narrative as TS3, and the themes were nowhere near as universal.  It’s hard to beat themes of aging, becoming a burden, feeling your obsolescence, confronting your inevitable mortality (TS3) - And although TS4 obviously touched on the big theme “Why am I here?”, it seemed a little directionless in its execution of that.  Are we supposed to relate to Forky’s exhibiting constant suicidal tendencies until he’s taught there is a good reason for him not to be that way? (?)  Most living creatures, including humans, have an innate self-preservation instinct, and the will not to live arises under extenuating circumstances, so that didn’t particularly ring true to me.

Where TS4 really shone was in its treatment of Woody’s character specifically.  I was pleasantly surprised to see his character elevated another level.  There are lessons we can all learn here.  It was no TS3, but it was still quite solid and I’m sure it will be getting many of my repeated viewings!

Thanks for reading...Hit me up if you’d like to chat about Toy Story!

[scripttorture]

Torture in Fiction: The Dragon Prince

The Dragon Prince is a wonderfully written and beautifully animated cartoon. I don’t usually take on a whole series but I was interested in the pitch and have fond memories of Avatar: The Last Airbender. I was curious to see what the creators had come up with since.

And overall I really enjoyed it. The characters are engaging and the plot is an interesting twist on a lot of typical fantasy tropes. (It also helped that this is the first time I’ve seen an animated character sign.)

The review contains spoilers for the entire season (1) of this cartoon.

After humans started using dark magic, magic drawn from destroying naturally magical creatures, an alliance of elves and dragons drove them to the western side of the continent. In the war that follows humans killed the dragon king and destroyed his egg.

Years later a group of elves sneak into the human kingdom, determined to assassinate the king and his son in revenge. Rayla, the youngest of the assassins, discovers that the egg is intact and alive. With the human princes, Ezran and Callum, she sets out to return the egg, the titular Dragon Prince, to his home.

But once again I’m rating the depiction and use of torture, not the story itself. I’m trying to take into account realism (regardless of fantasy or sci fi elements), presence of any apologist arguments, stereotypes and the narrative treatment of victims and torturers.

Which means I’m not focusing on the main characters or their plot line here. Instead this review is going to focus mostly on three side characters: Runaan, the leader of the elven assassins who kills the human king, Viren, a dark mage and the king’s advisor who takes over the country on the king’s death and Gren a guardsman loyal to Ezran and Callum’s Aunt.

Viren chooses to have Runaan kept alive and imprisons him in a stone cell. He’s chained in a seated position with his hands raised above his head. Viren attempts to bribe and threaten Runaan into revealing information about a magical artifact. Runaan refuses and in retaliation Viren casts a spell imprisoning Runaan’s essence in a coin.

As Viren tries to consolidate power he clashes with the princes’ aunt, a military commander who insists the boys are alive and should be searched for. Viren manipulates her into returning to the front lines but not before she leaves Gren in charge of searching for the missing princes.

Viren has Gren imprisoned. He’s chained in a standing position with his hands kept level with his head.

I’m giving it 2/10

The Good

1) Torture and the threat of torture is used in the context of interrogation but the story shows it failing. Runaan rejects every request for information Viren makes. He also rejects every 'olive branch' Viren extends.

2) Torture isn’t shown changing or even mildly influencing Runaan’s strongly held beliefs. If anything the story shows Runaan’s anti-human stance becoming more entrenched in response to torture.

3) Viren’s motivation for imprisoning and torturing both Runaan and Gren is quite in keeping with reality. Runaan is an enemy soldier. Gren is loyal to the old regime that Viren is actively trying to replace. This makes both of them political enemies, treated as threats to the new regime’s security. That’s incredibly true to life.

4) The timing of Viren’s bribes also felt like a good point to me. Runaan is captured and abused and then Viren attempts to bribe him into cooperation. First he uses food and drink, then he uses the offer of freedom. I don’t know whether it was intentional or not but I liked this element because it supports the notion of Runaan’s opposition becoming firmer as he’s mistreated.

5) I enjoyed Viren’s general characterisation throughout this and the way he justifies his actions. He presents himself as a ‘pragmatist’. He says he’s willing to make the ‘tough choices’ for the good of others and the Kingdom. That’s the kind of torture apologia torturers often parrot.

6) And that view doesn’t go unchallenged in the story. Other characters point out that Viren’s actions mostly benefit himself. His cruelty and his so-called ‘pragmatic’ lack of morals are presented as causing bigger problems than they solve. Together it creates a really good, succinct and understandable portrait of a torturer. It shows him parroting typical torture apologia and it shows why those views are wrong.

The Bad

Both Runaan and Gren should be dead several times over.

The portrayal of stress positions here is frankly appalling. It's difficult to be exactly sure about the passage of time in the story but Runaan is kept with his hands chained above his head for at least a week. Gren is kept standing for days.

Stress positions kill after about 48 hours.

In this case, neither character is depicting as suffering due to the way they're restrained.

Runaan is shown suffering but this is visually and narrative linked to other things. He's bruised because he was beaten when he was captured. His arm is withering due to a curse. He's weak because he's refusing to eat and drink (which should also have killed him, however I’m willing to give that more leeway in a non-human character). But the stress position he's kept in isn't depicted as fundamentally harmful.

This is more or less repeated with Gren. He isn't shown refusing food or drink and he wasn't beaten when captured. His posture in his chains is relaxed. He shows no signs of pain or discomfort. He leans against the wall and whistles. His movement, colouration, coherency and memory all seem to be completely unaffected.

Stress positions are incredibly harmful. They are painful. They cause wide scale break down of muscles in the victim’s body. This initially leads to a build up of fluid in the extremities. Which causes painful, discoloured swelling in the limbs, sometimes to the point that the skin ruptures into blisters. As more muscles are destroyed the protein released into the bloodstream becomes too much for the kidneys to handle and they fail. One description I read described the kidney’s being turned into ‘swiss cheese’.

The result is a protracted, painful death that can occur a significant period of time after the victim is released from the stress position.

The fact that it’s a stress position singled out as a ‘harmless’ torture is extremely significant here.

This is a torture that generally doesn’t leave lasting marks. It’s a torture that’s common in the modern world. And we unfortunately live in a world where torture trials often hinge on the presence or absence of ‘physical proof’.

Scars.

Survivors are regularly dismissed and belittled because they were tortured in ways that didn’t leave obvious marks on their skin. Because their torturers used techniques like stress positions.

Showing these tortures as harmless backs up the societal view that these tortures don’t ‘count’. That the pain these victims experienced was not real and they don’t deserve our help or compassion.

It backs up the notion that these particular victims are to blame for what they suffered.

These aren’t obscure philosophical notions or debates. These tropes, these patterns, these arguments affect our treatment of torture and torture survivors now.

They are part of the social structures that deny torture survivors asylum. They are part of the reason it takes survivors an average of ten years to access specialist treatment.

Presenting these apologist views uncritically to young children isn’t neutral either.

Because even without taking into account parental blockers on internet searches accurate information on torture is incredibly difficult to find. Any curious viewer, of any age, who watches these scenes and searches for more information would come across more torture apologia long before they find research on torture.

Especially as they may not even link what they saw to torture.

A casual viewer would first need to make that link. Then be aware of the term ‘stress position’. Then be aware of the academic journals or niche authors who publish on these topics. And then have access to enough money to pay for those sources.

Some of the sources are not available in translation.

The result is that the overwhelming majority of viewers are likely to accept what they see: that stress positions cause no harm.

These details are small. They don’t get a lot of screen time. They’re unimportant to the plot.

But they are not neutral. They matter.

The way the different ideas at play here interact matters. As does their impact on the real world.

And as a result, despite many good points in the portrayal of torture, I feel like I have to give The Dragon Prince a low score.

Overall

Part of the reason I wanted to review this was to highlight how prevalent torture is in children’s media and how cartoons are often sending out the same misinformation as adult action movies.

The Dragon Prince doesn’t suggest that torture works and it doesn’t justify brutality. But at the same time it’s downplaying the damage torture causes by treating some tortures as essentially harmless. It’s telling that the tortures singled out this way are clean tortures common in the modern day.

The tortures that victims are commonly subject to now, the ones that don’t leave lasting marks, are the ones being singled out as harmless. As not ‘proper’ torture.

The message that only some tortures and only some victims ‘count’ starts young. And the sad thing is the people creating this, writing it and drawing it probably had no idea they were portraying torture when they chose to have characters chained to the wall.

The background knowledge most people have on torture is poor, made up of apologist tropes and rumours and misinformation. But it is so widely accepted that it probably doesn't even occur to most creators to fact-check what they write.

And the result in this case is a wonderfully made cartoon, which includes fantastic representation of disability, of racial diversity and women. While parroting tropes about torture that are actively harmful to victims.

Edit: If creators are not prepared to show the effects of torture then they should not use torture. If those effects are unsuitable for a children’s show then I’m left wondering why they included torture.

Personally, given the level of research these particular creators lavished on other areas, I suspect this was ignorance not malice. 

Disclaimer

[wallstreetmovies-blog]

Fact and Fiction in Trading Places

Note:  This is the first of what I hope are many postings about movies that are based on the financial world.  As a long time industry professional I’ve noticed there are always things in movies about the financial world that get things right and others that are pure fiction. The idea here is to separate the two, but also spark civilized discussion about how the industry I love is depicted in movies.

Overview

Trading Places debuted in 1983 and is a story about a homeless con man and director of a commodity brokerage firm having their circumstances changed based on a social experiment conducted by the owners of a commodity brokerage firm.  They take Eddie Murphy’s character (con man) and put him in charge of their firm while ruining Dan Aykroyd’s (managing director) life to see if success is based on breeding (their words) or circumstances.

Pork Bellies

Yes, Pork Bellies are a real thing.  I was actually in Los Angeles around Christmas time a few years ago.  Andy Milder (Weeds, Austin & Ally) and a young guy were sitting at table next to me at dinner.  The young guy with Milder was actually ripping on this movie and one statement was, “it’s bullshit, they don’t really trade things like pork bellies or orange juice”.  It was all I could do not to lean over and get into the conversation, in fact overhearing that conversation was a catalyst behind staring this blog.  Both did trade at that time, however Pork Bellies were delisted by the Chicago Mercantile Exchange (CME) in 2011 due to lack of interest. Orange Juice Futures continue to trade at the IntercontinentalExchange (ICE), but at the time of the movie traded at the New York Board of Trade which was physically attached to the World Trade Center buildings.

So, early in the movie starts with a focus on the Pork Bellies market.   The quote, “Pork Bellies, I knew it” from Louis Winthorpe (Dan Aykroyd) has been repeated millions of times by traders around the world. However, the movie takes a turn, out of nowhere, to focus on the Orange Juice market.  The long term rumor in Chicago is that the CME changed their mind about allowing access to their floor for trading, possibly after seeing the nature of the movie script, so something that traded at a different exchange was substituted for Pork Bellies.   Maybe if CME had allowed access to the Pork Bellies pit that market would still be trading today.

Crop Reports

The price of anything is based on supply and demand.  In the case of agricultural crops, the supply side is based on growing season.  The US Department of Agricultural Statistics Service Florida Field Office periodically releases an update on the progress of the growing seasons for oranges.  Info on this report can be found at  USDA's National Agricultural Statistics Service Florida Field Office Citrus Production Forecast.  This is the report that moves the market in the climactic scene at the end of the movie.

The Bet

Randolph (Ralph Bellamy) and Mortimer Duke (Don Ameche) run a commodity brokerage firm and they make a bet on whether success is based on breeding (again, their words) or circumstances. Lots has been written on the inspiration for the actual bet.  Around the same time as the movie two well known traders in Chicago, Richard Dennis and Bill Eckhardt, conducted an experiment to see if trading could be taught.  They hired individuals through a Wall Street Journal ad and trained them to be traders. Dennis felt anyone could be taught to successfully trader while Eckhardt felt successful traders have a special knack for trading that can’t be taught.  Michael Covel does a wonderful job covering this in his book The Complete Turtle Trader also the rules they taught the traders can be found here Original Turtles Fighting Scams, Frauds, and Charlatans.

 Some Perspective on Numbers  

Since the movie was made in 1983, some of the numbers don’t sound all that impressive.  To give some perspective I’ve adjusted numbers to 2018 dollars based on inflation.  Early on the Dukes make about $347,000 extra by being patient on a Pork Bellies trade which is about $878,000 in 2018 dollars.   Later, the Dukes give Billy Ray Valentine (Eddie Murphy) a salary of $80,000 a year, that’s about $200,000 in 2018 after being adjusted for inflation.   Ophelia note she’s got $42,000 in T-Bills earning interest, today’s interest rates are very low, but in 1983 3-month T-Bill rates were in the 8% to 9% range. Finally at the end of the movie the $394 million margin call the Dukes are expected to pay would be about $985 million in 2018.    

Behavioral Finance

At one point in the movie Pork Bellies contract prices are dropping and the Dukes decide to try to buy on the lower pricing.  Billy Ray intervenes with a discussion of how traders are panicking.  He states that traders are losing money and won’t be able to buy the GI Joe with a Kung Fu Grip for their kid for Christmas along with another illustration of why they are panicking.  There’s a lot of truth to what he’s saying about the behavior of traders and anyone that was on a trading floor back in the day can attest to this. His insights were cutting edge at the time as behavioral finance had not really caught on in the mainstream as it has today.

 Frank Oz

Not financial, but something I like to share.  The police officer that interrogates Winthrop and plants drugs on him is played by Frank Oz who is the voice of many of the muppets including Miss Piggy.  Since the movie was originally going to focus on the Pork Bellies market I find a little irony in this.  

Trading Floor

This is where those that use to be on a trading floor pay particular attention.  In 1983 trading was still an open outcry endeavor so the floor was packed with people in various trading pits.   The movie does a good job of capturing the electricity of the trading floor when Winthorp and Valentine first walk on the floor.  The scenes before their pit scene are from real trading activity.  Also, the variety of physical activity based on the stress of being a floor trader is shown, but I believe downplayed for sensitive viewers when they are in the bathroom before the trading day.

Several movies that depict floor trading have had individuals just show up and trade.  There’s an approval process to become a member of an exchange and the process takes some time.  It is doubtful they could get trading access in the short period of time covered in the movie.  Also, the legal trouble and financial status of both would probably exclude them from actually ever being able to trade on an exchange floor. 

The trader for the Dukes is doing a good job replicating the hand signals despite being an actor (Richard Hunt – who is also the voice of several of the muppets).  Also, when a floor trader notices the Dukes watching the price action their response is pretty accurate as well.  Back in floor trading days successful traders activity would be noted by other traders.  Also, if a well know industry figure is lurking around it would be noticed.

The falsified crop report given to the Dukes indicates that weather is having a negative impact on the growing season.  Therefore they have instructed their trader to buy as less supply of oranges will drive the price higher.  The actual report is that weather hasn’t impacted the crop and the result is a quick drop in prices.  This is why our heroes are selling, but also why they wait to sell as the Duke’s broker and presence pushes the price up.

When the report is delivered in real life it would be a headline from a press release.  The scene with the Secretary of Agriculture on TV is for dramatic effect.  When different government agencies release statistics it is normally done through a press release which appears on the news feed on various quote services.

Trading Places does a pretty good job depicting the reality of how the markets function, especially the commodity markets.  In the early 1980’s floor trading dominated the commodity markets and the movie’s depiction of the floor is spot on.  

[nezumiismissing]

Pacing: What the Fuck Happened Here?

So I’ve finished rereading all of the novels, which means I can finally make a long post! There isn’t much to this one, but as I’ve said before, this is based on a small project that I started months before the blog, and I didn’t want to  start over on something completely different just to have to come back to this later. It also ended up being quite a bit longer that I anticipated, so sorry in advance.

Anyways! If you couldn’t tell from the title, this post will discuss the pacing of No.6, and what the differences between the pacing of the novels and the anime actually look like. I’m not going to talk about the manga here, mostly because I didn’t think of it until it was way too late to do it, but also because it follows the novels fairly closely, although in the future I may update this post to include it. I’m also not going to talk about the differences in events between the novels and the anime, because I would be writing this post for the rest of my life if I did that. I’ll have plenty of posts in the future discussing many of the events that were not included in both versions of the story, but for now we’re strictly going to talk about comparisons in pacing.

(There won’t be specific spoilers for anything, but if you haven’t read the novels and for whatever reason don’t want to know what is different, go read the novels. You will not regret it.)

For anyone already familiar with the anime reading the novels for the first time, there are a few things in terms of differences in pacing that are fairly clear, no matter how little you were paying attention to it during the anime. Among those I include:

The timescale of Episode 1 vs Volume 1

The placement of the cave/Nezumi’s backstory scene

The timescale of the climactic arc of the story (entrance —> exit of the correctional facility)

There may be others that people noticed on their first reading, but those three especially stood out to me, and the last two especially felt like major changes that really shifted the flow of the story. I’ll summarize every episode and volume later on, but how do these three events match up between the anime and novels? How different are they really?

Although though Volume 1 does not contain certain events that take place in Episode 1, it still only takes 14 pages to get through the entirety of Nezumi and Shion’s introduction, up until the point where Nezumi leaves Chronos. While overall this is a fairly minor thing, it is kind of strange the first time you read it to see the events, made up of practically the entire introduction to the story, take place over only 14 pages rather than an entire 20 minute episode. This also makes it one of the few points which is really noticeably shorter in the novels than the anime.

The scene in the cave, in which we discover Nezumi’s backstory, as well as more information about No.6, seems to be about the same length between the novels and the anime, and remains mostly the same between the two versions; however, where it differs is in where it is placed within the story. In the novels this scene takes place after Shion and Nezumi have entered the basement of the correctional facility, while in the anime it takes place quite a long time before this (episode 8 for the cave, episode 10 for the basement). As will be a running theme in this post, I have no idea why they changed this. Do I think the placement of this scene has an especially profound effect on how the story works? Maybe. Does it make more sense to have it where it is in the novels, and was I completely confused when I read it for the first time? Yes. I feel that the purpose of this scene is to give us one last moment of relative peace after the events of the basement and before we have to confront the rest of the facility, so moving it seems pointless and somewhat detrimental to the flow of the story.

The correctional facility. Clearly the most important and action-packed arc of the entire series. In the anime, it takes up two episodes, which I would say is a fair, but maybe slightly short amount of time to get through everything. In the novels, we have the other extreme, with the entrance to the basement of the correctional facility taking place across the end of Volume 4/beginning of Volume 5. Even if we remove the cave scene, that still leaves this arc of the story taking place over 3 entire volumes, plus the multitude of events that take place in Volume 9 which are entirely cut from the anime. In total, for the entirety of the events from the last two episodes to be shown, the last five volumes of the novels must be read. Again, I’m not going to go into all the things that are left out of the anime that do explain much of this disparity in pacing, but even without those events, we are left with an arc that is significantly longer and more developed than the anime showed.

But what about the rest of the series? Surely the anime follows the novels decently throughout the rest of the story, right? While in many ways the pacing is not quite so extremely different through the middle section of the story, many things get shuffled around and reordered, creating some interesting-looking lists of comparison. Below are the two lists I made that compare the overall event structure of both the anime and the manga. The first list states at what point in the novels every major event from an episode is shown, while the second states what episodes contain events that are in each volume:

Episode 1- Vol.1 pg 14

Episode 2-Vol.1 pg 49

Episode 3-Vol.2 pg 35

Episode 4- Vol.4 pg 68

Episode 5- Vol.4 pg 51

Episode 6- Vol.4 pg 55 (most of this was completed by Vol.2)

Episode 7- Vol.3 pg 67

Episode 8- Vol.6 pg 69 (most of this was completed by Vol.3) 

Episode 9- Vol.4 pg 74

Episode 10-Vol.7 pg 63

Episode 11- Vol. pg 66

Volume 1- 1, 2, 3, 4

Volume 2- 3, 4, 5, 6

Volume 3- 5, 6, 7, 8

Volume 4- 4, 5, 6, 8, 9

Volume 5- 8, 9, 10

Volume 6- 8, 10

Volume 7- 10

Volume 8- 10, 11

Volume 9-11

Here the result of the correctional facility arc starting so late in the anime becomes fairly clear, since 4 volumes of content now had to be stretched out over 9 episodes (Volume 4 seems to have gotten the worst of it). We can also see where lots of things were shuffled around (episode 7). These may not be exact either, since many of the repeating events had both locations and details shuffled, making it difficult to judge which one I was looking at. This was especially troublesome in terms of the meetings between Yoming and Karan, since details were shuffled to the point of none of the meetings being able to be identified as a specific event. I also struggled to decide where I should mark the end of Getsuyaku’s segment, since he only appears very briefly in the anime, and isn’t even really a character, yet he plays an important role in the novels. Either way, the lists are as accurate as I could make them.

So how does this change the story?

Well, like I said earlier, a lot of the differences in pacing are a result of so much being taken out from the period during and after the correctional facility arc, as well as much of the novels consisting of internal monologues and descriptions, which obviously don’t translate well to audio-visual format. Because of these factors, I think it’s hard to say exactly how pacing specifically affects the story, but the effects are definitely there. Because of how episodes are formatted, most of the scenes in the anime are the same length, causing scenes that explained important information about what was going on to be cut short or written strangely (Safu and the Mother and the cave scenes come to mind), while slower paced scenes were stretched out over longer periods. The timing of the correctional facility arc in the anime also erases a lot of the urgency of the situations the characters find themselves in (difference between the amounts of time from Safu’s disappearance —> entering the correctional facility). I’m surely not the first, nor will I be the last, person to say this, but No.6 would have greatly benefited from having that extra 12th episode.   With another episode, more time could have been spent in the correctional facility (I would have loved to see more of the stuff from the basement scenes), and on telling us what was really going on with No.6.

So why did they shuffle things around so much? Honestly, I have no idea. I’ve spent a considerable amount of time thinking about this, and although I can come up with a million and one ideas about why certain things were cut from the anime or added into the story, I have absolutely no explanation as to why it was necessary to change the order of both major and minor events in the story. Why are all the events in Episode 7 taken from Volume 3, while Episodes 8 and 10 are spread out across four different novels? I don’t know. I can’t even begin to explain it. I’m sure there are reasons for it, but since the ordering of events seems to have almost no impact on how we understand the “second act” of the story, I see no reason for it to have been changed. But I suppose it doesn’t really matter that much anyways, and I’m just overthinking things like always.

In conclusion, the pacing of the No.6 novels vs. the anime is so remarkably convoluted that I’m not even sure I’ve figured it out, and I wouldn’t recommend looking too deeply into it.

If you made it all the way through this post, congratulations! You made it through a short essay about a topic most people don’t care about from a series that ended six years ago! But for real, if you made it this far, thank you for reading! It’s not the best thing I’ve ever written, and it’s certainly not the most exciting topic, but I had a lot of fun with it, and that’s all that really matters, although hopefully I’ll write about more interesting things in the future and we can talk about lots of fun topics like character arcs and specific scenes (If you have ideas for topics let me know!). I’m hoping to get posts like these out about once a month, but I’ll be writing mini posts and random No.6 thoughts I have at random intervals between longer writings, so look out for those!

[aion-rsa]

Jupiter’s Legacy: Mark Millar on the Genesis of His Superhero Story

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This article is presented by:

Superheroes have a long history. After flying onto the scene more than eight decades ago, led by Superman, along with fellow octogenarians Batman, Wonder Woman, and Captain America, the pantheon of capes-and-tights characters has expanded to include countless more. And as legendary creators made their mark across decades, the origins and powers of these icons transformed almost as frequently as their costumes.

Meanwhile, the superhero team The Union, from the comic book saga Jupiter’s Legacy, have 90 years of consistent fictional history, with a singular overarching story, envisioned by one man: Mark Millar.

After discovering both Superman and Spider-Man comics the same day, at the age of four in Scotland (where he grew up), the now 51-year-old writer would go on to make a significant impact on the superpowered set. But he wanted his own pantheon.

And with Jupiter’s Legacy, Mark Millar has created a long history of superheroes of his own—now set to be adapted as a Netflix series.

“I wanted to do an epic,” he says. “Like The Lord of the Rings, or Star Wars… the ultimate superhero story.”

Co-created with artist Frank Quitely and published by Image Comics in 2013, Millar calls Jupiter’s Legacy his love letter to superheroes—and part of his own legacy.

The story begins in 1932 with a mysterious island that grants powers to a group of friends who then adopt the costumed monikers The Utopian, Lady Liberty, Brainwave, Skyfox, The Flare, and Blue Bolt. Told on a grand scale with cross-genre influences, the story spans three arcs: the prequel Jupiter’s Circle (with art by Wilfredo Torres), Jupiter’s Legacy, and the upcoming June 16, 2021 release Jupiter’s Legacy: Requiem (featuring art by Tommy Lee Edwards). With the May 7 debut of the Jupiter’s Legacy series on Netflix, the story will now also be told in live action.

Millar established himself in the comics industry in 1993 and crafted successful stories including Superman: Red Son, Wolverine: Old Man Logan, The Ultimates, and Marvel Comics’ Civil War—all of which have inspired adaptations and films, and led to him becoming a creative consultant at Fox Studios on its Marvel projects. His creator-owned titles Kingsman: The Secret Service, Kick-Ass, and Wanted, have likewise spawned hit movies.

But compared to Jupiter’s Legacy, none of those possessed such massive scope and aspiration as the story that explores the evolving ideologies of superpowered individuals, and how involved they should be when it comes to solving the world’s problems. Relationships are forged—and shattered by betrayal—with startling violence and titanic action sequences (both part of Millar’s signature style).

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“From Superman and the Justice League to Marvel to British comics—inspired by guys like Alan Moore, and so on, I’ve thrown it in there… it’s got a bit of everything,” he says.

That “everything” extends beyond comic books. Millar drew inspiration from King Kong’s Skull Island, and references the cosmic aesthetic of 2001: A Space Odyssey, which informed the “sci-fi stuff.” The writings of horror author H.P. Lovecraft “were a big thing for me,” when it came to The Island, created by aliens, “that existed before humanity, and that these people are drawn out towards where they get their superpowers.” The character Sheldon Sampson/The Utopian is a Clark Kent/Superman type, but his cohort George Hutchence/Skyfox is more than a millionaire playboy stand-in for Bruce Wayne. Rather, Millar based him on British actors from the 1960s—Peter O’Toole, Oliver Reed, Richard Burton, Richard Harris—who were suave rascals.

“I loved the idea of a superhero having a good time, getting on with girls, drinking whisky, smoking lots of cigarettes,” Millar said.

At the risk of sounding “so pretentious,” Millar jokes, he also pulled from Shakespeare. Indeed, the comics are as much a family saga as a superhero one (and written by the much younger brother of six whose parents died before he was 20). Utopian is a father to his own disappointing children, and a father of sorts to all heroes. He is Lear as much as he is Jupiter, the Roman god of gods. The end of his reign approaches, and various factions have their own appetite for power—such as his self-righteous brother who thinks he should be a leader, or Utopian’s son, born into the family business of being a hero, but who could never live up to his father’s expectations, or his daughter who is more interested in fame than heroism. 

He views Jupiter’s Legacy as more thoughtful than Kick-Ass, Kingsman, or Wanted. The plot’s driving action hinges on a debate about the superheroes’ philosophies and moral imperatives. It seeks to address a question Millar asked when he was a kid reading comics.

“Why doesn’t Superman solve the world’s problems?” he recalls thinking. “Why didn’t he interfere and stop wars from even existing?… Is it ethically wrong to stand aside and just maintain the status quo, especially when the status quo creates so many problems for a lot of people?”

On one side of the debate, Utopian believes interfering too much with society’s trajectory is a bad move. It’s not that he is cynical; quite the opposite. He thinks things are actually improving in the world. His viewpoint is there are less people hungry across the globe than ever before, and less people with disease. Millar describes Utopian as a “Truth, Justice, and the American Way” kind of hero, to borrow a phrase associated with Superman, and believes capitalism works. As his hero name suggests, Utopian thinks a better world is within reach, even if it takes generations, and encourages even the heroes to be patient and trust people to do the right thing because they are innately good.

“He says, if you look at the difference somebody like Bill Gates has made in Africa—just one guy—if you look at capitalism taken to the Nth degree, then it pulls everybody up, and poverty in places like India, is massively better just compared to a generation ago.”

Besides, as Utopian says to his impatient brother Walter/Brainwave, in Jupiter’s Legacy #1, being a caped hero doesn’t make them economists and, “Just because you can fly doesn’t mean you know how to balance a budget.” Plus, the notion of using psychic powers or brute force to simply make the world “better” is out of the question. Or is it?

The mainstream awareness of superheroes baked in from more than 80 years of stories, and the shorthand that especially comes with 13 years of the Marvel Cinematic Universe commercial juggernaut, has provided Millar with a set of archetypes to lean into. It was true of the hero proxies in the Jupiter’s Legacy books, and he says it’s true of the show. In fact, he says audiences are so sophisticated with regards to these types of characters they’ll be able to immediately slip into his universe, and that “a lot of the hard work has been done for us.” He adds that audience literacy with superhero tropes also provided him something to push against.

“The Marvel characters lock these guys up in prison at the end of these movies,” Millar says. “Everything’s tied up neatly with a bow, the rich are still the rich, the poor are still starving, and the superheroes aren’t really doing anything for the common man in any very global sense. These guys have just had enough of that.”

Millar’s comics technically kick off in 1932, when Sheldon first brings his friends on a journey to The Island, but his story goes back to 1929 when the stock market crashed, and the Great Depression began. This is likewise when the Netflix series will begin, and Millar says it’s because of the historic parallels between then and 2021.

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“We’ve been in a similar situation as we are now: there’s impending financial collapse coming out of a global pandemic,” he says. “The idea is that history continues and repeats itself, and people make the same mistakes over and over again, and the superheroes are saying, ‘Let’s actually fix everything.’”

Continuing the theme of parallels, when discussing the inception of Jupiter’s Legacy with Millar, The Godfather Part II comes up more than once because of the film’s dual storylines following Vito Corleone and son Michael, separated by decades. However, while the comics contain some flashbacks, the plot doesn’t unfold across different time periods simultaneously. But the Netflix series will shift between eras, with half of the show during the season taking place in 1929, for which Millar credits Steven S. DeKnight, who developed the series.

“The way Steven structured it was really brilliant, because I saw these taking place over two [different] years,” Millar says. “[But] The Godfather Part II track shows you the father and the son at the same age and juxtaposes their two lives.”

As a result, he says the series is a visual mash-up of genres that’s both classical and futuristic.

“It just feels like a beautiful period movie, then when it gets cosmic, and it gets to the superhero stuff, it’s a double wow… it’s like seeing Once Upon a Time in America suddenly directed by Stanley Kubrick doing 2001.”

This is a notable advantage to bringing the story to television, as opposed to making Jupiter’s Legacy three two-hour films as he originally planned with producer Lorenzo di Bonaventura in 2015. Millar says that to tell the Jupiter’s Legacy story properly on screen would require 40 hours, and with a series, what would have been a one-minute flashback in a movie can now be revealed in two hours of its own. 

It was another director who has since made a name adapting ambitious comic book properties that extolled to Millar the benefits of television: James Gunn. When Gunn (Guardians of the Galaxy, The Suicide Squad) had a chat with Millar about the project, Gunn said it could never be done as a movie. “The smartest guy in the world is James Gunn,” Millar says.

An exciting challenge of adapting his work for television is that the series will expand on the backstories and concepts of the books. For example when Sheldon Sampson and his friends head to The Island in the first issue, it takes up six pages. Within the series, half of the first season is that journey, and what happens when they arrive.

“Six issues of a graphic novel are roughly about an hour and 10 minutes of a movie; for something like an eight-part drama on TV, you really have to flesh it out,” he says. “It just goes a little deeper than what I had maybe two panels do.”

He emphasizes, however, that these flourishes won’t contradict the comics. Though he sold Millarworld to Netflix, he remains president so he can maintain control of his creations.

Overall the series has made the writer realize the value of television, and while a second season has not yet been confirmed, he’s already thinking about a third and fourth, and how it will dovetail with the upcoming Requiem. The story that began in 1929 continued through 2021, and collected in four volumes, will soon continue far into the future in the concluding two volumes.

“We saw the parents, then we have the present, and then we see their children in the next storyline,” he says. “That storyline goes way off into the future where we discover everything about humanity, superheroes, all these things. It’s a big, grand, high-concept, sci-fi thing beyond that.”

Listening to the jovial Millar discuss the scope of his Jupiter universe, which is imbued with optimism, one might not think this is the same person known for employing graphic violence in his works.

He thinks his films especially are violent yet hopeful, and fun. Kingsman is a rags-to-riches story, and “you feel great at the end of Kick-Ass, even though you’ve seen 200 people knifed in the face.” But he doesn’t consider his writing to fit under the dark-and-gritty label, and he’s not interested in angst, which he finds dull. With Jupiter’s Legacy, the comic and the show, he views the tone as complex but not “overtly dark.”

Additionally, Millar says he thinks society needs hopeful characters such as Captain America, Superman, and yes, The Utopian in 2021—as opposed to an ongoing genre trend of heroes drowning in pathos.

“The Superman-type characters are just now something from a pop culture, societal point of view, we need more than ever,” he says. “The last thing you want is seeing the world as dark, as something that makes you feel bad. Never forget Superman was created just before World War II in the midst of the economic depression by two Jewish kids who were just scraping a living together… I just think it’s so important when things are tough to have a character like that that makes you feel good.”

Even though Utopian suffers for his idealism in the comic, Millar says his ideas are passed on. This is The Utopian’s legacy. 

“Ultimately, he wins if you think about it,” ponders Millar.

After a successful career spent creating characters and re-shaping superheroes with 80 years of history, the new pantheon of Jupiter’s Legacy may become one of the defining and lasting features of Mark Millar’s own legacy. 

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Jupiter’s Legacy premieres on Netflix on May 7. Read more about the series in our special edition magazine!

The post Jupiter’s Legacy: Mark Millar on the Genesis of His Superhero Story appeared first on Den of Geek.

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[caladblog]

2017 The Year in Review

jesus h. fuck, we’re still doing this whole... “the passage of time” thing? really? ugh. okay. give me a moment.

*drags hands down face*

*sighs*

okay! it’s been another year! goddamn look at us go! welcome to my Second Annual Recap of New Fiction Stuff!!

(hark! a disclaimer: this features things that i experienced for the first time in 2017, not necessarily things that were released in 2017, because i live literally underneath a rock and it’s a bit out of step with the zeitgeist down here)

Books

Nominations: Neuromancer by William Gibson, The Fifth Season by N.K. Jemisin, The Long Way to a Small, Angry Planet by Becky Chambers

Winner: The Long Way to a Small, Angry Planet. Neuromancer was good but this fic did it better. The Fifth Season was excellent and beautiful-- if you’ve read Jemisin’s previous trilogy about gods, there were aspects and elements from those stories that were really brought into perfect focus here; it’s a testament to her growth as a writer and I can’t wait to get my hands on the next two books in the series.

But The Long Way to a Small, Angry Planet takes home the title because it is pretty much everything I want in a space opera. Everything. A galactic civilization that isn’t just an echo of European colonization. Interspecies conflict that isn’t a thinly-veiled allegory for racism. Aliens that are truly alien, different from humans and different from each other, with societies and cultures and values that logically follow from these differences. Lush worldbuilding (universebuilding?) that never sacrifices the plot or the characters. An artificial intelligence who sidesteps or directly refutes every frustrating AI trope in the book. Three-dimensional characters! Found family! ‘Xe’ being used as the linguistically-normal gender-neutral pronoun! A lesbian relationship between a human and a reptilian!

it’s good is what i’m sayin

Movies

Nominations: Rogue One, Thor: Ragnarok, And Then There Were None

Winner: Thor: Ragnarok. Stop the fucking presses, I saw a movie less than a month after it was released. This has only happened, like... twice in the last decade. Literally.

Anyway. Rogue One was good, but I’m not a huge fan of the war stars universe. I’m even less a fan of the marvel cinematic universe, especially what it’s become since cap2, but Thor: Ragnarok just fucken blows everything out of the water. No contest. It’s hilarious, it’s epic, it’s the first movie to get Thor’s characterization right. It loses points for including B******t C*********h, but it gains more points for everything described in this post, especially the way it specifically called out the way that societies built on imperialism try to cover up or whitewash the shameful bloody parts of their history. (“Proud to HAVE it. Ashamed of how he GOT it!!”)

Video Games

Nominations: Space Pilgrim Saga, VA-11 Hall-A, Fallen London

Winner: Fallen London. Confession time: I played a lot of video james this year, kind of went wild at the steam summer sale, and it was really hard to narrow it down to three nominations. Ultimately, though, Space Pilgrim Saga was nominated for humor and space and an endgame relationship between a gray-ace woman and a bisexual woman. VA-11 Hall-A was nominated for design and good music and queer representation and me being super gay for Dana.

But Fallen London wins because I’ve never played something that so naturally and regularly validates my gender identity and queerness. Not only do you get to choose a nonbinary option when creating your character, you also get to choose how the game addresses you and change it whenever you want, however many times you want. It’s always there (being referred to as a ‘gentleperson’ or any one of several non-gendered titles) but it’s never the defining aspect of your character or the subject of scrutiny/ridicule/whatever by any NPCs. Similarly, every point at which a romance is ‘required’* provides you with a male and a female option (and, as far as I’ve seen, the option to romance them both at once, too) and your choice of these is never determined or impacted by your character’s gender. Despite the ‘historical’ setting.

*in scare quotes because it’s needed to advance some stories and unlock others, but you do have the option of just. not doing them. or seducing the character for money or social status or some other personal gain, and not love. i'd like it if there was a non-romance option to advance these storylines, but eh.

It’s also just really well-written and interesting and funny and free to play-- there are storylines that cost money, and I’ve got my eye on several, but you never have to spend anything to advance. Even just keeping to the free storylines, there’s a ridiculous variety of things to do for whatever sort of person you want to play as. Go sign up now! Beware of wells! Don’t go North!!

Comics

Nominations: Harrow County vol. 3 “Snake Doctor”, Bitch Planet vol. 2 “President Bitch”, Ms. Marvel arc “Mecca”

Winner: “Mecca”

Okay.

I don’t remember if I ever posted it anywhere, but when this arc was being released earlier this year I had a Debate(TM) with myself about escapist storytelling vs. storytelling that holds up a mirror during rough times--how can you write escapism when hiding from problems does nothing? how can you write realism when the world already does so much to grind us down?--and I eventually settled that we need both, to read and to be written. Realism to show us how to fight. Escapism to help us rest so we can get back up.

This arc is so real it hurts, especially when you can only read it in monthly installments, but it’s the same hurt as pressing on a sore muscle. It’s necessary. There’s not a single aspect of this story that isn’t directly related to what’s happened this year, and what will go on happening next year, and the difficulty of resisting it, and the importance of continuing to do so anyway.

Also G. Willow Wilson appears to be the only Marvel writer who remembers that hydra is literally a splinter group of fuckng nazis so like

Podcasts

Nominations: Archive 81, Wolf 359, The Magnus Archives

Winner: Archive 81. What can I say? It’s precisely my shit. In fact, it’s so much my shit that it’s kind of hard to believe I’ve only known about it for a few months. Time is fake? I’ve already written in depth about how much I like this podcast over here, so I’m not gonna repeat myself.

Has to be said though that The Magnus Archives was a very close second. Like, when I started writing this post a few weeks ago, I had most of the winners already chosen, but this one was a last-minute decision. Especially when episode 81 (*EXTREMELY LOUD TWILIGHT ZONE THEME SONG*) was released and marked the first time in my life I’ve ever related to a male main character. Maybe a main character, period? At some point I’ll post a list of sampler episodes you can listen to without being too spoiled for the main plot to see if you wanna invest in a thing that’s got 86 installments so far.

so there we go! that’s been a sample of my year’s experience in fiction. see you all on the other side of this arbitrary dividing line that’s only marginally related to physical reality!