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daresplaining · 4 years ago

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A Few Thoughts About the Current Run

I feel like I ought to say a few things about my feelings on Zdarsky’s run, as of right now (August 2020, pre-Annual-- that may be important). I haven’t said much about this run, and I should admit that I actually stopped reading it for a while. At a certain point, I realized I was dreading the release of each preview, and took that as a sign that maybe I should take a break and just re-read some back issues instead. This is, above all, supposed to be fun; I never, ever want reading DD to feel like a chore.

That said, I am now caught up and feel ready to begin untangling exactly why this run is so distasteful to me. I’ve been fortunate to have other DD fans to chat with about this, which has helped me to pinpoint what my problems are... because on paper, this run seems like something I’d enjoy. Matt accidentally kills a guy; that’s always fun. Marco Checchetto is great. The story explores Daredevil’s relationship with the citizens of Hell’s Kitchen, which I love. Foggy helps Matt with an action-y Daredevil thing; that’s awesome. There are some very cool fights. Elektra is in it. Stilt-Man is (briefly) in it. It has all the trappings of an interesting narrative. But there is a giant hole in the middle of this run, and that hole is Matt Murdock-shaped and impossible to ignore.

I read Daredevil comics for a lot of things (anyone who’s been following me for the past few years might think I read Daredevil comics for Mike Murdock, and you may have a point there) but first and foremost, I read them for Matt. There is a lot that makes a good DD story great-- historically, the comic has featured great supporting casts, and that’s another problem with this run that I’ll get back to in a minute-- but Matt is always the anchor. One of the greatest strengths in Daredevil comes from the fact that the protagonist is such a compelling character. You are interested in what he’s doing. You want to follow his story. You enjoy being inside his head. I’m not saying that you can’t write a good Matt-free Daredevil story-- you definitely can. But if Matt is present and written poorly, the whole story will collapse around him, and that’s been my experience with Zdarsky’s run. Part of the reason I’ve taken so long to write this post is because I’ve been trying to figure out if my complaint comes from my own personal taste-- which is not a basis on which I can critique this comic-- or whether the problem is inherent in the work itself. Having discussed it with other people, I feel comfortable saying that I think the problem is in the writing.

Zdarsky’s Matt feels profoundly unfamiliar to me, and that in itself isn’t necessarily a problem, but I don’t find this new version of my favorite superhero interesting. I actually find him a little repellant. If this run had been my introduction to Daredevil, I would’ve said “Nope” and read something else. Matt is a character with depth. He is intensely multifaceted. His relationship to superheroing is complicated, his views on justice and morality are rich and often contradictory. Zdarsky somehow missed all of that and has crafted a one-dimensional character with a blatantly black-and-white sense of morality. Matt’s reaction to accidentally killing someone seems to be to decide that all superheroes are bad-- something I complained about at the beginning of the run and which, unfortunately, only grew more annoying as the story progressed. Zdarsky’s Matt is painfully self-righteous, to a degree that makes him extremely unlikeable (at least to me). And yes, Matt has been written as unlikeable before. I actually love when Matt behaves badly; I find that fascinating from a narrative perspective. But I’ve realized that the key reason that has been effective in the past is because the story has never condoned that behavior. When Matt was emotionally abusive toward Heather Glenn, Frank Miller went out of his way to show us-- via the side characters, via blatant expressions of Heather’s pain-- that Matt was in the wrong. When Matt was a jerk in Bendis’ and Brubaker’s runs, when he drove his friends away, when he acted irrationally and harmfully, the narrative commented on that jerkiness and irrationality.

But Zdarsky does not do that in his run. He presents Matt’s irrational and jerkish behavior without comment or nuance, as if it’s a perfectly normal, reasonable way for Matt to act under the circumstances, and I have been surprised to realize how distasteful I find that, and how bad it makes Matt look. There’s a difference between having a character who is comfortably flawed-- whose behavior you’re supposed to occasionally question-- and a character who is just unpleasant and unlikeable, seemingly by accident. In the most recent issue (#21), Matt has an extremely upsetting interaction with Spider-Man, one of his oldest friends, and Matt is positioned as heroic for behaving this way, and it made me feel a little ill, because there’s no textual examination or questioning of this behavior. It’s just Matt, pushing people away, being Angsty(TM) and Gritty(TM) and lone wolf-y just because, in a way that is grating and unpleasant and completely lacks nuance.

The other major element of Zdarsky’s characterization of Matt is religion. I’ve mentioned before (as have other DD fans before me) that Matt is not generally written as religious, and it’s a strange phenomenon that this characterization has appeared in multiple adaptations (the movie and the Netflix show) while having very little actual presence in the source material. But it was a key theme in the Netflix show, and while hopefully that influence will disappear from the comics as more time passes, we are still in a honeymoon phase wherein MCU elements are still popping up in the 616 universe. It’s clear that Zdarsky really liked the show, and Soule as well; I’m certainly not letting Soule off the hook here, because the idea of Matt being devoutly Christian showed up his run first. But there, you could get away from it if it wasn’t your thing (which, for me, it’s not). Soule had whole story arcs that didn’t mention it. But Zdarsky has made it 75% of Matt’s personality. When he isn’t fighting or sleeping with someone in this run, Matt is angsting about God.

I hesitate to complain about this because it’s Zdarsky’s right as a DD writer to change the protagonist however he likes. It’s frustrating, yes, but not actually a sign of bad writing per se. Plus, not everyone is me. Many people-- probably including many people who were fans of the Netflix show and are entering the comics via that connection (which seems to be the target audience for this run)-- may be religious and may connect to MCU/Zdarsky Matt in that way. And that’s wonderful. I want to be very clear: it’s not the religiousness itself that I’m complaining about. My complaint is this: if you’re going to drastically alter a character, you need to back it up. You need to dig into it, make that new personality element feel powerful and real, and integrate it into the character’s pre-existing personality. And if you’re going to base the entirety of that character’s emotional journey on that new trait, you need to work to make sure it’s accessible to your readership. I, as a non-religious person, have no sense of why Matt is so upset about God. I have no frame of reference for his pain, either from my own experiences or from previous Daredevil continuity, and Zdarsky does nothing to develop or explore the basis of Matt’s faith, and so it all just falls flat. I feel alienated by this run. I see an angsty, self-righteous, prickly jerk ranting about needing to do God’s will, and then I put the issue down and read some She-Hulk instead. If Zdarsky (or Soule-- again, he could have done this too) had made an effort to actually explore and explain Matt’s feelings about his religion, rather than lazily shoving that characterization in there and assuming readers will just accept it, it wouldn’t bother me nearly as much as it has.

Also, I feel I have to mention; this is a fantasy universe. Matt went to Hell and yelled at Mephisto in Nocenti’s run, and it was awesome. Maybe this is just me, but if you’re going to bring in religion, at least have some fun with it! Bookend Nocenti’s run: Matt goes to Heaven, runs into God, and she gives him some free therapy and a souvenir t-shirt (or, I don’t know, something). To give Zdarsky credit, he did at least hint at that sort of thing in Matt’s conversation with Reed Richards in #9.

I'm going to cut this post short, because I really don’t enjoy writing negative reviews. I’d much rather post about things I love, and over the next few weeks I do plan to highlight aspects of this run that I’ve enjoyed. But I’ll end by saying that the weaknesses in Matt’s characterization could have been mitigated by a great supporting cast. Having prominent secondary protagonists would have provided outside perspectives on Matt’s behavior and given the reader other characters to root for when he got too out-of-hand. They would have drawn out the human elements in Matt’s character and helped give him that nuance he so desperately needs. But this run, just like Soule’s before it, is woefully underpopulated. Foggy’s presence is extremely weak and his appearances far too infrequent. Apart from brief cameos in MacKay’s Man Without Fear mini, Kirsten McDuffie and Sam Chung have both vanished, and I’m worried that Kirsten might have joined Milla Donovan in the limbo of still-living-but-permanently-benched ex-love interests. The women in this run are all either villains or people for Matt to sleep with (I was pumped about Elektra’s return and the idea of her training Matt, but her characterization was disappointing (I may write a separate post about this), and Mindy Libris could have been really compelling as a moral person trying to survive life in a crime family, but instead she was just a one-note, underdeveloped victim for Matt to lust after). To Zdarsky’s credit, he has clearly been trying to give the Kingpin a humanizing story arc, but even that I haven’t found compelling enough to want to keep reading (though that could just be me). Cole North was intriguing at first, but he ended up feeling more like a concept than an actual person. And none of these characters engage with Matt on a human, emotional level, which is what a good supporting cast needs to do. I commented early-on that this run felt like all flash and no bang (Is that a term? It is now.) and I think I still stand by that-- it’s all bombastic plot concepts and big ideas without any of the actual development or nuance necessary to make them work. There is nothing in this run that has pulled me in and held my interest; in the absence of a Matt I can connect to, I need something, and so far I haven’t found it.

I could go on, but I think I’ve made my point. This run was nominated for an Eisner for best ongoing series, so apparently someone likes it, but it has become clear that-- so far, anyway-- it’s just not right for me.

#Daredevil vol. 6 #Daredevil #Commentary #This is very negative. I'm sorry. Feel free to ignore it.

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maddiicake · 4 years ago

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Why Both FMAB and FMA03 are good and should be treated as Independent Stories:

I will go on the record of saying that Appreciate and Love FMA as a whole and love both series for what they are. And while it may sound like a broken record saying things like this... there’s still hateful words against those who like one over the other. So, I’m here to make this post addressing that both FMA2003/03 and Brotherhood are great in their own way and should be respected as their own individual stories.

Also warning there will be obvious spoilers.

What I liked about the Original (FMA03/2003) Series:

I watched 03 before delving into Brotherhood, and even before reading the manga. Now, I know Brotherhood and Manga fans are the small minority of the fandom, while 03/2003 fans make up the majority. That being said, many of these people simply can't get used to 03 after watching Brotherhood.

However, for me, I was happy because: A) I got more FMA to watch, and B) The differences in 03/2003 simply made it even more fun to watch, so for it was no trouble getting used to this anime.

But if I were to be specific of what I liked, I’d say I liked the following about FMA03/2003:

Characterization of the Protagonists and all the 'good' guys: The show heavily focuses on the relationship and tragedy of Elric Brothers, and 03/2003 portrays it much better with such a deeper level. The relationship between both brothers is intimate, and it feels like a genuine sibling bond. I also enjoy the fact that the anime shows that even if Ed follows his ideals, he, like any human, can break away from them under severe pressure, which was beautifully shown in the 5th laboratory arc. As for other characters: Scar in this version is a total opposite of his Brotherhood counterpart. He is written realistically in the 2003/03 anime. His absolute hatred for the military is more legit, and he feels morally grey in this anime. Izumi Curtis for me was also portrayed better in this version. Meanwhile, other Characters like Roy, Winry and Alex felt the same to me throughout both versions--so, not much change there.

Worldbuilding: The 2003/03 anime does a fantastic job at portraying the widespread effects of war and politics, Alchemy, etc. and how it has affected the people of the FMA World. For example, in Episode 16, “That Which is Lost”, Ed meet, a guy who had lost his limb while working as a soldier and was reluctant to use an automail prostetic because he wanted to “retain his wound”. Now, this episode itself was more so filler and didn’t really matter to the main plot of the story in itself; however, I feel that it was added to series to portray the depth of the FMA World, and how everyone has different reactions to the events that happened in the 2003/03 anime. Also, many of the events and how they unfold in this anime seem to parallel the middle east, which just makes all this feel realistic and provides some occasional social commentary which is quite nice. I also like how the first few episodes take their time to slowly and, with great subtlety, develop their world.

Thematic Depth: FMA2003/03 is dark, grim and kind of realistic--more so compared to Brotherhood. While, both versions of the anime deal with some important and mature themes, FMA2003/03 takes it to the next level. The 2003/03 series focuses on the Law of Equivalent Exchange, and shows how putting blind trust in it is a terrible thing to do. The show also focuses on how obsession, a denial of reality, and the inability to move on can be a bad thing. Moreover, sometimes life just simply isn't fair, and we should accept it; however, always try to improve what we have. All in all, we have to understand the consequences of our actions. That life is uncertain, and sometimes we don't get everything, and even we pay a price for it. All of these themes mixed in with the meaningful dialogues and the dark tone, made me appreciate this anime. For example, in episode 48, when Roy and Ed talk for the last time, that’s the pivotal point that brings all these themes together.

A Good Start: The Show had a better start than Brotherhood, simply because 1). We have more time with Maes Hughes and Shou Tucker, and 2). The Liore arc. Despite BONES studio and it’s tendency to create anime too early *when the mangaka is barely halfway through their series), they made it work, and, with the material they had, the 2003/03 series was given enough time to bloom. The 2003/03 series was simply immersive and very emotional, especially during The Curtis Arc, as an example.

Soundtrack and The Art Direction: I feel like both are equally good. However, I will go on the record of saying that I don’t think “art style” is what makes a series, nor is it an important factor. It’s nothing more than glorified “eye candy” However, for the sake of argument (especially since the “art style” is the first thing that “03 Stans” mention) I’ll be adding it in here. Both the 2003/03 and Brotherhood series have some amazing and beautiful orchestral OSTs in their respective soundtracks; thus, it added to the immersion of their respective series. In FMA2003/03, the color palette is very unique, sometimes it feels dull but it just suits the dark tone of the series.

All in all, I am impressed by a lot of aspects of the 2003/03 anime series, but as much I love and respect it, there are lot of things this anime messed up and I will note that as well.

The antagonists were... Meh: While I really love and enjoy the direction and depth BONES Studio added to the Homunculi... some of the other antagonists could have been better (or just not added at all imo). For example, Frank Archer... he has no reason being there except for convenient plot device to the point it feels forced. Though, him becoming that weird cyborg always makes me laugh just because of how dumb of a character he became because of it. Speaking of which, him becoming a cyborg was just... weird. It was like the Studio staff were trying to make him “cool” by making him into some crossover of The Terminator and Two-Face from Batman, but it just failed. As for Zolf Kimblee... He is still sadistic and likes making things explode, much like his Brotherhood Counterpart. But... that was it. Other than that, he was just boring. Him and Archer were both just the staple 90s Kids Cartoon Villains; not much to them except “Muahahaha I’m evil”. Now Dante... I’d say that she’s a good villain to an extent. Her as a villain is very subjective within the fandom, depending on who you ask. While I believe that she could have been just as great a villain as Father, her character was rushed and her goals were a bit vague and unexplored. I like how, like with Father, she had ties Hohenheim; however, that backstory and those connections were introduced a little late. So, in the end, she just came across as more of the generic Vindictive Ex-Wife, and just a generic female villain. As for the Homunculi... I’ve said it before and I’ll say it again: I LOVED their portrayal in 2003/03. They were the “saving grace” of the entire team of the villains within the 2003/03 series. My favorite of the bunch were Lust and Greed--namely Lust, because of her ties with Scar. Envy came at a close second, but only seemed so because of a way to back up Dante as a villain, and the other Homunculi seemed a bit more underdeveloped as characters.

The Plot's quality drops after episode 35- Okay don't get me wrong. The first 35 episodes for me were 100/100. After that? a 60/100. Why? Because everything after that point feels contrived and feels forced. It's as tho, they are trying to do everything they can, even if it doesn't weave in, to make the brother's life miserable. Archer doesn't die and pops up, with his automail? Alphonse is there to be turned into a bomb, and become a philosophers stone. Okay, but why does this feel so forced? Also, can we talk about Nazi Shit? Now, I feel the brothers being separated is the perfect ending to this anime thematically and I have nothing against it, but A Nazi gate? Why? It was so sudden and pointless. It was never foreshadowed. They just showed it to make it as tragic as possible, because they didn't know of any other way to twist the plot, without convenient and totally forced plot devices. Also, How can Dante make Gluttony Mindless? Why is Juliet Douglass's Secret so obvious, when it can be fatal if leaked? Plot- Holes, Also, why are the Homunculli named the way they are? It just doesn't make sense. Also, FMA's Plot has an air of mystery to it, but it doesn't execute properly. I don't hate the end, I just felt disappointed, because the buildup towards it was terrible.

Now, I give a bit of grace concerning how the plot sort of dropped off and felt rushed halfway through, as well as the characters being underdeveloped and rushed. After all, Studio Bones was making up the majority of the material and took it in their own direction. Some factors to all of these cons in FMA2003/03 could be because of the Studio’s lack of a budget to flesh the characters and plot out more. Or, they had created so much additional material for this series that it became overwhelming.

As a writer, I can attest to the fact that “Character Overload” or “Element Overload” can either make or break a series, depending on how you handle it. That being said, there need to be a balance when it comes to these factors.

However, FMA2003/03 ended around 2004-05, So what we got is what we have.

Now, with that out of the way, let’s get on to the analysis of FMA: Brotherhood:

Characters: There isn’t a single character in this version of the series that I can choose as a “favorite”. Because, honestly? I lile them all. They’re all well developed and lovable in their own way, and have their own demension of depth to them. No, they’re not as deep as they aare in FMA2003/03, but from a writer’s perspective, that helps keep a balance with the overall plot of the stories. Now, some minor characters were just outrageous, but not to the level of boring (like 03!Kimblee and Archer), for example... Darius and Heinkel. There isn’t a vast difference in Brotherhood’s and 2003/03's cast of characters. However, if I had to note a difference, FMA2003/03′s characters were are more on the edge of realistic and Brotherhood’s were just... Loveable. However, that doesn’t mean that one counterpart of a character is better/worse than another. Both are quite memorable in their own way. Of course, in my opinion Brotherhood's villains are just better than 03's villains. Sure, the Homunculi aren’t given as much depth, but, they have redeeming qualities near the end of their time (i.e. Envy, and GreedLing). When Father was first introduced... his character made me think of how Dante started out, and I was worried that his character would end up just as rushed and he would just be the generic cliche Shounen villain. By the Promised Day Arc, however, I was surprised. Yeah, Father was still very shounen-y villain, but still a pretty darn good villain. I feel his backstory, and how he discarded all his human qualities which led to the creation of Homunculi was well put together, and I felt the concept how he created Alchemy in Amestris, while Hohenhime helped build Alkahestry in the east was well put together, and helped build the world of FMA (literally). To put it simply, his character was much more interesting than Dante, because it was fleshed out more. The Homunculi were awesome as well, Lust did her job, Pride and Wrath were simply awesome, GreeLing's development from an anti-villain to anti-hero was exceptionally well written and not the cliche anti-hero, which I can appreciate. Envy is the character you love to hate. And Gluttony and Sloth did their Part as Well. While I enjoyed 03′s portrayal of the homunculi, I felt like they only fleshed out some for that series (i.e. Lust) while others were just left to fall flat. With Brotherhood, all the Homunculi were evenly balanced out in their characters, not too much depth and not too little. Solf Kimblee was still the sadistic baster, but at least his entire personality was more explored this time, and I liked how they portrayed his psyche as an added affect to why he has his views.

Plot: Bortherhood’s plot was more fluid and weaved in seamlessly. As a lover of all things continuity... Brotherhood did it right, and every time I find an analysis of a teeny tiny subtle continuity detail (i.e. Ed’s gash on his forehead that lasts a few episodes), I get a writer-gasm! Sure, there were few plot devices and filler here and there. But the plot in gneeral wasn’t rushed or choppy, nor did it leave any holes in it. The way Brotherhood portrays it’s plot is to keep you as engaged as possible, adding some silly comic relief here and there to balance out the dramatic intensity every so often. Unlike 2003/03 where is was just one depressing and dark element after another, Brotherhood added in the comic relief points not and again to give it’s audience a break. And, that’s what I really appreciate, and think is a great story writing technique. All in all the Brotherhood series is literal binge-watch material

A Great Shounen: Many Shounen anime have their Arcs for the purpose of portraying the progress of a character, and keep introducing new villains; however, depsite this, there is rarely a sense of mystery, intrigue or a moving plot in a Battle Shounen Anime. What Brotherhood did was just that, except make it more digestible (and not super long like Naruto or One Piece), and added a great thematic exploration. For a shounen it was quite deep, the plot structure was more like seinen, and characters were awesome. In a way, we got everything we could in a Shounen anime that only lasted a little over 50 episodes: Depth, plot, characters in a shounen.

Thematic Exploration: Both FMA 2003/03′s and Brotherhood’s themes are the same, but Brotherhood makes it a bit more lighter. All the while, it also manages to raise questions on additional themes: revenge, truth, knowledge, sacrifice, worth of a human life, and many other things.

Soundtrack and Animation: Same as the analysis in the part of FMA 2003/03, and, once again... I will restate that I personally don’t believe that art style is what’s important to a series. It’s nothing more than glorified “eye candy”. However, for the sake of this analysis, I will be adding it in here. While Brotherhood’s art style and animation is more simplistic, it’s much easier to create those dynamic poses and expressions on an animation level. While FMA2003/03 did have it’s dynamic moments, it was mostly only during battle scenes or the really heavy moments in the series. Brotherhood maintains it’s art style through the series and keeps it a balance, so that some scenes aren’t too much animation but also not too little. And, both FMA2003/03′s and Brotherhood’s OST Soundtracks are beautiful orchestral pieces that really add additional effect to a scene that the respective series are trying to portray.

A sense of conclusion: A lot of Shounen Anime get prematurely cancelled, most Seinen end in a bittersweet manner. That’s why FMA2003/03′s ending with the fate of the Elric Bros was a bit more preferable for those who like a more realistic ending. But, I enjoy a story with a more conclusive ending that wraps all the plot points up together without leaving too many holes. Yeah, the “happy ending” of Brotherhood is cliche, but “happy endings” wouldn’t be “happy endings” if they weren’t. Not to mention, those types of endings are rare, because people really don’t want to write them, and, when they do, they’re rarely done well. Ed’s entire charcter arc wrapping up to where he swallows his pride as an Alchemist and gives up his Alchemy to bring his brother back is both wholesome and satisfying, because, through the show, it shows his progression and growth from beginning to end. And, having an arrogant character obsessed with Alchemy give it up and learn to humble himself because of it.. it’s really uplifting.

Now let's talk about the Cons within the Brotherhood series, they aren't a lot, but still, they did affect my experience quite a lot.

Overuse of Comic Relief: While the use is a nice balance to the already dark and dismal atmosphere of the series, it felt a bit overused. So much so that some emotional moments were inconvenienced by the use of that kind of humor. It was a bit much and created dissonance with the tone the scene was trying to portray. Now, it worked more in the Manga, because of the more visual gag of it, but, sometimes the visuals within the manga don’t translate as well to an animated one.

A Rushed First Half: While FMA 2003/03 began “In Media Res” with it’s first episode and then started a “flashback episodic arc” with the next handful of episodes.. Brotherhood just jumped right into it. While, yes, it was a better balance to not have the characters’ depth right at the beginning (slowly revealing it as the show goes on), the first half of Brotherhood was 0-100 through just the first few episodes. To the point it feels like the audience has to catch it’s bearings. But, once you get on the same page, it’s enjoyable from there.

So what’s the Point of this Ted Talk-esq FMA Post?

I’m sick and tired of seeing 03 Stans and MangaHood Stans fighting each other over just the smallest detail, especially when 03 Stans decided to bring leftist politics into it for no reason.

Personally, I just appreciate the fact that both series exist, ever since I've got in the franchise, it has become a part of my life, and still to this day is part of my life. Sure, I’m forever going to be part of this fandom.. but, I still see the beauty that peeks through the ruins and ashes of destruction now and then. I appreciate both series. Sure, I do prefer Brotherhood more, and get called a “Nazi” just because of it (ironic considering FMA: CoS was the movie sequel to 03... -__- ) , but 03 was excellent as well in it’s own way. It was very involving while FMAB was engaging. Both shows are something which you can learn something from and get attached to.

All in all, comparing both shows is okay, that's what I did here, but having a debate over which one is better isn’t just inherently bad... it’s TOXIC. Both series have their pros and cons, and they’re starkly different from each other. They’re two sides of the same coin. But, most importantly they are extremely important and impactful, so Pls don't have death battles over which one is better, don't say bad things about any fanbase, be respectful, and most importantly watch both and try to appreciate them. Because trust me liking both is a pretty darn good feeling.

#fullmetal alchemist #fmab #fma 03 #fma 2003 #full metal alchemist brotherhood #madiis musings

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cognacdelights · 4 years ago

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Teenage Dirtbags | 002. — A Right Hook A Day

Summary: In which, an out of control teenager is sentenced to a summer in the Outer Banks to come to come to terms with her mother’s untimely death, and reform her rebellious, troublesome ways before she does irreversible damage.

Authot’s Note: Sooo this is the second chapter of the “Teenage Dirtbags” series and it’s one of my favourite things that I’ve ever written. Marnie was my original child (before Indie - although Indie is lowkey my favourite), and there is so much of myself in her so I hope you love her as much as I do. As always, masterlists will be linked below and feel free to message me, pop an ask in my ask box or reply to this if you would like to be added to the taglist.

Warnings: This series may contain mature themes/content throughout including but not limited to swearing, sexual language and/or scenes, substance abuse and mentions of death.

Word Count: 3367.

Teenage Dirtbags Series Masterlist.

Fill The Void General Masterlist.

This gif is not mine, all credit goes to the owner.

002. — A Right Hook A Day

There were several trivial pleasures in life that Marnie Sinclaire just couldn't resist; cherry pie, boys and a party. There was just something about the unmistakable, alluring aroma of cheap beer, teenage lust and bad decisions that really got her endorphins flowing. Parties were her safe space - her haven; they were the one place on Earth that Marnie could do just about whatever she wanted, whatever numbed the hollow, vacant ache that haunted her chest, and she never had to take even so much as a slither of the blame. She was devoid of all and absolute responsibility. If she was a tease, it was all down to the entrancing, provocative music they were playing. If she so happened to kiss somebody’s boyfriend, it was the infinite number of premium, export strength vodka shots that persuaded her to do it. If she found herself embroiled within a vicious cat-fight with the spiteful, pretentious girls from across the river - it was the obligatory capsules of molly, not her. It was never her. There was always some kind of justification that excused her reckless and wild behaviour, and that made her feel invincible for those sole, precious hours of anarchy.

So, when the audacious, unruly brunette found herself graciously clambering down the drain pipe of her grandparents' house, it was of no surprise to the girl. Despite her impassive, frigid reception of the boy with the devilish glint lurking within the amber speckles of his dark, mocha eyes, he had tempted her into joining them down at the boneyard. Although, admittedly, Marnie didn't need much convincing when it came to partaking in boozy social gatherings - and there was a minimal internal debate on whether she should test the waters with her grandparents so early in her sentence. Of course, in true Marnie Sinclaire fashion, she had opted to. After spinning them an improvised, fabricated exaggeration of how the eight and a half hour journey to the Outer Banks had utterly wiped her out, and proceeding to inform them of her plans to recuperate with an early night, she disappeared up the varnished, cedar wood staircase. Several outfit changes and a nonchalant application of peach-tinted lip gloss later, and she was descending from the perilous heights of her second story window.

By the time Marnie had reached the section of beach that had affectionately been nicknamed the boneyard, the ruthless, Mid-Atlantic sun had retreated behind the distant horizon. A captivating concoction of magenta hues and coral tinges had painted themselves across the Outer Banks skyline in a vibrant, bewitching haze, and the previously unbearable humidity had dissipated into a comfortably tepid draught. It had still been relatively light when she had committed her great escape - however she was unfamiliar with the intricate island pathways and had to rely merely on the tinny echoes of the teens' portable speaker to locate the unwinding get together. Marnie may have taken the scenic route, courtesy of her underdeveloped sense of direction, but she had eventually arrived.

All of half an hour had passed since the bright-eyed, fair-skinned beauty's arrival at the ocean-front gathering, yet she had found herself engulfed in a crowd of loafer-clad, polo-shirt-adorning country club boys. However, there was one mousy-haired, stiff-jawed boy in particular that Marnie had made a particular impression on; the playful, wicked glint that occupied her luminous, cerulean eyes had lured him in - but the acid-wash, denim shorts that desperately clung to the curvaceous contours of her slim-lined figure had ultimately seduced him. His large, gentle hand rested on the exposed skin of her upper thigh, as his soft, coaxing lips brushed ever so slightly against the delicate skin of her pierced earlobe, "you look incredible." A subtle waft of his Paco Rabanne aftershave filled her nostrils as his deep, raspy tone purred amorously into her ear. It was a scent which she knew oh too well, yet one that never really impressed her. It was more of a distasteful, indiscreet display of wealth rather than for the sake of actual hygiene purposes.

"Just incredible?" Marnie challenged with a low, flirtatious hum - mimicking his ardent tone. Her sprightly, indigo eyes nonchalantly fluttered closed the second his masterful, delicate lips connected with the nape of her neck. The fair-haired boy began to litter sloppy, yet lustfully tender, kisses along her rose-tinted skin - mumbling a barrage of incoherent compliments in the process. His placid, velvet-like fingertips reached the sensitive plains of her inner thigh, leisurely encroaching on the lightly frayed hem of her sleek, denim shorts. The obviously well-off boy was very much aware that he was pushing his luck with the entrancing Brooklyn native, nevertheless he continued on with his pursuit into the uncharted territory - aiming to be the first in the race to place down his metaphorical flag and claim the terrain as his own in a bid for self validation.

"You are a fucking goddess," his fervid, lustful words vibrated against her freckled, alabaster complexion - his voice thick and gravelly - as her wandering mind fixated on the intense, rhythmic pulsing radiating from the nearby speaker. Marnie responded subconsciously by arching her back, as the heat of his whiskey-laced breath tantalised her most sensitive of nerves. "There's so many things that I want to do to you, princess" he proceeded to purr hankeringly, "so many positions that I want to take you in, so many places that I want to make you cum." She could feel the intrepid warmth of his dauntless fingertips intruding beneath the hemline of her shorts, a mere millimetres reach from the champagne, flower-patterned lace of her g-string.

"Slow down, Usain Bolt. This is a marathon, not a sprint," Marnie teased - her voice laced frivolously with her signature, provocative tenor. Her dainty lavender-painted fingertips coiled themselves around his wrist, guiding his meandering, clammy palms from beneath the frazzled hemline of her figure-hugging shorts. Casually, she turned her head to peer upwards at the upper-class boy, her beryl orbs occupying a sprightly glimmer as the corners of her glazed lips curled upwards into an innocent smile. "How about I get us some drinks?"

Removing herself from the confinements of his sordid, sun-burnt grasp, Marnie left the boy little time to object, beginning her leisurely stroll along the picturesque tidelands. The coarse silt particles beneath her off-white, worn-in Converse was uneven - and shifted unpredictably in every which direction under the light pressure of her footsteps. As someone accustomed to the static tarmac of Brooklyn's infamous streets, the doe-eyed brunette found the malleable surface difficult to navigate. It was yet another minute detail on an ever-growing list of contradictions to the world she was so fondly acquainted with, and desired to be reunited with.

Only a few, short minutes had passed before the troublesome vixen had - quite literally - stumbled upon the queue of drunken partygoers leading up to the beer keg, the ivory sand loosening beneath her cautious footsteps. The oddly alluring fragrance of cheap, low percentage beer forcefully invaded her airways, giving Marnie the unrivalled feeling of home; she relished in the one, trivial comfort she had managed to locate on the insufferable, out-of-touch island as she waited patiently for the line to diminish. There were several boys in the queue before her; all three of them drastically exceeding six foot, bare-chested and their tanned complexions adorning flattering splatters of salt water droplets that reflected celestially under the fire-lit lanterns.

As she eventually reached the front of the queue, Marnie was greeted by a much anticipated familiar face. The same golden-skinned boy who had delivered groceries to her grandparents' house stood before her - his large palm swaddling the beer tap, as his brawny, athletic figure guarded the half-empty keg. A haughty, complacent smirk etched itself into his defined features; after his earlier, sullen encounter with the pale-skinned virago, he was taken aback by her presence - but not disappointed. "Well, well, we-"

"Payment is required upfront," the brash, blonde-haired boy beside John B drowned out his mocking tone with his bold, cocksure words. A dauntless grin had proudly painted itself across his sun-kissed complexion, as his piercing, cobalt eyes glanced downwards at the petite, cinnamon-haired girl - appreciating all the fine, minute details of her being. Her skin, although pale, exhibited a naturally healthy and radiant glow, as the pinnacles of her prominent cheek bones displayed faint speckles of freckles. Her satin, blush-coloured lips were full and plump, and shaped perfectly by her pronounced cupid's bow. Marnie had an effortless kind of beauty to her - as even without her usual, heavy cosmetic aesthetic, she still attracted and secured the attention of the foreign, North Carolina boys.

"Payment?" she challenged the boy, arching her natural, dark eyebrows out of pure contest. His brazen demand for something in exchange for a mere half-filled cup of lukewarm, lingering on out of date beer was more than absurd to her. However, Marnie had to continually remind herself that these were North Carolina boys that she was dealing with; they were a whole different breed to the ones she had grown up with on the crime-ridden streets of Brooklyn. Perhaps, parties were simply not for the sake of sweet, teenage rebellion in these sandy plains, maybe they were an organised, profitable event and the boy with the wavy, mahogany locks had simply neglected to inform her of that fact. Her intense, perplexed gaze landed upon John B, who simply shrugged his broad shoulders in a casual display of confusion - neither confirming, nor denying, her theory.

"A kiss for a cup," the shaggy-haired blonde flirtatiously informed her, his sculpted, burly arms folding across his chest in his infamous, nonchalantly cavalier manner. The temptation to roll her sapphire eyes at his arrogant, pompous demeanour was more than abundant; the boy was not a budding, young entrepreneur offsetting his business enterprise early in life, he was merely an arrogant, over-confident teenage boy whose life direction revolved solely around the erratic, hormonal urges of his penis. "Sorry, babe, it's the island rules."

The over-whelming glint of mischief laced itself within the deep, sapphire flecks of Marnie's eyes, as she peered upwards through her thick, voluminous lashes, "just one kiss, hmm?" Her tone was playful, yet aloof, as she leisurely twirled the kinked ends of her cascading, chestnut wisps around the tip of her finger. An ever so slight, angelic pout graced her inviting, peach-toned lips as her head cocked innocently to the side, awaiting confirmation from the still nameless boy with the tousled, dirty blonde hair. He nodded his head assuredly - a slither of him astounded that his crass, amorous advances hadn't been met with pure, resentful outrage, as those he had previously accosted had reacted with.

Marnie took a small, confident step closer to John B. Her delicate, gentle palms placed either side of his elegantly sculpted cheeks, holding him in place, as the battered heels of her dirt-covered Converse rose up from the coarse particles beneath her. As the whimsical girl angled her makeup-less face upwards - her luscious, gloss-coated lips brushed against John B's. She was almost instantaneously met with the all too familiar taste of Keystone Light; the combined malt and bitter tang had temporarily stained his soft, welcoming lips. His large, paw-like hand held her at the nape of her neck - his touch light and placid - as he eased into the impassioned synchronisation. A low, lascivious grunt caught in the depths of his throat as her front, pearly teeth sank tauntingly into the swollen flesh of his bottom lip, lightly nibbling the delicate skin. She proceeded to drag her teasing, salacious tongue along the length of his lip, tenderly caressing the light indents. His gentle lips parted in submission, allowing her tormenting tongue to entangle itself with his own in an abruptly ardent embrace.

"Who's rolling out the welcome wagon now?" John B's low, husky voice chuckled as his lips retreated cautiously from Marnie's. Releasing the petite, bodacious brunette from his gentle hold, a smug, haughty smirk upturned the corners of his beer-laced, gloss-stained lips. His dark, untamed eyebrows raised in an arrogantly, quizzical manner as he waited patiently upon a response from the loud-mouthed, quick-witted girl before him.

"Still you, John B," Marnie quipped back instantly - complacent smirk etching itself into the doll-like features of her freckled complexion, "you've thrown me a welcome party and everything. You've really outdone yourself as well, although I would reconsider on who you hire for service - it seems as though he likes to take advantage of the guest of honour."

"You're trouble, you, aren't you?" the dark-haired boy anticipated with an amused chortle, pulling a singular red cup from the crumpled, plastic packaging laying atop the ivory sand. As if it came as second nature to him, John B applied the slightest touch of pressure to the keg tap, filling the cliché party cup with the golden, bitter beverage. The stream of beer flowed at a steady pace, hitting the side of the cup at an approximately forty five degree angle - to leave as little head as possible on the bordering stale lager.

"I resent the word trouble." Marnie took the disposable cup from the olive-skinned boy, his robust, athletic figure towering above her petite frame. Taking a generous sip of the cheap, college-grade beer, her doe-like, cerulean eyes peered atop the plastic rim. "You've got a little lip gloss on your mouth," she stated, the minor echoes of a giggle evident in the inflections of her lighthearted tone. Casually, she reached her dainty hand upwards, gently wiping away the remnants of her bubblegum-tinted gloss with a tender slide of her thumb.

"What, it didn't suit me?" John B countered banteringly - his bushy, untamed eyebrows raising upwards in an impudently brazen manner. His admirably chiselled arms crossed over his almost-bare, toned chest, shielding his loosely buttoned, pattern-printed shirt from flapping in the mild breeze. As the early-summer night had progressed, the once unbearable temperature had began to decrease significantly, and the occasional gust of wind had picked up into a steady, comfortable flurry.

"Nah, wasn't your colour," she divulged teasingly, taking another lavish gulp of her somewhat refreshing, alcoholic beverage, "it didn't complement your eyes and it definitely clashed with that hideous shirt you're wearing." Perhaps her caustically facetious words were a sliver too brazen for just their second interaction, although the thoroughly entertained grin which danced across his sun-soaked features indicated that John B hadn't taken her playful words to heart.

"Come on now, trouble, I can pull off any col-"

"What do you think you're doing macking on my girl, Routledge?" the roaring, irate voice of notorious posh boy, Rafe Cameron, crudely interrupted the boy mid sentence; it had become somewhat of a recurring theme throughout the evening. The older, less-athletically built boy proceeded to wade his way through the gathering of parched party-goers - his accompanying posse of fellow mindless, well-off minions following in close proximity behind. His work-shy hands were balled into tight, heavy fists, clenched in anticipation of the brawl that he inevitably expected to result from their heated exchange.

"Your girl?" the blonde-haired boy, adorning the discoloured muscle tee, antagonised the situation - his derisive words and coarse, mocking tone only provoking the enraged Cameron boy further, "didn't look like she was your girl when she was all up on my boy, John B just now."

"Was he talking to you, trailer trash?" one of Rafe's carbon-copy puppets hollered from the safety of several feet away. The shorter, feistier blonde stepped forward, his jaw clenched and his already-bruised fists clamped in preparation of the imminent altercation. Aware of his friend's lengthy, complicated history with the law, John B outstretched the palm of his large hand - serving as a makeshift barrier between the two cockfighting blondes, and silently urging his already probation-sentenced friend to fall back. This seemed to appease the short-statured boy for now as he retreated back a few reluctant steps, loosening his jaw.

"So what if I was macking on your girl, what are you going to do about it?" John B confronted the furious Figure Eight toff, taunting him further with his jesting, sarcasm-laced tone as he advanced forward, "are you going to throw daddy's money at me, like you do with all your other problems?" The umber-eyed boy with the dark, wayward waves had struck a nerve with Rafe Cameron; the snide, sneering words hurled towards him had rattled the trust-funded socialite - his scrawny, lacklustre body brimming with unprecedented rage. Acting on pure, neanderthal instinct, he swung his clenched fist towards John B, his garish, white knuckles grazing against the tanned highs of his cheek bone. John B stumbled backwards as the force of Rafe's tensed, curled-up fist connected with his face.

"Woah, back off, Donald Trump Jr," Marnie brazenly injected herself into the brawl; she shoved Rafe with as much strength and capability that her dainty, diminutive figure could muster, aiming to put as much distance between the two scuffling boys as possible. Her venomous tongue spat it's infamous poison in disapproval of the affluent blonde and his barbaric actions - utter disgust conspicuous within her harsh, reprimanding voice. She stared upwards at him, her unsympathetic, indigo eyes burning into his roseate features as she awaited his next move with hitched and bated breath.

"Stay out of this, bitch," Rafe hissed at the capricious brunette, lacking any fragments of hesitation as he returned the shove - only harder. The disposable, plastic cup that Marnie had remained in possession of crumpled under the sheer force of the repugnant Cameron boy's vigor, carelessly spilling it's alcoholic contents over her cropped, cream top. Although it was uncomfortable and tacky against her fair skin, her beer-doused garments were not the primary source of her superlative fury; Marnie Sinclaire absolutely despised, detested and resented the word bitch - especially when used as a derogatory slander to defame a woman. In Marnie's eyes, it was the most degrading slur of them all, and nothing boiled her blood quite like it.

In retaliation to his vulgar turn of phrase, the infuriated Brooklyn-born vixen found herself unconsciously launching her contracted fist at Rafe - knocking him backwards as her dainty knuckles connected with his crooked, concave nose, "who's the bitch now, bitch?" Her sour, sardonic words rang through his ears like the blaring chimes of the island's church bell, as his flaring temper toppled over at the brim. Raising his clenched fist once again, he directed his rage-filled, balled-up hand towards Marnie.

"I don't think so, man," the shorter, blonde-haired boy who had previously accosted the dark-haired girl, grabbed onto the ironed collar of Rafe's Ralph Lauren polo shirt before he could lay a hand on her. He negligently yanked the obnoxiously hostile Cameron boy from Marnie's vicinity, proceeding to thrust his gaunt, bony carcass towards the two witless clones that swarmed around the abhorrent boy. A bitter, hateful glare contorted his fair features as he remained on guard, willing and ready to pounce on the occasion that round two would commence with the feisty, short-statured boy adorning the beer-stained muscle tee.

"This isn't over, Routledge, Maybank," Rafe Cameron spat viciously, addressing the two South side boys directly - before wiping the meandering trail of blood leaking from his quickly bruising nose. Accepting his defeat for the moment, the embarrassed boy retreated back to the safety of the Figure Eight neighbourhood to tend to both his physical and metaphorical wounds, his agitated grumbles growing quieter as he disappeared into the unkempt foliage.

"Can someone get me some ice?" the lager-soaked brunette requested, a tinge of concern unmistakable in her distressed voice. Her luminous, cobalt orbs glanced towards the quick-tempered blonde and the anxious, dark-skinned boy who had appeared beside him now that the looming threat of violence had subdued - hoping one or the other would make an offer.

"I'll be fine," John B dismissed her with a simple, lackadaisical wave of his hand, "Rafe can't throw punches for shit."

"No, you moron, not for your face, for my hand. That fucking hurt."

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