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dustedmagazine · 4 years ago

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Dust, Volume 6, Number 11

HAAi

As it was with September, so it is with October. After what felt like the dam breaking on all those albums optimistically held back by the pandemic, October continued to rain down releases and there was no shortage of them to cover. As ever, if diversity’s your thing, we have it: From pimp-rap to free jazz, death-metal to AM gold, jungle to Azerbaijani guitar jams, we got it all for you to peruse. Contributions this go ‘round come care of Ray Garraty, Ian Mathers, Bill Meyer, Jonathan Shaw, Andrew Forell, Tim Clarke, Justin Cober-Lake, Patrick Masterson and MIchael Rosenstein.

AllBlack — No Shame 3 (Play Runners Association/Empire)

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Just when we thought that pimp-rap was going out of business, AllBlack blessed us with No Shame 3. It is a lot of what it claims: playfulness with no shame, ignorant beefs, endless balling during California nights and showing off in earnest. AllBlack alludes to the fact that even though he’s getting that rap check, he’s far from quitting the pimp game: “Made 40K in eight days, that was just off pimpin'.” But behind this happy façade is something darker that’s looming on: “As I got older, I ain't scared, I guess I'm cool with death / You speak the truth and they gon' knock you down like Malcolm X.” While admitting that rap is a cutthroat game, AllBlack is only one of the few artists of a younger generation who is ready to pay respects in his songs to the OGs — the godfathers of pimp-rap, to Willie D, Dru Down and Too $hort. The standout track here is “Pizza Rolls,” where DaBoii and Cash Kidd drop in to deliver the funniest lines.

Ray Garraty

Bardo Pond — Adrop/Circuit VIII (Three Lobed Recordings)

Adrop / Circuit VIII by Bardo Pond

There are plenty of reasons to do small, limited runs of certain releases, in music as in other artistic fields, ranging from the brutally practical/logistical to the aesthetic, but when the material released in that fashion is good enough, it can be a relief to see it given further life (and not just digitally). This year saw the mighty Three Lobed Recordings (who we featured in an anniversary Listed here) has seen fit to reissue on vinyl two Bardo Pond LP-length pieces that were originally issued in limited run series back in 2006 and 2008. They were in good (and varied) company then, but resonate together in a pretty special way, whether it’s the tripartite Adrop wandering from gnarled, crepuscular grind to violin-powered epiphany or back down to delicate nocturnal acoustics. The longer Circuit VIII doesn’t have as distinct phases but still builds to an all-time Bardo Pond-style crescendo, featuring Isabel Sollenberger’s only vocals of the duo. Even with a band and label this consistently on point, these particular recordings are worth the wider dissemination, whether considered as archival releases or just a hell of a double album.

Ian Mathers

John Butcher & Rhodri Davies — Japanese Duets (Weight of Wax)

Japanese Duets by John Butcher & Rhodri Davies

There’s a bittersweetness about Japanese Duets that’s as pungent as the puckered, perfectly placed reports that English saxophonist John Butcher sometimes punches out of his horns. This is the third in an ongoing series of download-only releases that Butcher, idled by COVID-19, has culled from his archive, The Memory of Live Music, and the unbearable lightness of its format, only accentuates the sense of lost opportunities and experiences. One of the things that a touring musician gains in exchange for their embrace of uncertainty is the chance to go to some unlikely place and undergo something extraordinary. The four-page PDF that comes with this download reproduces photos from Butcher and Welsh harpist Rhodri Davies’ 2004 tour of Japan, which took in swanky museums and shoebox-sized jazz cafes; each image looks like a moment worth living. But if all you can do is hear the evidence, that’s not exactly settling. This improvising duo was audibly on a roll, pushing reeds and strings to sound quite unlike their usual selves, and challenging each other to move beyond logic to the rightness of jointly made and imagined moments. Thanks, guys, for sharing the memories.

Bill Meyer

Ceremonial Bloodbath — The Tides of Blood (Sentient Ruin Laboratories)

The Tides of Blood by Ceremonial Bloodbath

Yikes — talk about truth in advertising. Canadian death-metal band Ceremonial Bloodbath delivers the goods promised by their moniker and this new LP’s title. It’s a repellent record created by dudes that play in a bunch of other death-metal bands based in British Columbia: Grave Infestation, Encoffinate (not Encoffination), Nightfucker and numerous others that tunnel even further under the broader public’s attention. Give these guys credit for their single-mindedness: None of those bands is likely to make you feel any happier about the human condition. Neither will listening to The Tides of Blood, but it’s a better record than any that those other acts have released. The songs are low-tech, dissonant and about as subtle as a bulldozer’s blade knocking through your front door. In other words, the record is largely in line with what we’ve come to expect from the death-metal recently dug up by Sentient Ruin Laboratories, and for a certain kind of listener, that’s a good thing. Check out “The Throat of Belial,” which comes on hard and fast, then downshifts into second gear and unleashes a tangled, coruscating sort-of-guitar-solo. The mechanical chug reasserts itself, then speeds up again, unleashing steam and the smell of something… organic. The song has a ruthless momentum, as does the rest of the record. Pretty good Halloween music if you want to scare all the trick-or-treaters off your lawn.

Jonathan Shaw

Cut Worms – Nobody Lives Here Anymore (Jagjaguwar)

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Max Clarke evokes a wistful nostalgia for an America that existed perhaps only in the mind, the warm campfire glow of an era personified by The Everly Brothers’ harmonies, the twanging guitars of country rock and 1970s singer songwriters. On his new album as Cut Worms, Clarke literally doubles down on his musical project. Nobody Lives Here Anymore comes in at 17 songs that, while individually fine enough, meld into one another and gradually fade from the memory as the album unwinds. Clarke never quite transcends his influences and is not a strong enough lyricist to engage at this length. The effect is similar to that of The Traveling Wilburys where the whole is lesser than the sum of its parts. That said, Clarke is engaging company with a voice that splits the difference between the aforementioned siblings, Roy Orbison and Tom Petty. He has an ear for a melody and skillfully recreates an AM radio sound that trips the memory for anyone who grew up with this music either as inescapable background of their lives or soundtrack for their teen dreams and heartaches.

Andrew Forell

Dead End America — Crush the Machine (Southern Lord)

Crush the Machine by Dead End America

This new EP by Dead End America (DEA — see what they did there?) comprises four short, piledriving hardcore songs, all directly addressed to the current occupant of the Oval Office. “Bullet for 45 (Straight From a .45)” neatly captures the EP’s essential sentiments, and also suggests the general level of restraint exercised by the whole enterprise. Hint: Restraint and nuance are not Dead End America’s strong suits. That’s not surprising, given the folks involved. The band and record were conceived by Steve “Thee Hippy Slayer” Hanford, late of Poison Idea, and of this world. It’s pretty wonderful that this is some of the last music Hanford produced — pissed off and irreverent to the very end. Additional contributors include Nick “Rex Everything” Oliveri (the Dwarves), Mike IX Williams (Eyehategod), Blaine Cook (the Fartz) and Tony Avila (World of Lies). Sort of remarkable that a record including players from all those legendarily vile, venomous bands doesn’t just spontaneously self-combust; maybe it helps that they focus their collective rage on such a deserving target. RIP Steve Hanford. The wrong people are dying.

Jonathan Shaw

Chloe Alison Escott — Stars Under Contract (Chapter Music)

Stars Under Contract by Chloe Alison Escott

Chloe Alison Escott is the frontwoman of Tasmanian post-punk duo The Native Cats, and her pre-transition solo album, The Long O, released on Bedroom Suck back in 2014, received justified plaudits upon its release. (It remains a low-key favorite of mine.) New solo piano-and-vocals album Stars Under Contract was all recorded in one day by Evelyn Ida Morris (Pikelet), which lends these performances an on-the-fly liveliness. For the most part, it’s rollicking fun, with some wryly funny lyrics that betray Escott’s sideline in standup comedy. This performative confidence comes through in early highlight “There’s Money in the Basement,” which has the jaunty barroom bounce of “Benny and the Jets.” Later, Escott reaches for the heavens on single “Back Behind the Eyes Again,” with a truly heartbreaking piano progression. Though the 16 tracks are wisely interspersed with short instrumentals such as “What Are You Reaching For,” “Evening, Sunshine” and “Playfair,” 43 minutes is a lot of piano-and-vocals songs to get through in a single sitting. On closing track “Permanent Thief,” there’s a tantalizing flash of drum machine and bass, which could be a nod there’s another Native Cats album on the way soon.

Tim Clarke

Eiko Ishibashi — Mugen no Juunin - Immortal - Original Soundtrack (King)

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If you sit up nights fretting about how Eiko Ishibashi and her partner, Jim O’Rourke, pay the bills, this music may be your melatonin for your worried mind. Immortal is the soundtrack for Blade of the Immortal, an anime adaption of a popular manga that’s been picked up by Amazon Prime. Ishibashi composed and played the music with contributions from Tetuzi Akiyama, joe Talia, Atsuko Hatano, and O’Rourke, who also mixed the music. Ishibashi’s music echoes the affect-stirring melodies of her song-oriented material and the careful sound placement of her recent electro-acoustic work for Black Truffle; when the swirl of keyboard tones looms over her piano on “Animal,” there’s no mistaking it for anyone else’s work. But this is still made for a mass market, with unabashed classical music lifts and big, booming electronic percussion that would make a multiplex’s walls throb if you gave it a chance. There’s no physical release or Bandcamp option, so if you want to check this out, Apple Music and iTunes are your options.

Bill Meyer

Ela Minus — Acts of Rebellion (Domino)

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Colombian musician Gabriela Jimeno’s debut album as Ela Minus is a collection of original tracks that merge songcraft and club sounds into an assured mix of electronica on which she plays all the instruments and sings in both Spanish and English. After spending her teenage years drumming for hardcore band Ratón Pérez, Jimeno studied jazz drums as well as the design and construction of synthesizers, and she eschews the use of computers to create her music. She brings a DIY spirit to her work combined with meticulous production style that gives acts of rebellion the experimental edge of early 1980s independent synthpop. The highlight "Megapunk” is musically close in spirit to Cabaret Voltaire, its defiant lyrics — “There’s No Way Out But to Fight” — tying freedom of expression to wider human progress. A textured and nuanced album, Ela Minus joins an ever-growing group of South American producers to tune into.

Andrew Forell

Erik Friedlander — Sentinel (Skipstone)

Sentinel by Erik Friedlander

Cellist Erik Friedlander seems to pop up in the oddest places, playing now with the Mountain Goats, then with Dave Douglas, and finding a little time for film scoring on the side. It's reasonable that for new album Sentinel, he'd connect with a couple of other artists — guitarist Ava Mendoza and percussionist Diego Espinosa — equally comfortable with finding unexpected sounds in a variety of styles. The group, given their background, sounds their best when they're blending genres. “Flash” starts off as new jazz, turns into rock for a moment, then some strange cello lead pushes it into alien territory. At the edges of the trio's work, heavy rock often feels about to break out, but the group refrains from ever indulging that impulse. “Feeling You” even provides some light, pretty pop, allowing the band to show its full breadth.

Friedlander's compositions provide the basis for the album, but Sentinel never feels like just his album. The band, assembled for what sounds like a hurried set of takes, found their partnership quickly, turning the pieces into fluid performances. “Bristle Cone” lets all three members shine and functions like a microcosm of the disc as a whole: As soon as you think it's a guitar album, you start paying attention to the percussive elements; as soon as you remember it's experimental cello work, you're back to guitar rock. The trio's engagement with the music and with each other comes through, the playful innovation guiding each piece into a multifaceted whole.

Justin Cober-Lake

HAAi — Put Your Head Above the Parakeets EP (Mute)

Put Your Head Above The Parakeets by HAAi

Though it was Teneil Throssell’s mixes that initially made her name as HAAi (and remain strong even amid the pandemic, her latest for XLR8R another beauty), her own productions are a wonder unto themselves that demand repeat listens even as they come a trickling single or carefully cultivated EP at a time. The Karratha, Australia native, Coconut Beats hostess and Rinse and Worldwide FM veteran’s latest is the delightfully titled Keep Your Head Above the Parakeets EP, pure headphones music meant for sunrises, sunsets, walks in deep snow, rain-swept moors, you name it. Her talent is in balancing airy synth melodies with ever-shifting percussion influenced primarily by jungle, breaks and (ultimately) house; when people talk about psychedelic dance music, this is something like what I always hope to hear. Another unmissable missive.

Patrick Masterson

Hübsch, Martel, Zoubek — Ize (Insub)

Ize by HÜBSCH, MARTEL, ZOUBEK

Decades have passed since Derek Bailey wrote his book, Improvisation. At that time, it was already clear that the intentionally non-idiomatic music he pioneered and practiced was a subset of the more universal matter of improvising as a necessary aspect of playing music. It was also becoming clear that non-idiomatic improvisation’s aspirations and proscriptions amounted to a new but quite identifiable idiom, and this Swiss trio is okay with that. If you told Carl Ludwig Hübsch (tuba, objects),Pierre-Yves Martel (viola da gamba harmonica, pitch pipes) and Philip Zoubek (piano, synthesizer) that the music on Ize sounds a bit like the British ensemble AMM’s, they’d likely nod and thank you for noticing. They’re not trying to make a new kind of music, they’re trying to be good at a kind of music that they love, and on those terms, they succeed. Aside from the occasional Feldman-esque piano phrase, they mostly trade in layers of tone and texture, operating in complementary parallel to one another, taking the listener through states of meditative stillness and slow-motion vertigo.

Bill Meyer

J Majik — Your Sound - Photek & Digital V.I.P 12” (Infrared)

J Majik - Your Sound - Photek & Digital V.I.P by J Majik / Photek / Digital

Released on the same day as the “This Sound” single that allegedly was refashioned from “unfinished jungle project from the vaults,” “Your Sound” was further proof that UK drum n’ bass vet Jamie Spratling bka J Majik still has plenty of material from the golden era to get out into the world. The original is a certified mid-’90s Metalheadz classic, but Photek and Digital’s reworking on the a-side “originally only destined for the dubplate boxes of the ultra-elite” has been floating in the ether for years as an alternative; its light Amen sequences and booming bass will have you yearning for every closed club you can’t attend. J Majik’s remix of his own tune on the flip was originally the b-side to a 1997 Goldie VIP edit, so having a more readily available remaster here does it a world of good. One for the headz, obviously.

Patrick Masterson

KTL — VII (Editions Mego)

VII by KTL

Most of KTL’s recordings have been seeded by theater and film soundtrack commissions. But when Stephen O’Malley (Sunn 0))), Khanate) and Peter Rehberg (Pita, Fenn O’Berg) found themselves in Berlin this past March with more time on their hands than they expected, they booked themselves into Mouse On Mars’ MOM Paraverse Studio sans portfolio and set to work. The first track, “The Director,” seems to acknowledge the situation by introducing the Shephard-Risset glissando, a repeated scale that sounds like it is endlessly ascending or descending. The titular figure never arrives, but while you’re waiting, fat looped electronics impart the experience of going somewhere while leaving you exactly where you’re at. The director isn’t the only value missing from this equation; O’Malley’s default sonic signature, a massive metallic wall of sound, has been softened to a close-shaving buzz that rattles and circles around within Rehberg’s synthetic/sonic biodome. That’s right, while you’ve been baking bread and putting on that COVID-15, KTL has actually lost weight!

Bill Meyer

Lisa Cay Miller/Vicky Mettler/Raphaël Foisy-Couture — Grind Halts (Notice Recordings)

Grind Halts by Lisa Cay Miller/Vicky Mettler/Raphaël Foisy-Couture

Montreal-based guitarist Vicky Mettler, bassist Raphaël Foisy-Couture and Vancouver-based pianist Lisa Cay Miller are all new names to me. For their trio collaboration on Notice Recordings, the three work their way through a set of eight free improvisations that range from one and a half minutes to eight minutes long. The combination of piano, guitar and upright bass is striking from the start: Miller slips seamlessly between the keyboard and inside-string preparations, mostly eschewing readily identifiable sonorities of her instrument. Mettler’s resonant, brittle electric guitar is the perfect foil to Miller’s piano and one often has a hard time teasing apart where inside piano strings end and guitar strings begin. Add to that Foisy-Couture’s dark low-end bass, which he attacks with groaning scrapes, shuddering arco and assorted string treatments. The three engage in active improvisations, plying their respective instruments into a collective whole while steering clear of garrulous interaction. The fourth piece, “Lower” is as close to trio exchanges as things get, opening up the ensemble sound to allow shredded guitar textures, resounding piano chords and scabrous bass abrasions to accrue into pulsating timbral layers. A piece like “As It Spins” is more about process, adding in the rumble and clatter of assorted percussive detritus, used on their own and to activate the strings of the instruments, which jangle with resultant shimmering overtones. The pieces often segue one into the other, creating an enveloping sound-space throughout. Based on this one, I look forward to hearing more from each of the participants.

Michael Rosenstein

Mint Field — Sentimiento Mundial (Felte)

Sentimiento Mundial by Mint Field

Mexico City-based duo Estrella del Sol Sánchez (voice, guitar) and Sebastian Neyra (bass) enlist drummer Callum Brown to expand the range of their dreamily psychedelic shoegaze on Mint Field’s second album Sentimiento Mundial. Sánchez has the breathy cadence of Rachel Goswell and moves easily between an almost folky introspection in her guitar playing to squalling walls of sound underpinned by Brown’s often motorik drums on tracks like “Contingenicia” and “No te caigas.” The bulk of the album is more reflective, Sánchez’ Spanish vocals close to your ear as she concentrates on atmosphere and dynamics. The result is a dreamscape that lulls, then hits with febrile bursts of restless dread, an impressive collection that fans of 4AD in particular should recognize and embrace.

Andrew Forell

Takuji Naka/Tim Olive — Minouragatake (Notice Recordings)

Minouragatake by Takuji Naka/Tim Olive

Minouragatake (a mountain outside of Kyoto, Japan) is the fourth recording by Takuji Naka and Tim Olive, a duo that has played together for close to a decade now, melding together music of slowly evolving rich timbral abstraction. Each are consummate collaborators and for this session, they make their way across the seven untitled tracks with steadfast focus to the nuanced details of their respective sound sources. Naka utilizes “long loops of sagging/distressed cassette tape winding into and out of similarly distressed portable tape players, with real-time analog processing.” Olive uses his regular array of magnetic pickups and low-tech analog electronics, drawing out volatile hums and changeable striations that coalesce with his partner’s slowly devolving layers of sound. These pieces are imbued with unflappable deliberation, each sound integrated into the cohesive, gradually unfolding improvisations. Each of the pieces sound as if one is tuning in mid-stream and end with a sense that they could continue on indefinitely. Rather than adhering to any formal developmental arcs, the two patiently sit within unfurling sonic worlds as layers ebb and flow. Naka’s degraded tapes lend an aura of catching wafts from some distant celestial emission which Olive subtly shades and colors with hisses, whispered mutable fuzzed gradations and aural grit. Snatches of scumbled lyricism morph into static-laden swirls; washes of flaked and tattered textures disperse into shuddering thrums. Naka doesn’t record much so it’s good to hear another project from him. Olive has been on a particular roll as of late and this one is a laudable addition to his discography.

Michael Rosenstein

Okuden Quartet — Every Dog Has Its Day But It Doesn’t Matter Because Fat Cat Is Getting Fatter (ESP-Disk)

Every Dog Has Its Day But It Doesn't Matter Because Fat Cat Is Getting Fatter by Okuden Quartet: Mat Walerian/Matthew Shipp/William Parker/ Hamid Drake

Put aside the bleakness of this double album’s title because this music embodies the idea that things can get better. Not that there was anything wrong with Polish woodwinds player Mat Walerian’s previous recordings, which have all involved some combination of the musicians on this one. But Walerian has never sounded so strong on his various instruments (alto saxophone, bass and soprano clarinets, flute); so clear on how to get the most out of Matthew Shipp, William Parker and Hamid Drake; or so engaged with jazz, and not just the free jazz that he’s made with these gentlemen to date. By turns subdued, impassioned and bathed in all the shades of the blues, Walerian no longer sounds like a guy who has great taste in sidemen who happen to have played with some of the greats of our time, but a guy who sounds like he belongs in their company. Each lengthy track (they range from 11 to 18 minutes long) imparts a narrative feel without dispelling the mystery that makes you want to hear them again. Here’s hoping that when things start moving again, this band finds a way to move around the world and move us in person.

Bill Meyer

Om — It’s About Time (Intakt)

It’s About Time by OM - Urs Leimgruber, Christy Doran, Bobby Burri, Fredy Studer

To a fan, It’s About Time might sum up the feeling upon learning that the Swiss quartet Om finally recorded a new studio album 40 years after its predecessor, Cerberus (ECM). It also captures the existential question facing a quartet of improvisers, some of whose paths have often crossed during that time, but some of whom have taken very different roads. On the one hand, drummer Fredy Studer and guitarist Christy Doran play in a Jim Hendrix cover band with Jamaladeen Tacuma; on the other, soprano saxophonist Urs Leimgruber works mainly in freely improvised settings with the likes of Alvin Curran and Joelle Leandre these days. Burri seems to be the guy who has maintained connections with everybody. How to make sense of such a history without denying anyone’s musical identity? During their first go-around, between 1972 and 1982, Om was played polyrhythmic electric jazz. During the mostly low-profile gigs they’ve played since reconvening in 2008, they’ve had time to forge an updated vocabulary that is less groove-oriented but takes full advantage of the timbral resources on hand. While it’s evident that time has passed, it’s by no means a waste of time.

Bill Meyer

Rüstəm Quliyev — Azerbaijani Gitara (Bongo Joe)

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Azerbaijani music, by and large, hasn't broken through to the American mainstream. That might not change, but the new anthology release of Rüstəm Quliyev's work, titled Azerbaijani Gitara, at least makes a case against our insularity. Quliyev's work, even for an insider, would be hard to pin down given that the overriding goal seems to be the synthesis of as many styles of music as possible. Western ears will be most comfortable with the psych-rock influences here. Quliyev also reworks Bollywood, folk, Middle Eastern dance and more on his electric guitar. Taken from recordings from 1999-2004, this nine-song collection sounds more coherent than that idea might suggest, but no less frantic. Quliyev plays with a persistent energy, his kinetic approach matched my his chops, often with a tone reminiscent of Carlos Santana (if we reach a little). On songs like “İran Təranələri,” he allows the piece to develop patiently, but these cuts rely on movement and virtuosity. Quliyev had a challenging life cut short by lung cancer, but his music finds itself unleashed through apparent joy.

Justin Cober-Lake

ShooterGang Kony — Still Kony 2 (Empire)

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A fortnight shy of his 22nd birthday (this coming Wednesday, mark your calendars and send best wishes), Sacramento rapper ShooterGang Kony has dropped his second full-length project of the year in Still Kony 2, a skit-free set of songs with a Biggie homage as the cover that explores further his emotional depths while still retaining the bouncy Bay Area nature of his livelier side. There’s stuff like “Red Ice” and “Fasholy Good,” of course, but there’s also the stretch of sobering songs later in the tracklist, including “Overdose,” “Flaggin” and the particularly affecting “Do or Die.” No matter the type of beat, though, Kony feels completely at ease with his cadence and wholly in control of his verses despite occasionally verging on a Detroit-like dismissal of the beat. Even if you can’t see the geekin’, you can certainly feel it.

Patrick Masterson

Suuns — Fiction EP (Joyful Noise)

FICTION EP by SUUNS

For better or worse, Suuns’ new Fiction EP is pretty much the sound of 2020 encapsulated, not in the sense of distilling current musical trends, but rather in succinctly conveying the disorientating feeling of living through a year that has been such a traumatic mess. Across these six tracks, the Montreal-based band creates a fuzzy, feedback-streaked, claustrophobic racket that just about coalesces into song forms around breakneck rhythm tracks. “Fiction” and “Pray” will meet the expectations of anyone expecting Suuns to continue sounding like fellow noise-rockers Clinic, but elsewhere there’s surprising variation to the band’s sound palette. Opener “Look” emerges out of the darkness like a warped apparition, concluding with a chant of what sounds like “Sheep, sheep, sheep.” They enlist the help of Jerusalem In My Heart for droning instrumental “Breathe,” and Amber Webber lends ghostly vocals to “Death.” At the EP’s end, the Mothers of Invention’s wailing blues-rock classic “Trouble Every Day” is barely recognizable, foregrounding Zappa’s lyrics and chewing them up into a garbled rush of splenetic invective. Though short, there’s something satisfyingly ghastly and cathartic about this EP that really cuts through.

Tim Clarke

Women — Rarities 2007-2010 (Flemish Eye/Jagjaguwar)

Rarities 2007 - 2010 by Women

Some outlets rode much harder for Women than others when the band was still a dysfunctioning unit (RIP Cokemachineglow, namely), but there’s little doubt left a decade on that what the Calgary quartet had going was a volatile yet beautiful indie-rock ideal that hasn’t been duplicated in Viet Cong/Preoccupations or Cindy Lee since. These rarities, affixed to a deluxe decennial reissue of Public Strain due out in November, could all have made the final tracklistings of either of their full-lengths. The music veers between sunny ‘60s singalongs and dark guitar dissonance; I find myself thinking of The Walkmen’s first LP on “Bullfight” (a free release from 2011 in the aftermath of the band’s collapse the year before) and of The Chameleons on “Group Transport,” which is considerably more Janus-faced with its juxtaposed harmonies, for example. It took me much longer than it should have to come around on Women, but in case you’re still on the fence or also just never got around to them in the first place, perhaps this small coda will sway you in their favor once and for all.

Patrick Masterson

Yo La Tengo — Sleepless Night EP (Matador)

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In July, Yo La Tengo released the abstract, droning instrumental EP We Have Amnesia Sometimes, harking back to the sound of their excellent soundtrack album The Sounds of the Sounds of Science (2002). This new Sleepless Night EP brings together five covers and one original, first released in conjunction with an L.A. exhibition by Japanese artist Yoshitomo Nara, who helped the band pick the songs. Sleepless Night opens with “Blues Stay Away” by The Delmore Brothers and “Wasn’t Born to Follow” by The Byrds, both fairly straight renditions of the blues and country-rock originals. The real keeper in this collection comes next in the form of Ronnie Lane’s “Roll On Babe,” beautifully sung by Georgia, which hypnotizes with its languid sway. Their cover of Dylan’s “It Takes a Lot to Laugh, It Takes a Train to Cry” also has Georgia take the lead over beatless organ, bass and guitar. “Bleeding” is the sole original, a shimmering atmospheric piece with ghostly vocals from Ira, which dissolves in a pool of pitchshifted reverb. Finally, “Smile a Little Smile for Me” strips out the rhythm section from the Flying Machine original and slows the tempo, Ira’s measured vocal performance lending the song an affectingly forlorn slant. Though the material here offers few surprises, it’s a reassuring release from a justifiably loved band at a time when we could all use a little more reassurance.

Tim Clarke

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sciendere · 5 years ago

Text

What’s This?

Snowdeke fluff, post S7 in my self indulgent headcanon where everyone gets a happy ending and absolutely nothing bad happens to anyone.

Summary: The holidays can be stressful, especially when it’s your first Terran Christmas and you’re still learning how to properly people. Deke is trying to help Snowflake navigate the holidays through the help of movies, and she finds herself relating in particular to the misadventures of one Jack Skellington. A series of scenes of Snowflake discovering and trying to understand Yuletide, as set to the lyrics of What’s This? from The Nightmare Before Christmas. Inspired by my Snowflake Christmas headcanon post. Just tumblr now, this is the first fic I’ve completed in literal years and I’ve lost my AO3 login information because I’ve never really had anything to put there until tonight. Enjoy my odd little story please!

Adjusting to new cultures is never an easy thing. At least that’s what Deke kept repeating to himself under his breath as he tried, with his limited modern-day Earth knowledge, to help Snowflake acclimate herself to Terran life. She’d managed a basic grasp of most mundane daily situations- be friendly, be polite, and knives stay in your pocket- but special occasions, holidays in particular, were still a bit foreign to her. Routine was so much easier, especially when for years it was literally the only constant in her life. Something he even understood, so when words failed him, he had a secret weapon- passwords to every streaming service he had. Television and movies were his teacher, and now they were hers. December had come before they knew it, and as she watched the Thanksgiving Day parade, confused and bewildered by the strange-to-her things on display, he realized the time had come to teach her about the winter holidays, Christmas in particular. Christmas meant parties, parties meant company, and company meant the fiancee needed to be on her best and least embarrassing behavior. This was already a bit of a tall order for Snow, and for the most part, Deke let her eccentricities slide as long as there were no injuries or casualties, but he also didn’t want her to feel left out. “So,” he said one day, handing her the remote to the TV like a proud father handing his child the keys to their first car, “Christmas is coming. You need to learn about it.”

“Ooh, is it binge-watching time again?” she asked. Her eyes lit up. “I love binge-watching!”

“It’s binge-watching time,” Deke replied. “Your mission: gather as much intel on the Terran celebration of Christmas as you can. Preferably in the next week or so. Parties start early, yo.” “Mission accepted!” she squealed. She snuggled into the beat up couch in their apartment’s living room, making herself comfortable. “Great, have fun,” he said. “You want me to order pizza or anything?” “You know my regular order.” Deke rolled his eyes. Engaged life had its ups and downs, and one of them was having to recognize your woman, as much as you might have in common with her, will always disagree with you on extremely important topics. He sighed. “Pepperoni, canadian bacon, and pineapple,” he said, disgusted and horrified but still a supportive man to the very end.

“That’s my boy,” she said.

~ A few hours later, stacks of pizza had been devoured by both of them during that evening’s Christmas movie marathon, and Deke had dozed off beside Snow on the couch. They’d worked their way through several of the classics- Elf, Muppet Christmas Carol, How the Grinch Stole Christmas, Miracle on 34th Street, and A Christmas Story- and Snow clicked her way lazily through the titles on the screen, looking for one that really caught her eye without Deke’s helpful advice to guide her. She’d come to understand the holiday a bit from them, but it was still so foreign. The movies were good, but she just didn’t grasp entirely the sentiments behind them. One in particular truly stood out to her, one that from the poster art didn’t even look like much of a Christmas movie at all, but instead, bore a smiling dapper cartoon skeleton man. “The Nightmare Before Christmas?” she read off the screen. It was certainly different from the other titles she’d seen. “Awesome.” She hit play on the menu and watched as the stop-motion puppets filled her screen, already in love with the morbid imagery. Finally, a movie that spoke to her soul. Deke woke up about half way into the movie, to find Snow beside him paying rapt attention to it. “Huh what’s this… oh Nightmare Before Christmas? Always watched it at Halloween myself but I guess it’ll do too.” “This movie is amazing! Jack’s just like me.. He just wants to learn and figure out Christmas and he sang a whole song and he’s just trying to make Christmas for everyone!” Snow pointed to the screen, where Jack was puzzling over the secret to Christmas. “See? That’s me now,” she said. Deke just smiled, happy his woman was happy. Maybe she’d figure out this Christmas thing in time… ~

Nightmare became a favorite for her over the next few days. Though she still puzzled over Christmas, Deke had begun to walk her through the holiday by explaining it to her the best he could, but late at night she’d return to Halloweentown, feeling a little less alone in Jack’s bewilderment at a world he loved but also didn’t totally understand. Of all the songs, “What’s This?” captured her feelings best, she thought, not just about Christmas, but getting used to another world entirely.

~ What's this? What's this?

There's color everywhere

What's this?

There's white things in the air

What's this? “So.. the white ornaments on the trees are-”

Snowflake had never cut Deke off faster, and she was used to him saying several stupid things a day. “I swear to gods, Deke, if you even try to explain the concept of snowflakes and snow to me. Like I don’t know what my own damn name means. It’s the one thing I DO get about the holidays.” She smiled, but it was one of her smiles laced in venom and dried blood on the blade of a dagger, one where you were reminded, and fast, she’d spent years as the galaxy’s deadliest assassin, and she could go back to that life anytime if she really wanted.

He chuckled nervously but knew she meant business, even if she was joking. And God help him if he ever wound up on her bad side. “Yes’m,” he said.

“False advertising, though, there’s none out here right now even though it’s winter. I feel like it’s just a tease to throw those picturesque landscapes at you when we don’t know what the weather on the 25th will be at all just yet. This is a planet with varying climates, is it not?” “Well, yes…”

“Then why is it being advertised like we’re on a frozen planet?” “Snow, honey, it’s stylistic, just don’t overthink it. Don’t overthink most of it. In fact, thinking? Highly overrated in general.” “First time you’ve made sense all day. You know, though,” she said, “it’s not hard to pretend half the songs on the radio right now are actually about me. Because everyone here just loves me that much.” “You were wanted for murder and larceny in five states before I bribed Daisy into hacking their law enforcement’s networks to clear your name.” And it was expensive as hell too, he thought to himself. “Let it Snow. Is about me.” “Right, right,” Deke said. “You’re right.”

What's this?

There are people singing songs

What's this?

The streets are lined with

Little creatures laughing

Everybody seems so happy

“So you’re just telling me people go out in big groups and sing in public places, not even for money, and no one really cares? And they’re called… Curlers?” Swing and a miss, Deke thought, but he gave her points for genuinely trying. The two were on a park bench listening to a choir sing in the city park. “Carolers. Curlers play a weird ice sport with brooms and a rock.” “Who’s Carol? What’s she got to do with it? Should I know about her? Is she the lady statue over there?” Snowflake pointed to a nearby church’s Nativity scene and Deke quickly pushed her hand down, praying the awkward stares from passerby stayed at a minimum.

“It’s just another word for song, they just.. They sing. To make people happy, make them remember stuff. It’s fun.” She still struggled at the idea of being a street performer just for the enjoyment of it, not sure why anyone would do anything like that without it getting them money, but it was simultaneously the most adorable thing she’d ever heard. “I’m glad they’re doing it. Their singing is pretty.” ~ Oh, look

What's this?

They're hanging mistletoe, they kiss

Why that looks so unique, inspired

It was the afternoon and Snow couldn’t help but notice the weird little bit of twigs hanging over the doorway of the kitchen. “Deke, there’s plants on the doorframe! What have you been up to this time?” “Decorating?”

She reached for the leaves the best she could with her tiny frame and sniffed up into the air. “Mistletoe,” she said. “We had this on my planet. Leaves and berries are poisonous. Really good for if you want to take someone out without a lot of mess- is this a present? For me? Who do you need-” “Wait wait wait- Snowflake NO, no one is getting poisoned.”

She frowned. “Waste of good mistletoe if you ask me. What is it for, then?” “So… you hang mistletoe from doorways, and if you and your love walk under it… you kiss.” “We kiss under the poisonous, parasitic bush?” She was confused but intrigued by this strange custom. “Look, it’s tradition, don’t ask questions, I don’t know either.” “And I thought Terrans were soft… that’s the most badass thing I’ve ever heard of in my life. Kiss me under the poison.” “You really don’t need to put it like that-” Deke said, but before he could finish, Snow had pulled him in for a kiss. One he happily returned. He wasn’t about to waste some good mistletoe, after all. ~ They're gathering around to hear a story

Roasting chestnuts on a fire

Snow threw a copy of The Night Before Christmas across the bedroom. “No, I’ve tried to understand so much of this holiday, most of it I’m coming around to, but this? This is where I draw the line.”

“Sweetie, it’s a kid’s book, it’s not that big a deal-” “No, I’m not upset about a book,” she said, “This… this Santa? No sense at all,” she said. “The sleigh is just magic, like any other kid’s story, you really don’t have to try that hard to understand it.” “Oh no,” she replied, “the sleigh makes perfect sense to me. Santa knows what’s up, you put in your coordinates, fiddle with a few things, the ley lines get you to the nearest destination. Easy, basic dimensional travel, even if it might be a bit more efficient if he didn’t insist on using reindeer. Makes all the sense in the world to me, the rest of you all just need to get on our level. But everything else about the big man… No.”

“I’m going to hear about your problems with him whether I want to or not, aren’t I?” Deke asked. “Bingo,” she said. “You people are just okay with a man in a red suit breaking and entering? To leave presents for children? A man in velvet and fur does that, it’s holiday spirit, I do that, and it’s ‘creepy’ and ‘wrong’ and ‘next time, Snowflake, just knock’” “I warned you Nana and Bobo have been Terran all their lives and they were going to take your ‘extreme baby surprise’ a bit differently than you thought they would.” “And I told you it’s good for the little brat, keeps them on their toes and gives them a bit of exciting mystery in life. So I get why the Terran children love this story so much, even if I think it’s a case of double standards. But the man’s clothes are simply not stealthy or tactical. You can’t sneak in red, especially on your mythical white Christmases, you’re going to stick out from a mile away! And don’t get me started on the chimney… what happens if you don’t have one. We don’t have one, would Santa just climb in through the window? Lockpick?”

Deke nodded. She made several points, even if it was a bit much for her to approach Santa through the perspective of her area of expertise. “I got nothing on those last two points.”

“He goes to all that work… for snack food,” Snow said. “At least you lot could tip your home invaders a bit better. I’d expect at least large sums of money, in small unmarked bills, for that kind of performance.” Deke nodded. Milk and cookies really did seem like an unfair trade-off for overnight delivery. “I hear what you’re saying but that’s just the Christmas spirit for you, he’s grateful just for the snacks. He does it to be giving. At least, I think that’s supposed to be the point of it all.”

His reply took her aback. She would rather lose her right hand than admit Deke was right in this conversation, easily, but at the same time, she could see the little nugget of truth in what he had to say. One that made her stop and think. Snow pulled herself out of bed and walked across the room to pick the book up. “But all that aside, it’s a lovely story,” she said quickly. “Even if nothing about it makes sense.” “You never make sense. Like. In general.” “I know. Get used to it, because we don’t do sense in this household.” “Wouldn’t have you any other way.” ~ What's this?

In here they've got a little tree, how queer

And who would ever think

And why?

They're covering it with tiny little things

They've got electric lights on strings

“This one,” she said, “this is the perfect ornament for the dead tree.” Snow waved a Christmas ornament in front of Deke’s face in the packed gift shop, a kitten in a gift box holding the banner “Meowy Christmas.”

“For the last time, it’s called a Christmas tree,” Deke said. “Even if it… is… a dead tree. Technically.”

“Well the dead tree needs a festive Flerken on it,” she said, putting the bauble in his shopping basket. “They’re cats here, snowbunny,” Deke whispered, “cats.”

“Cat, Flerken, potayto potahto, isn’t that how it goes? We have to buy these too,” she said, putting a box of round glass ornaments into the basket. Deke looked in and was unsurprised to see glittering snowflakes painted on all of them.

“These are just regular ball ornaments we have plenty of- oh,” he said. He knew despite her original misgivings about the guarantees of weather, the snowy motifs made her feel a little less alone and out of place, and had been playing along for a while with her insistence they were about her. “Of course we need them.”

“That’s how everyone will know the tree is mine,” she said proudly.

“We have enough now,” Deke said. “Our tree isn’t that big, and we still have lights and garland for it-” “No,” she insisted, and another boxed ornament was in her hand. “Just one more?” The ornament was a ceramic retro styled semi truck, decked out in Christmas lights and wreaths. Deke looked at it, and spent a second in confusion as to why she’d want such a mundane thing on the tree, until it clicked. Despite the hard times she’d had in her past, she still had a few fond memories of her adventures with the crew- Jaco in particular- and an occasional homesickness for her intergalactic, interdimensional home for so many years. And for all her confusion, she’d seemed to figure out part of Christmas was celebrating the past. “We.. we never had Christmas… or much of any holidays, really, it happens when you can’t really stay in one place for too long, on there… but it’d be like this, if we had,” she said. “You know.. Just in memory of the family who couldn’t make it.”

Deke nodded. He’d lost his family going back in time too, and understood how Snow felt. The tree was covered in lemons as a sort of nod to his past, and adding snowflakes and trucks to that mix just seemed right.

“You’re right,” he said. “We’ll buy this one more thing.” “One more? Oh no,” she said, and in her hands was a strand of lights with clear snowflakes around the bulbs. “That dead tree isn’t done until you can barely see tree under it.”

Deke smiled. She was starting to get it.

The smell of cakes and pies

Are absolutely everywhere

“What’s your favorite sweet?” Deke asked, out of nowhere at breakfast on a cold December morning, a few days before Christmas.

“Huh?”

“Nana and Bobo are coming Christmas morning. So we’ll be doing the cooking this year and having our dinner with them. I thought I’d make the actual dinner, you could maybe do the baking and something sweet for dessert? I know you love sweets.”

Snow thought for a moment, then started listing things, counting them off on her fingers. “Cookies.. Pies.. cakes.. Bread-” She stopped suddenly.

“What’s wrong?” Deke asked. “I thought you loved all the treats you’ve been trying this month.”

“I do, they’ve all been divine. I just thought of my options for baking and then I thought of how much Jaco would love this time of year… He taught me a few things and I can probably use that knowledge to make just about anything, but it’s just not the same without him there to give me advice.” Her blue eyes grew big with bittersweet memories and Deke could see the sparkle of tears forming in them. Her sad face always destroyed him, knowing all the pain and loss her expression held. Deke grabbed for her hands and held them tightly.

“We have cookbooks… we can call Nana for advice, she’s a biochemist, baking is just chemistry you eat… we can watch videos if you get stuck. I know it won’t be the same, and I know nothing will ever replace what he meant to you, as a big brother.”

Snow nodded.

“But he’s also always right there in your heart, no matter what,” Deke said. “Nana taught me that about loss, people never really leave us, as long as we remember them. So bake the most delicious Christmas treats you can, and make him proud. And as long as you do that, as long as you use what you learned from him, Jaco will be with us.”

“You’re right,” she agreed. “I’ll do the best baking anyone’s ever tried, and it’s all going to be in his memory.” “That’s the spirit. So what are you making, then?” Deke asked her.

“Everything!”

The sights, the sounds

They're everywhere and all around

I've never felt so good before

This empty place inside of me is filling up

I simply cannot get enough

Navigating last minute shopping downtown was the last thing Deke expected to be a challenge for the two of them, but it had become one. It was a case of Snowflake’s natural, corvid-like attraction to shiny, sparkly objects- and Deke trying to stop her before her natural kleptomaniac impulses could kick in-against her lack of acclimation to so much sparkling, bright, merry surroundings. Spending a good part of your life in a dimly lit truck was something that stuck with you for a while, and even on the most neon lit planet she’d paid a visit on her journey, nothing could top the spectacle of Earth during the Christmas season. Every surface sparkled and shone with bright lights and glitter and tinsel and foil, every storefront played happy tunes about warm feelings, and the jingle of bells was never too far, as though magic simply floated through the atmosphere at that time of year.

It was everything Snow ever loved, but it was also so, so much, almost too much for her at times. The sensory overload tired her out and she quietly pulled on Deke’s arm, guiding him to a nearby bench. He understood immediately and followed her to sit down beside her.

“I think I’m finally starting to understand this Christmas,” Snowflake said. “It’s still strange to me in a lot of ways, but whatever, life is boring without a little strangeness, isn’t it?”

“Guess that means as long as I’ve got you my life will never be boring, then,” Deke replied. Snow playfully punched him in the arm, even though she knew he was right.

“I’ve seen so much in my short life and so many different worlds but this is the first I’ve seen where everyone spends a month just being kind to one another, giving out of the goodness of their hearts, inviting others into their homes to share food and company and good times, just loving each other. Before I came here… we didn’t have a lot. We were poor constantly, we only really had each other, and we ate almost every meal like it was our last because we never knew when our next would be coming. It’s so different going from that… to all this.”

Deke held her tight. “But you know things are different for you now, right? You don’t have to worry anymore, you know that.”

“I do, and that’s why I understand. Because I feel like that’s what all this is about. The winter is dark and cold and long, and sometimes, people don’t have what you do, and we just have each other. So we make everything brighter and warmer and share what we have with people who might not. We remember the people we love who might not be here. And it makes that darkness just a little easier to get through, if we get through it together.”

Deke was at a loss for words. He himself had never considered Christmas that way, but what she had to say was absolutely right. The two were from such different backgrounds, but in the end, they weren’t that different, two people who were thrown from their normal into something totally new. He was proud of her for coming to that conclusion by herself, because deep inside, it sorted things out for him, too.

“You know, I don’t understand as much as I pretend to sometimes, in fact I understand literally nothing, but I think you’re right.”

“I figured it out with your help. I’m so grateful I have you to help me learn and feel less alone, less weird, less different. You’re better than any present anyone could ever give me.”

“Really? I just do my best…”

“It’s all we really can do, isn’t it?”

I want it, oh, I want it

Oh, I want it for my own

I've got to know

What is this place that I have found?

What is this?

Christmas Town, hmm

It was Christmas morning, and the grandparents were due, and Deke was mildly nervous about how well the future granddaughter in law would go over with them. Although it took a while to get them acclimated to their… eccentric… new family member, Fitz and Jemma, on the whole, were able to move past their initial misgivings and find aspects of her they could both admire and focus on, rather than the fact a woman they met after she tried to murder one of their found family, would soon be married into theirs. “Just… try to not horrify them too much,” he reminded her that morning. “I know in-laws can be difficult, but I think we can manage the best Christmas ever as a family, too.”

“Deke, I’ll be fine,” Snow reassured him. She was dressed for the festive occasion, wearing a knit sweater, covered, of course, in silver foil yarn snowflakes. The words LET IT SNOW filled the front of it. “It’s not like I’ve never met them before.” She reached into the oven and pulled out a tray of gingerbread people to cool. Sitting on the kitchen table was an array of the goodies she’d stayed up all night baking. After all, she needed something to do to pass the time in case Santa paid them a visit, so she could sit down with him and teach him basic stealth principles. Platters of cookies in various shapes and varieties- snickerdoodle stars, sugar cookie snowflakes, and a small pile of shortbread butterflies- and a big basket of fluffy herbed rolls, a recipe she’d learned years ago from Jaco, covered almost every surface. “What do you think? They’re going to love it.”

Deke smiled. “It’s great but.. Where am I going to put the turkey, or just about anything else?”

“We have a whole living room,” Snow said, and Deke raised a finger and opened his mouth, ready to point out maybe that was a better place for the sweets, but he wasn’t about to be a buzzkill when she was in such an excited mood.

“Right, right, living room turkey. Classic Christmas tradition. Right.” This was going to be a fun one to explain to Nana and Bobo… who were ringing the doorbell that very minute.

“I’ll get it-” Deke insisted, but Snowflake was already opening the door to welcome the two in. “Merry Christmas!” she squealed, in a cheerful singsong voice. Fitz tried to dodge her embrace by sidestepping her, but her well-trained reflexes were faster, and he found himself in an awkward hug from the tiny woman, sending desperate looks Jemma’s way. His wife gave him a look that said, without any words, oh no, she’s your problem now. “Bobo!”

“Pleasedon’tcallmethat,” Fitz muttered under his breath. Jemma helpfully pulled Snow off him to give her adopted future granddaughter in law a hug, only for Deke to quickly swoop in on his grandpa before he could even enjoy his newfound freedom. Snow was surprised. She’d always had a harder time getting through to Nana, but maybe it was the holiday spirit bringing them a little closer today. Just a bit more of that magic she’d never totally understand, but that was fine.

“Oh, Snow, how have you been hanging in there?” Jemma asked her.

“Baking!” Snow said proudly. “So many cookies in the kitchen, and more coming, please eat them so Deke doesn’t have to put the turkey in the living room!” Jemma mouthed something that looked like “what?” to Deke and he replied silently with one of his usual “don’t ask” shrugs.

“Great, I need coffee. We grabbed the redeye flight and I wasn’t about to pay ten dollars at the airport,” Fitz said. “Bloody crooks.”

“Also in the kitchen, unless Snow finished it in the ten minutes since I made the pot,” Deke said. He was eager to diffuse some of the awkwardness that was growing in the apartment. A little awkwardness might be part of the holidays, too, but it seemed to run more in this family than others. A little strangeness keeps life from being boring, that’s what Snow said, he reminded himself. But if he could help it, he preferred to not exhaust the entire day’s supply this early in the morning.

After a delicious Christmas dinner -where the turkey, thankfully, remained on the kitchen table- the Fitzsimmons-Shaw-Snowflake family gathered in the living room to enjoy one another’s company by the fireplace. Card games were played, stories were told, and everyone just seemed to come a little closer together.

“Hey Snow,” Deke said, during a bit of a lull, as their feast began catching up to everyone and making them tired, “why don’t you put on a Christmas movie for us?”

“I’d love to!” she said. “Deke taught me about Christmas watching these, and you know? I really love Earth more now. It’s the only planet that does all this.” She turned the TV on and from the menu, flipped over to the movie that had been making her feel like she truly belonged over the last few weeks, the one she knew almost by heart. The soundtrack kicked in and a voiceover started. “Now, you’ve probably wondered where holidays come from… if you haven’t, I think it’s time you’ve begun-”

“Snow, are you sure you want to go with this one?” Deke asked, realizing oh god, she’s really going to play Nightmare Before Christmas for Nana and Bobo. Not Elf, not Christmas Vacation, this one.

“Of course! It taught me so much, the least I can do is share that with your grandparents,” she said. Deke looked desperately at Jemma and Fitz, hoping for at least disapproving or bewildered expressions from them to convince Snow- well, really, him, and he knew this- that this was a bad idea, but to his surprise, they seemed okay with her offbeat choice.

“That’s so sweet,” Jemma said. “You know, I don’t think I’ve ever seen this one, either.”

Deke shrugged. If the grandparents were happy, so was he. He poured everyone another mug of hot cocoa, as This Is Halloween started playing in the background,

Sometimes the best gifts at Christmas didn’t come in packages. Sometimes the best gift was the gift of family, the gift of memories, the gift of time spent with those close, and if this Christmas brought his family, new and old, closer together, then for him, it was truly a Christmas worth celebrating.

#agents of shield #snowdeke #team earth aos #deke shaw #snowflake #aosfic #christmas fic #fluff fic #christmas #i hope this is good since i've not written in years #but nightmare before christmas meant a lot to me growing up and i feel like for snow it probably has that same effect #of outcasts and weirdos still being able to be good and loved #in a lot of ways the truckers make me feel the same way nightmare did as a teenager so it just feels natural to write this story #anyway enjoy my first fic in like at least three years

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paladin-lynx · 5 years ago

Text

Human SQUIPtober 2019, Day 5: Dance

Human SQUIPtober 2019 Day 5: Dance

Ships Involved: StageDorks (Jeremy x Christine)

Setting: Post-musical AU where the SQUIP somehow returned as a human and was redeemed/rehabilitated by Jeremy (with the help of the rest of the squad), and lived with him having nowhere else to go. He looks pretty similar to how he looked in Jeremy’s head, and physically he looks to be around college age.

Trigger/Content Warnings: None

Author’s Notes: So I didn’t know this was a thing until yesterday, so I didn’t get to make anything for the first few days of Human SQUIPtober. I may go back and come up with a little something for those days if I get the chance (I’m a little bummed I missed Day 4 because I adore BMC Superpowered AUs). I can’t draw, so I’ll offer my writing instead! I’ll try to explore a slew of settings, ships, and themes for the days I get to participate in. Also, I’ve been in somewhat of a writing slump lately, so apologies if my writing isn’t up to standard. I hope you enjoy!

Squip had a few running theories about how and why he’d been brought back as a human. SQUIPs themselves had limited information on where exactly they came from, seeing as there was always a bit of bleed between their data and their hosts’ and it was too risky to have too much that could cross between them, so Squip had absolutely no idea if something like this had ever happened before. It wasn’t like he had his databanks to fall back on anymore, although he had retained a good amount of the knowledge he had from his time in Jeremy’s head. Granted, his now-human brain could only contain so much without making the facts a bit fuzzy.

He hypothesized that how much power he’d gained from syncing with so many other SQUIPs combined with the fact that Jeremy himself hadn’t been the one to drink the Mountain Dew Red, and perhaps the possibility of him having been a defective pill – seeing as he’d broken the protocol of serving his host in order to pursue a higher purpose – could have mixed together to reactivate him. He wasn’t sure the rest of Jeremy’s friend group’s SQUIPs were strong enough to have managed something similar.

But the sudden gain of an actual human body? That was the one part he couldn’t wrap his head around. He wasn’t sure it was worth agonizing over.

The more sentimental part of him – because, for God’s sake, he had one of those now – wondered if perhaps there were supernatural forces at work that wanted him to feel karma. Jeremy had gone through a careful procedure in the hospital to have his SQUIP removed, since it had still muttered and criticized him even after everything, although its voice had been nothing more than a hiss in the back of his head, and that was the last thing Squip had remembered. He’d begged Jeremy one more time to keep him, and then there was nothing. Before there was suddenly everything.

First waking up as a human hadn’t exactly been easy. He guessed the surgeons had merely tossed the SQUIP out in the garbage, assuming it’d be destroyed eventually since they still didn’t have a solid idea on what it even was, so when he suddenly came to, it was a very unpleasant awakening in the Beth Israel dumpster. Everything had hit him at once: the putrid smell of the waste, the disgusting texture, the burning in his eyes, the confusion rattling his mind. He was feeling, and after having been a supercomputer above simple human functions like the basic senses and emotions, it was too overwhelming. He’d ended up blacking out again almost as soon as he’d woken up.

Then, through a convoluted series of events that involved him being taken into the hospital and having to sweet-talk his way out – even with the nervousness that perhaps he’d inherited from Jeremy, it appeared he still had his charisma at the very least – he’d ended up seeking out Jeremy. He needed to get a grip, but he honestly had next to no idea what he was doing. Sure, he had all of the information in his head about what it meant to be human and what he needed to do in order to stay alive, but that was a lot different than suddenly experiencing everything for real.

More than suddenly being able to physically feel and smell and the like, what was most disconcerting was the menagerie of voices snapping at him in his head. There seemed to be two sides: the first were growling at him: “look how far you’ve fallen”, “you used to be incredible, now look at you”, “how pathetic, coming back to life only to be like this”. Then there was the other side: “do you understand the weight of what you’ve done?”, “you’re a monster, all you ever did was hurt people”, “the only reason you’ve come back is so that you can suffer the consequences of your actions.” It had him feeling so terribly small, doing everything he could to tune out the venomous thoughts. What was it that Jeremy had always said to ward him off? Loudest one is mine? That wasn’t particularly helpful when he knew that all of those voices were his.

Jeremy, of course, had been more than wary at first about helping Squip. He’d actually initially slammed the door in his face before seeing that Squip appeared to be on the verge of a panic attack on his doorstep, and he’d caved and ushered him into the house. He’d talked him down and gotten the story out of him, and reluctantly agreed to let him crash there for the time being.

Since then, Squip had improved immensely. He still had some old habits that stuck, of course. He was very blunt with his opinions, although he was working on that, since he’d unintentionally upset some of Jeremy’s friends with his comments. He was a perfectionist in every sense, a stickler for organization and cleanliness. He was, unsurprisingly, a tech junkie and interested in absorbing as much information as he could. He sometimes slipped into Japanese without realizing when speaking, since he found it easier to process things in what was technically his mother tongue.

The weight of his guilt always sat heavy on his shoulders, but he knew that the most he could do now was try and make up for what he’d done. It was in a SQUIP’s nature to serve and assist, and so he was always lending a hand. He’d become something of an elder brother to the squad, especially when it came to Jeremy. He was still protective over the boy as if he were still his host, and while Jeremy seemed to appreciate the attention most of the time now that he was used to it, there were plenty of times he had to tell Squip to back off and give him space to figure things out on his own. Michael had teased Squip for being as nosy as Jenna Rolan, which Squip still couldn’t decide if that was true or not. Or if he should be insulted or not.

Even with the intense remorse, though, Squip was learning to love being human. He was starting to find himself and distance himself from the cold, heartless machine he’d once been. One of the things he’d discovered he loved was music. Granted, he was sure he’d probably liked it before. SQUIPs were learning computers, after all, and he remembered observing everyone dancing at the Halloween party and deciding to jump in and analyze how the teenagers were having fun. And, perhaps somewhere deep in his code, he’d decided he was having fun, as well. Nowadays, Jeremy still sometimes made fun of him for the handful of times he’d caught Squip in the middle of his chores, playing music and swaying along to the beat, sometimes even humming or singing. Jeremy wouldn’t admit it, but Squip knew that he silently thought Squip had a nice voice, as well. It didn’t have quite as much of a surfer lilt as before, but it was still quite similar to how he’d sounded while in Jeremy’s mind.

Jeremy wasn’t much of a dancer, but Christine was. Now that they were dating – Squip sometimes felt even guiltier for being happy that, even after all the awful events, the pair had actually gotten together and were still in a healthy relationship – it wasn’t unusual for Christine to drag Jeremy into her antics. But the boy was so taken with her that he probably would’ve gone along with her if she’d asked him to rob a bank. Squip often ruffled Jeremy’s hair and teased him for how smitten he was, to which Jeremy’s face would flush and he would just swat him away while half-heartedly protesting.

Whenever Christine came over, Squip tended to hide away in his room. It wasn’t because he didn’t want to see Christine – everyone of course had been concerned at first about accepting him, but they’d mostly accepted him by now, seeing as he was rather harmless as just a boring old human and honestly it was amusing to them to see him learning how to be a functional person – but because he wanted to give the couple their privacy. While there was nothing scandalous happening, Squip knew that there were multiple occasions they’d ended up making out on the couch or just in general be lovey-dovey in that way only high school sweethearts could. In any case, he didn’t want to third wheel, although Michael seemed more than happy to take that role and hang out with Jeremy and Christine when the were together. Squip guessed that Michael often took the opportunity to embarrass Jeremy in front of Christine. You got a lot of dirt on someone if you were their closest friend for nearly thirteen years. You got equally as much dirt having lived in their brain for a few months, but Squip usually only poked fun at Jeremy when it was just the two of them in the house.

Today was one of the days Squip locked himself away so Jeremy and Christine could have their alone time. At some point, he heard the front door open then slam shut and he guessed that Michael had come to join. Maybe they would once again try to recruit Christine as their Player 3 to get through The Cafetorium, which they still couldn’t seem to beat. Squip had offered to help, but Jeremy had protested that Squip would give them an unfair advantage since he’d once been a piece of technology and that they needed to do it the human way. It was a bit silly, but Squip didn’t press the matter. He wondered if they’d ever get past the level. He supposed they’d have to eventually, after enough tries.

Christine normally came over for a few hours, or sometimes she’d stay the night and Squip could sneak out of his room once they’d settled in Jeremy’s– he’d been gifted the Heeres’ guest bedroom, as well as an old laptop and phone that Mr. Heere had managed to buy for cheap from his office – but normally, he just stayed holed up, only coming out if he needed to use the bathroom or if he felt like he was needed for a specific reason.

Squip was still learning how to tend to his basic needs like eating and sleeping – sleeping was hit-or-miss most nights, since either he was kept up by insomnia or kept restless with nightmares reminding him of what he’d once been – so he had set alarms on his phone to keep himself in check. He nearly jumped as his alarm reminding him to eat lunch went off and he scrambled to turn it off, frowning. Christine was over a little earlier than usual, but Squip didn’t really want to interrupt the trio downstairs by making himself food, even if he could just bring it back up to his room, although he’d rather eat in the kitchen. However, he knew that if he waited for Christine and maybe Michael, as well, to leave, he’d go without food for quite a while. So, with a sigh, he stuffed his phone into his pocket and opened the door.

He had expected to be met with the sounds of zombie groans and gunshots. What he hadn’t expected was to instead hear Hall & Oates blasting from the living room.

“What I want, you’ve got, and it might be hard to handle—”

Raising an eyebrow, Squip slowly made his way down the stairs, peeking over the railing towards the living room, and he blinked in surprise.

They were streaming music from the TV, and there was Christine on the couch, giggling loudly. And there was Michael, standing and grinning, taking Jeremy’s hand and twirling him along to the music while Jeremy, flushed in the face, laughed and let himself spin. Once Jeremy was facing Michael again, Michael took both his hands and moved in perfect rhythm – he loved his music, after all, especially his oldies that he’d dragged Jeremy down with him into – with the song.

“But like the flame that burns the candle, the candle feeds the flame, yeah yeah—”

It was only a moment before Christine kicked her legs in excitement and burst with that energy everyone knew her for, jumping up and cutting in so that all three were holding hands and just moving back and forth in an uncoordinated dance. Squip couldn’t help thinking of the memories he’d glimpsed of Jeremy’s Bar Mitzvah party, music blaring in a ballroom while teens and adults alike tried to figure out how to dance along on the shiny dancefloor under flashing lights. Michael had grabbed Jeremy back then just like he did now.

“You make my dreams come true!”

Squip found himself breaking into a fond smile as he watched. The three of them looked ridiculous, just dancing in the middle of the living room, almost bumping into the coffee table more than once, but they were having fun. Squip found that that was part of the human experience. Things didn’t have to have a purpose; people found joy in the most trivial of things, whether it was feeling the breeze tousling your hair on a summer day or deciding you wanted to break out into song and dance for no reason at all. Humans didn’t have to analyze and foresee plausible futures. They just acted. Of course, that often landed them in trouble, but other times they just threw caution to the wind in order to have a good time.

Deciding that the trio was distracted enough, Squip made his way down the rest of the staircase, attempting to keep his footfalls light, but of course the house decided to work against him and one of the last stairs creaked loudly. Swearing under his breath, he turned to see that the dancing had stopped and all three teenagers were gazing at him. He felt heat rise to his cheeks.

“I’ll only be a moment, I just wanted to grab something to eat,” he nearly mumbled, hurriedly making his way down the rest of the stairs so he could shuffle past. However, he froze when he felt something grab his sleeve and he turned with slightly widened eyes to see Michael grinning at him.

“C’mon, S, join us,” he insisted. Out of all of the squad, Michael was the last person Squip had expected to accept him. But Michael seemed so taken by the idea of a computer becoming a person that he no longer viewed Squip as a threat. Besides, as soon as Jeremy had warmed up to him, it was basically inevitable that Michael would, too.

Squip’s brow creased at Michael’s words. “Join you?” he echoed. “I wouldn’t want to intrude on your, er…whatever it is you’re doing. Little dance party.”

He peeked up to see that Jeremy and Christine had already resumed dancing, Christine looping her arms around Jeremy’s neck while Jeremy lightly had his hands on her hips. Squip was convinced that Jeremy spent 85% of his time around Christine with a blush on his face. Despite the fact that they’d been dating for quite a while now, Jeremy still seemed so surprised that he’d actually gotten the girl he’d been pining after since freshman year.

“On a night when bad dreams become a screamer, when they're messin’ with a dreamer, I can laugh it in the face—”

“You’re not intruding, I literally invited you, dude,” Michael huffed, pulling Squip towards the living room, causing Squip to stumble a step as he was forced to follow. He scrambled for a response. He felt like he shouldn’t be doing this, despite the fact that Michael was right and they’d quite literally requested he dance with them. But it still felt like he was interrupting. He couldn’t help loathing how feelings often contradicted one another or just happened out of nowhere.

“Michael—” he tried, only to get cut off by Jeremy snickering. The other boy was giving him a half-smirk.

“I think you’re just nervous because you can’t dance,” he teased.

Despite how far he’d come, sometimes Squip’s pride still got the better of him. And he knew Jeremy knew that. The boy was obviously goading him on.

And, like a stupid human, Squip fell right for the bait.

He pulled away from Michael and separated Jeremy and Christine – making sure not to shove them in the process – and wrapped an arm around Jeremy’s waist. The color in Jeremy’s already flushed cheeks only darkened as Squip dipped him down, giving him a crooked grin.

“You should know better than to challenge me, Jeremy. After all, I’m the one who taught you how to dance.”

“Geez, take a joke sometime,” Jeremy muttered, although there was no bite to his voice and Squip could see him fighting a smile as he pushed on Squip’s chest, getting the other to lean up so they were standing straight again.

“You make my dreams come true! Oh yeah!”

Laughing, Squip gave in and joined in the impromptu little dance circle. He swept across the living room with Christine, stepped in time with Michael, and even joined Jeremy in his awkward shimmying. When Michael and Christine started singing, he found himself joining in and soon enough Jeremy was, too. A few songs went by before their hands were interlocked and they were simply moving back and forth like the trio had been doing on their own before.

Squip felt a warmth in his chest that he recognized as affection for his dance partners, and he just felt light as air as all four of them made idiots of themselves. Being human could be so frustrating, confusing, overwhelming, and just terrible a lot of the time. There was so much to process, especially for him when he had never experienced any of these things before.

But at times like these, he couldn’t be more grateful that he’d been given the chance to come back and just love life. It reminded him that, even with the karma he was facing, it didn’t have to be all that bad.

#Human Squiptober 2019 #Be More Chill #BMC SQUIP #BMC Jeremy #BMC Michael #BMC Christine #StageDorks #i'm sorry this is kinda shitty #i banged it out in like a couple of hours just because i wanted an excuse to write something lol #i hope it's okay!#Jeremy Heere #Michael Mell #Christine Canigula #writing #mine #BMC #SQUIPtober #lynx tales

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howtohero · 5 years ago

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#245 The Power of Stories

Stories are a powerful thing. A skilled storyteller can take a story, be it real or fiction, and use it to influence great change in the people or the world around them. Stories can be used to teach lessons; to give warnings; to bring joy; to bring sorrow; to bring pain and to alleviate it. In the right hands stories can be used to do damn near anything. As a superhero, your life is essentially a series of wondrous and fantastical stories, (interspersed with hilariously embarrassing ones about getting your cape stuck in revolving doors or getting suck in what’s known as a “revolving door loop” where you just keep going around and around and getting increasingly panicked) and that makes you very fortunate indeed. Having so many incredible stories under your belt gives you yet another opportunity to do good, albeit in a more unconventional way.

Understanding that the strange things that happen to you, or that you happen to, can be used later on to do some good can actually do wonders for a superhero’s morale. If you’re forced to fight a giant mud monster for the fifth day in a row (different, completely unrelated, mud monsters believe it or not) at least you can take solace in the fact that you can later use this terrible time to inspire others to clean up after themselves, or not to lose hope when faced with the same problem over and over again. Every bad day can be turned into a good and valuable story later. And nobody faces more bad days than superheroes. (The idea that supervillains face more bad days than superheroes stems from a fundamental misunderstanding of what makes a supervillain tick. Supervillains are often the product of a single bad day that sets them down a path of horrible villainy. Any other defeat or setback they experience after that initial bad day is not viewed as a bad day by these villains, but rather as further excuses, which they desperately crave, to commit outlandish crimes. If a villain were ever to succeed they’d lose any and all motivation to do things and that’s the last thing they want. Which means that you’ll never be happy, and they’ll never be satisfied. Thus the battle between good and evil is the world’s one true never ending story.)

It should come as no shock to you, my superheroic reader, that the stories of your life can be used to inspire and intrigue others. Superheroes, and other larger than life or awesomely powered figures, have loomed large in fiction literally since the beginning. Our oldest recorded story, The Epic of Gilgamesh is about a man with incredible strength, stamina, and endurance fighting monsters and seeking immortality. That’s like a regular Tuesday for you and yet it is humankind’s most enduring tale. If you’re any good at your job, you yourself have been the subject of many comics, movies, sitcoms, internet puppet shows and one fascinating Japanese gameshow/car wash. Now, it’s time to take control of your own stories! Stop selling the rights to every instance of you scuffling with the Exit-Sign Swaparooner or spearfishing the venom-whales of the Kludachrom System. Instead, you can use these stories to inspire people or inspire change or simply to entertain young children so their hardworking parents can get some much needed sleep! When you’re a hero no good deed is too small! (The Exit-Sign Swaparooner is a devilish fiend who takes exit signs and puts them over doors that are not in fact exits. You may think that this makes him more of a prankster than a supervillain but 1. The line between those things is much thinner than you might believe and 2. Let’s see if you’re still laughing when you’re trying to leave your local coffee shop only to find yourself falling right into a pit full of crocodiles!)

If you’re going to start utilizing your vast array of stories though, it is important to know your audience. Not every story is suitable for every listener. If you’re new to this whole story telling thing, you’re going to need to train at matching stories and audiences and so we’ve devised a quick practice exercise for you:

If your audience is a group of excited school children the story you should tell is: a. The time you thought the Sentient Cloud of Expletives! b. The time you fought the Blowzo the eternally puking clown who exclusively pukes on children. c. The time you traveled back in time and invented math accidentally. d. The time you traveled back in time and invented math on purpose.

Now, if you picked any of those answers you’re obviously incorrect. Unless you truly know your audience and can prove us wrong. In all honesty, all of these stories might be suitable for a group of excited school children, it’s simply up to you to know what kind of school children these are, and what kinds of stories they want or need to hear. The Sentient Cloud of Expletives story is great if you want to teach kids about proper language, as long as you understand that you need to censor much of the Cloud’s dialogue for this particular group. (It’s also a great story to tell if this particular group of kids thinks they’re too cool to listen to a story from a superhero. Using a ton of swear words in a story is the number one way to get too cool for school children to listen to what you have to say.) The story about Blowzo is a great story to use if you want to scare a bunch of children into doing the right thing. (Fear is often the best tactic to use when dealing with children. I’m quite sure of this.) [This is wrong, don’t scare any children!]. Teaching children that a super cool superhero invented math is a great way to encourage children to learn it! And teaching children about going back in time and inventing math a second time teaches them that they shouldn’t be afraid to admit when they’ve made mistakes. (Even if your plan to fix your mistake is to erase an entire timeline, only to just invent math again but on purpose this time!)

In reality, any story can be adapted for any audience as long as you understand the motivations and attitudes of the people the story is intended for. If you miscalculate, you can end up boring your audience. Or even worse, upsetting them and causing you to give your stories bad reviews. Honestly I don’t think you can handle scathing reviews from story critics. They can be very mean. And I know you’ve actually fought Charles T. Mean, the inventor of mean, but let me tell you, these people are out for blood. I once wrote a story and some critic told me, to my face, that the story made him hate the person who invented words. So. (And it wasn’t even the historical fiction story about Deirdre Word, inventor of the word, being a serial killer who only invented words so she could leave threatening messages to her would be victims during the Revolutionary War!)

In addition to knowing your audience it is also important to know your stories. You need to look back through your life and understand the various uses of each of your many stories. Stories of great triumph can be used to inspire people to surmount impossible odds, or to intimidate your enemies by showing them that you’ve faced greater threats than they can ever hope to be. (You can honestly win a lot of fights this way.) Love stories can be used to demonstrate the lengths people will go to for love or as the lead up to a “spontaneous” musical confession of love! Scary stories can be used, as we’ve said, to terrify children into doing good deeds or to win the annual superhero halloween ghost story competition which my sources tell me is a thing. If you can understand that every experience you have can serve you in a number of different scenarios some time down the line, limited only by your own creativity, you’ll certainly feel better about having to fight your way through the Mobile Murder Mountain the next time it arrives in your city!

Stories can be quite versatile. They can be used to calm down or distract scared civilians. They can be used to generate goodwill with our galactic neighbors. They can be used to build people up or tear them down. Your job as a superhero is to wield your stories in a way that will make the world a better place. Good luck, and happy storytelling!

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thedcdunce · 6 years ago

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The Riddler

“The future is a riddle only time can solve!” - The Riddler

Real Name: Edward Nashton

Aliases:

Enigma

Edward Nigma

Gender: Male

Height: 6′ 1″

Weight: 183 lbs (83 kg)

Eyes: Blue

Hair: Black

Abilities:

Genius Level Intellect

Investigation

Escapology

Weaknesses:

Obsession

Equipment:

Riddler’s Staff

Universe: New Earth

Base of Operations: Gotham City

Marital Status: Single

Citizenship: American

First Appearance: Detective Comics #140 (October, 1948)

Abilities

Genius Level Intellect: The Riddler is a supreme problem-solver, criminal mastermind. He is a genius with brilliant deductive power. His mind excels with puzzles, minds games, and manipulations. Investigation: He possesses great deductive skills and analytic ability. Escapology: Riddler is adept in escapology. Since childhood Edward has been a big fan of the late great Harold Houdini. Using this skill to build his infamous elaborate death traps and easily escape handcuffs. Like the Joker, he can escape the high security hospital Arkham Asylum whenever he pleases.

Weaknesses

Obsession: His riddles are in fact a bizarre obsessive compulsion; his attempts to stop himself from sending them has met with failure time and time again. This extends to the fact he cannot simply kill his opponents when he has the upper hand, but prefers to put them in a deathtrap to see if he can devise a life and death intellectual challenge that the hero cannot escape. However, compared to Batman's other themed enemies, Riddler's compulsion is quite flexible, allowing him to commit any crime as long as he can describe it in a riddle or puzzle.

Equipment

Riddler's staff

History

Edward Nashton, who later changed his name to Edward Nigma, is the super-villain known as the Riddler. His signature gimmick is committing high-profile crimes, and giving clues or hints to law enforcement. This has made him an enemy of the Batman in Gotham City. The riddles are a compulsive obsession to prove he is smarter than others, and this has made him an occasional patient in Arkham Asylum.

Origins

Edward Nashton was born into a broken home. His mother was absent and his father was abusive. When Edward was a young boy, he became excited at the idea of winning a puzzle contest at school. To increase his likelihood of winning, Edward sneaked into school during the night and practiced the puzzle until he could solve it with ease. He ended up winning, and was awarded a riddle book as a prize. Since that time, he has mastered puzzles, mind games, and riddles.

Edward was profoundly intelligent and would pass tests with apparent ease, something his father, out of jealousy, couldn't or wouldn't believe; he therefore attributed his success to cheating and started beating on him to keep him 'out of trouble,' or to stop him from lying. Out of the abuse, Edward developed a compulsion he has became known for, he constantly endeavors to tell the truth to prove his innocence. This is where his obsession with riddles comes from. Unfortunately, the abuse is also a main factor that drove him mad and to a life of crime.

The Riddler

When Edward got older, he left home and became a carnival performer, using his skills to cheat carnival-goers out of their money. But this was not enough for him. He longed for something more, and became the Riddler, at the same time changing his name to Edward Nigma, picking The Batman as an adversary, as he believes him to be an intelligent and more-than-worthy opponent.

Starting out as a simple informant and criminal profiler for the underworld of Gotham City, as well as for Batman, the Riddler slowly became more of a villain to Batman. It wasn't long before he became a main adversary to the Caped Crusader, constantly testing his analytical abilities to their limits.

The Long Halloween

During the events of the Long Halloween the Riddler became an informant for Gotham city crime lord Carmine Falcone. When a serial killer known as Holiday began targeting Falcone's associates, Carmine hired the Riddler to discover the killer's identity. However, the Riddler's results displeased Falcone, and the gangster even laughed at him, when the Riddler suggested that Carmine himself was the killer. The Riddler later became one of Holiday's victims, but much to the Riddler's confusion, was purposely left unharmed. A year later, Batman consulted Riddler about a second Holiday killer called Hangman.

Career Criminal

Over the years, the Riddler would earn his living through various heists and robberies, working his way up the criminal food chain, eventually even securing himself a couple of henchwomen to do his bidding. Later in his career, after his exploits have been well established for some time, he attempts a heist in Manchester, Alabama, only to be thwarted by Impulse, whose problem-solving skills he severely underestimates after Impulse initially confuses him for The Question.

Dark Knight, Dark City

The Riddler becomes darker and more bloodthirsty when he takes an interest in occult rituals. He discovers instructions on how to tame a bat daemon called Barbatos, originally summoned by Thomas Jefferson. The Riddler leads Batman around the city with a series of riddles, designed to prepare Batman as a demonic sacrifice. To make Batman chase him, he kidnaps four babies. He tricks Batman into kissing a hanged man through CPR, and covers him in blood at a transfusion center. The next step is a dance with the dead, accomplished through zombie robots, then slaying a dog with silver. He forces Batman to slit the throat of an unbaptized child, by leaving him with a baby who needs an emergency tracheotomy. Finally he makes Batman do an acrobatic dance in front of a goat representing the devil, by attacking him with a flamethrower. Batman is captured and tied to an altar. The Riddler prepares to stab Batman in the heart, but the demon Barbatos intervenes to stop him. The Riddler flees in terror and torches the building, but Batman is able to escape.

Knightfall

Riddler was back in action, but he was attacked by Bane, who dosed Riddler with Venom. Batman tried to stop Riddler, but he was too strong and Batman was tired. Bane's henchmen shot Riddler under Bane's command leaving Riddler badly injured.

His stay in Arkham was short lived as Bane released all the inmates as a plan to eliminate Batman. Riddler escaped as well, gathered his old gang and started planning his next move. Riddler sent a letter to the Gotham City Police Department, but they were too busy with all the other criminals from Arkham and Riddler's letters got overlooked in the situation. After a while, his own henchmen got tired of waiting for the police to notice the clues and they ditched Riddler out of the score. On an attempt to be noticed, Riddler went to a live TV broadcast, armed with bombs and took over the show. He delivered his riddles to the audience, but nobody was able to answer them. Riddler was soon stopped by Robin, who watched the TV, learned of his move and arrived at the TV station in no time. The bomb turned out to be fake and Riddler was captured and taken back to Arkham.

Hush

The Riddler is diagnosed with terminal cancer, so he cures himself by stealing one of Ra's al Ghul's Lazarus Pits. This grants him a temporary clarity, and he finally figures out that Bruce Wayne is Batman. He tries to sell this cure to a rich doctor named Thomas Elliot, whose parents also died of cancer. Elliot hates Bruce Wayne, and they decide to work together to destroy Batman. Elliot becomes the villain Hush, and the Riddler designs an intricate plan. This involves enlisting or manipulating Catwoman, Clayface, Harley Quinn, Huntress, Jason Todd, The Joker, Killer Croc, Poison Ivy, Scarecrow, and Superman. Batman and Nightwing actually fight the Riddler during this time when he robs an armored car. They assume the Riddler is too pathetic to be involved. Hush loses to Batman, and Batman figures out that the Riddler was the mastermind. Batman explains that a riddle everyone knows the answer to is worthless, so he knows the Riddler will keep his secret. Ra's al Ghul will also have his League of Assassins kill the Riddler if they ever discover what happened. Batman punches the Riddler, tells a security guard that he fell, and leaves Arkham Asylum.

After the Hush incident, Riddler escaped from Arkham and sought Poison Ivy's protection from Hush and from the League of Assassins. However, Ivy was equally mad at him after he used her on his "Hush" scheme and she attacked Riddler as soon as he stepped into her lair. Riddler tried to escape, but Ivy wouldn't let him go. Riddler finally gave up and asked Ivy to kill him and finish his pain. However, she refused, leaving Riddler helpless in a catatonic state.

Downfall and New Start

Later, Elliott reappeared demanding from the Riddler the location of the Lazarus Pit. When Riddler refused to answer, he was brutally beaten. Seeking refuge, the Riddler went to the Joker and the Penguin. He tries to bargain with the Joker for asylum and he agrees but eventually his safety is compromised and he is forced to go on the run again. He asks Poison Ivy for asylum, both of whom remembered his manipulation and the meeting didn't go well. At a loss, the Riddler went into a downward spiral of insanity and became homeless. He eventually was found by a ex-NASA decoder who helped him recover his mind. It is during this time that the Riddler has an induced flashback about his childhood, he comes to the realization of what happened when he was abused and why. He also deduces the reason behind why he has the compulsion he has for riddles.

Using his vast fortune, acquired over many years of crime, he gets minor plastic surgery and extensive tattooing. He covers the majority of his torso with his trademark question mark insignia. He kills the Codebreaker, who has discovered his secret identity and steals a priceless scroll, before Batman can get to it. It was at this time that Riddler starting amassing a huge fortune legally and attacking various heroes to prove his abilities.

During this time, he had a run in with Green Arrow, Arsenal and the Outsiders. The Riddler is up for revenge against his defeat by the Green Arrow and he brutally injures and almost kills the the two archers. If not for the timely arrival of the Outsiders they may have been killed. Before these events, the Riddler was hired to steal artifacts imbued with mystical powers from one of Star City's museums, and then distract the authorities so that the related rituals could be commenced. He sends Team Arrow on a wild goose chase around the City, and then reveals that he has an atomic bomb housed in the stadium where the Star City Rockets play. However, as a side effect of the ritual performed with the artifacts, the city is plunged into complete darkness, and Green Arrow uses this to his advantage, to capture the Riddler.

Infinite Crisis

The Riddler was with a group of villains attacking the Gotham City Police Department. He later escaped from Arkham Asylum after a worldwide breakout by the Secret Society of Super Villains. He then is along with the Society when they attack Metropolis. He is defeated by the Shining Knight and is struck in the head by the Knight's mace.

One Year Later

The Riddler was sent into a coma when he was hit in the head by the Shining Knight's mace. When the Riddler awoke a year later, without his obsessive compulsive fixation for riddles but still possesses his great intellect and enormous ego. He also suffers from memory loss forgetting his own name for a while and not remembering that Bruce Wayne is Batman, but he is suspicious. With the Penguin's advice, he was reformed and then became a private investigator at which he legally develops even more of a fortune. He was finally on the right side of the law using his great talents for the good of the people.

He even becomes involved in a ship bound murder mystery alongside Batman, while deducing a part of the mystery, Batman deduces the real reason. In the end they both did there part in solving the crime and have become hostile allies. He is then hired by Bruce Wayne to find a experimental drug stolen from Wayne Enterprises. In the end with the help of a reformed Harley Quinn he gets the drug back and returns it to the rightful owners.

In a run in with Mary Marvel he describes to her how he is reformed, the two then join forces against Clayface, where Edward gets to see up front how twisted and cruel she has become with a great power. He suggests that she gets a mentor or some anger management.

Even Nightwing hired him to find out who was behind recent string of museum robberies, whom he later saves from gang warfare while investigating Penguin's involvement in organized crime. He later deduces that Nightwing is Dick Grayson.

During his time as detective, word about Batman's death started to spread. As crime became more violent in Gotham, he was approached by Penguin who wanted Nigma's service as an investigator to find the new Black Mask that started operating in Gotham. To help his investigation, he recruited Harley Quinn and later Poison Ivy joined their efforts. On this quest, Riddler became the man who helped Quinn, Ivy and Catwoman to become a team.

Fun Facts

In many other realities, the Riddler's birth name is Edward Nigma, Edward Nygma, E. Nigma or even Edward E. Nigma. However, the New Earth Riddler was born Edward Nashton and changed his name to Edward Nigma later in life.

Jim Gordon has mentioned that several Gotham criminals have their own codewords. These are special phrases they can say when they call the GCPD, to distinguish them from prank phone calls. The Riddler chose "Oedipus" as his codeword, because Oedipus solved the riddle of the Sphinx. Gordon remarks that this is strange, because medical records suggest the Riddler hated his own mother. The Riddler's codeword for Batman is "The Hanging Man."

The Riddler's online screen name is "Wizard101." This might be a reference to the game of the same name, which was released the same year as Detective Comics #845, the issue where this username was used.

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