#-for the characters and for the show in-universe. It would derail everything which is what makes IOTS work but is unfitting here. | Explore Tumblr Posts and Blogs

spiderdreamer-blog · 5 months

Text

2023 at the Movies: A Year in Review

2023 has been an odd year for American cinema in particular, between overall tepid box office outside of a few big hits and the combination of the WGA and SAG-AFTRA strikes affecting release dates as well as promotional tactics. (Just so we're clear, this is a Union Solidarity Blog) But it was a fascinating year artistically nonetheless, especially on the blockbuster end. What this list aims to achieve is sort of a capsule review of the theatrical releases I saw (not counting streaming-only films even if I ended up seeing theatrical releases ON streaming) and how I felt about them in capsule review form. And even then, there's still stuff I need to catch up on like Dungeons and Dragons: Honor Among Thieves, Oppenheimer, Elemental, or Transformers: Rise of the Beasts. Anyhoo, on with my list, in chronological release order:

John Wick: Chapter 4: Much like its titular hero, there are perhaps some signs that this franchise could benefit from taking a bit of a rest. Some of the worldbuilding is going from knowingly absurd to just plain absurd, and a couple early action beats, while fun (NUNCHUCKS), are a little familiar in terms of director Chad Stahelski's neon-as-fuck aesthetics. Ultimately, it's not too much to derail things, as Keanu Reeves proves a capable grounding lead like always, and the Parisian third act is giddy, comically overblown violence in the grand John Wick tradition that reaches an unexpected poignancy. The supporting cast might also be one of the best in the series; while Asia Kate Dillion's unflappable Adjudicator is missed from the last installment, we do receive Bill Skarsgard doing an OUTRAAGEOUS French accent as a smarmy villain you really want to see dead by the end of this, Donnie Yen as a clever, funny spin on the blind swordsman trope, Rina Sawayama is both badass and touching, Shamier Anderson stands out by dialing down, and my beloved Clancy Brown has some of the best implicit "are you fucking kidding me" reactions I've seen in a while.

The Super Mario Bros. Movie: I was honestly dreading this for a while. Illumination Entertainment is a perfectly cromulent animation studio who makes films that, with a couple exceptions, represent pretty much everything I dislike about American family filmmaking: loud, hyperactive, deficient of nutritional value, and did I mention loud? But the trailers started impressing me in terms of how well they adapted the candy-colored toybox Nintendo aesthetic to a wider theatrical scope. And if nothing else, casting Jack Black as Bowser would probably be pretty awesome (spoiler alert: he was). Thankfully, it manages to be an immensely entertaining, zippy adventure film that minimizes potential annoyances at nearly every turn. This is primarily thanks to a ready-to-play, enthusiastic voice cast (outside of Black, I particularly like Pratt and Day's brotherly dynamic and Anya Taylor-Joy doing a Disney Princess-esque comedy action spin on Peach), a smartly simple story structure, and leaving a lot of potential open for the future like Seth Rogen's lovable ready-for-spinoff-movies Donkey Kong. It may not rock the boat, but it was better than it had any business being, and that counts for a lot in my book.

Guardians of the Galaxy Vol. 3: The Marvel Cinematic Universe and I are admittedly on a bit of a break. Not because they're doing anything WRONG per se, just that a lot of their shows and movies haven't enticed me as much in the past year. I did get out to see this, though, which is both the best all around MCU film since Endgame and very possibly the best film of its own trilogy. James Gunn pulls out all the stops emotionally for his Marvel swan song (godspeed to you over at the still-in-progress trashfire that is Warner Bros. Discovery, good sir), crafting a beautiful, resonant journey for all the characters. The ensemble cast fires on all cylinders, for one. While Bradley Cooper is the obvious vocal standout as Rocket takes center stage, it's assuredly the role of Chris Pratt's career (other non-Mario/Marvel directors, take note! You can in fact have this guy be funny, credibly tough, AND sympathetic instead of missing out on the other two), Zoe Saldana navigates a difficult emotional dance, Pom Klementieff finds real heart in Mantis, Dave Bautista is still one of our most interesting wrestlers-turned-actors in the choices he makes, Karen Gillan has slowly become of the MCU's MVPs as Nebula, Will Poulter is endearingly dunderheaded as a comedic take on Adam Warlock, and Chukwudi Iwuji proves a truly vile villain who exemplifies the maxim of "if you really want an audience to just HATE a motherfucker, have him torture cute animals". And of course Gunn's musical tastes remain impeccable, such as a Beastie Boys needle drop that prompts a truly bitchin' fight scene (oddly the second time this specific song happened this year in a Pratt-led vehicle). It's funny, it made me ugly cry at SEVERAL points, and I got to see a psychic cosmonaut dog beat people's asses with her mind. What more could I want?

Spider-Man: Across The Spider-Verse: Into the Spider-Verse was a revolution and a revelation for what the American animated film industry could accomplish artistically and technically. How could a sequel possibly live up to it? Across does, against all odds, proving to be the Empire Strikes Back to the original's Star Wars in terms of going darker/more complex on the emotions and to greater visual heights (albeit with the caveat that maybe next time, we can manage the production better and not crunch people so much). Co-directors Justin K. Thompson, Kemp Powers, and Joaquim Dos Santos (who I've stanned as one of our best animation action directors from Justice League Unlimited through Voltron Legendary Defender) craft a propulsive narrative that asks big questions about who and what Spider-Man is. And while those will have to wait to be fully answered in the third installment, what it sets up is no less compelling or thrilling. Shout-outs in particular go to Hailee Steinfeld, who has to anchor this film with Gwen as much as Shameik Moore's still-iconic Miles; Daniel Pemberton for an outstanding score; Oscar Isaac for giving rich complexity to Miguel O'Hara, who could have felt like a boorish bully in lesser hands; and Jason Schwartzman for not just proving he transitions REALLY well into voicework between this and projects like Klaus, but being by turns pathetically funny and terrifying in ways I've never heard him be as the Spot. Can't wait to see where that goes next time in particular.

Indiana Jones and the Dial of Destiny: "Pleasant surprise" comes to mind. While I never hated Kingdom of the Crystal Skull as much as most, it was definitely a little underwhelming as a possibly final Indy adventure. (Not helping is that Steven Spielberg immediately turned around and made an infinitely better indy movie in the form of The Adventures of Tintin) So I was curious to see how going to the well for seemingly the real final adventure would work this time around. Thankfully, director James Mangold proves he has a good eye for creative action, even if nothing here quite reaches the heights of the original trilogy, and Harrison Ford does some of his best acting in ages as a weary, burnt-out Indy; one always got the sense that THIS was much closer to his heart than Han Solo. Phoebe Waller-Bridge is a terrific foil to him, joyously amoral (or so she says), while Mads Mikkelsen finds a new spin on coldly cruel cinematic Nazis; he has a tense reintroduction scene that had me squirming in my seat. Add in a slam-bang ending and a touching epilogue, and I'm pretty happy with where things end up for our favorite archaeologist. A solid B+, which we could use more of nowadays.

Also they Poochie-d Shia LaBeouf, which is hilarious to me on several levels.

Mission Impossible: Dead Reckoning Part One: The Mission: Impossible franchise has undergone a curious metamorphosis from where it started as one of many oldies TV adaptations in 1996 to a purposefully old-school action franchise. Director Christopher McQuarrie has become a pro at these over the last three installments, and Dead Reckoning (now no longer a part one, as the back-in-production followup will be retitled) has lots to offer both large and small for action fans even outside of the continued spectacle of Tom Cruise Possibly Wants To Die On Camera. Obviously the big stunt sequences remain a draw, like a terrific car chase through Rome or the climactic journey onboard the Orient Express because trains are ALWAYS bitchin' locations in movies. But just as good are pleasures like a tense cat-and-mouse game in an airport where nobody's quite sure whose side Hayley Atwell's thief Grace is on, Henry Czerny coming back to the franchise after 27 years and looking as shiftily patriotic as ever, Pom Klementieff on this list for the second time looking really hot as she whoops ass, and Cary Elwes getting an unexpectedly choice exposition monologue. Plus the whole deal with the A.I. villain ended up being, uh, fairly relevant.

Barbie: A brilliant human comedy from an unexpected source. This could have gone wrong in so many different ways, I can easily imagine a version that's WAY more lugubrious and, crucially, much less funny. But director/co-writer Greta Gerwig has quickly become one of our best talents between this and the wildly-different-but-has-more-in-common-than-you'd-think Little Women (I also still need to see to heard-it's-excellent Lady Bird). With an infinitely clever script (I love in particular that the "real world" is just as ridiculous in its own way as Barbieland) and Sarah Greenwood's impeccable production design, Gerwig and her cast craft a feminist fable that remains light and funny even at its most strident and angry. Margot Robbie has never been better, hilarious and gut-punching by equal measure, America Ferrera ends up as the unexpected heart of the piece, and Ryan Gosling is absolutely hysterical as Ken while still making him intensely sympathetic. He and Robbie deserve Oscar noms in particular. No, I'm not kidding. Might expand this one to a full review at some point tbh.

Teenage Mutant Ninja Turtles: Mutant Mayhem: I missed this in theaters and regret it immensely, given that this is a hilarious, cheerfully irreverent take on characters who've really managed a surprising amount of relevance in the modern age. Actually having teen actors voice the Turtles makes them feel so authentic, and they're matched well by an equally game cast like Ayo Edebiri's thoroughly modern April O'Neill, Jackie Chan as a more bumbling-but-heartfelt version of Splinter than usual, and Paul Rudd going full surfer bro as Mondo Gecko. And of course the scribbled-notebook underground comics vibe of the animation is a neat bit of full circle aesthetics if you know these guys' origins.

Wish: All of you are wrong and being dumb about this movie. It's not that I can't grok some of the criticisms as being legitimate, to be fair; for example, the songs, while very good on their own IMO, don't always hit the iconic level of a Frozen or Encanto. But the vitriol with which they've been expressed, and this odd narrative that Disney is in the toilet artistically and needs to nebulously "fix" things, is something I can't at all agree with. It's gorgeously rendered, for one; yes, I would potentially like to see a return to full 2D animated films for the studio at some point too. But if they're gonna experiment even marginally with CGI, I applaud co-directors Chris Buck and Fawn Veerasunthorn making it look this painterly as a starting point. And as with a lot of modern Disney, there's real richness and inner life to these characters. Ariana DeBose is a winning heroine as Asha, who feels distinct from other "princesses" by essentially being working class and unionizing the kingdom. And Chris Pine as Magnifico is a Disney Villain for the ages, blending real complexity in his relationships with scenery-chewing madness. (Also am I the only one who got major "studio executive/CEO" vibes off him?) If this is "mid" or "bland" Disney, I really question what some of y'all are seeing that I seemingly can't.

Also I liked the 100th anniversary references, sue me. The last one in particular gets points for quiet charm rather than grandstanding.

The Boy and the Heron: Hayao Miyazaki, anime's favorite grumpy old man, comes back out of retirement for like the fifth time. Seriously, remember when Princess Mononoke was supposed to be his last film 25+ years ago? I'll believe his "last film" is truly his last when he's in the cold, cold ground. Regardless of the continuing saga of Old Man Won't Retire Because He Seemingly Can't Be Alone With His Own Thoughts, this is a brilliant, haunting spectacle of animation that might be a new favorite for me. Some have called it confusing, whereas I go for "dreamlike", possibly his most to date. Nearly every frame is suffused with longing and melancholy (though this also has some of Miyazaki's best comedy in a while), and, oddly like Wish, this feels like a true career reflection, if a bit more fraught and questioning what legacy truly means. Joe Hisaishi contributes possibly his moodiest, most dissonant score, with little of the bombast or whimsical charm that typifies his music, but it works unfathomably well. Credit also to the dub, with Robert Pattinson as funny and menacing as you've heard, but Luca Pandoval is also excellent as our stoic lead Mahito, Florence Pugh manages to be both a total badass and a funny old woman (it makes sense in context, I promise), Christian Bale puts forth a fascinating two-step with his boisterous father, Gemma Chan and Karen Fukuhara nail some complex emotional turns, Willem Dafoe nearly steals the whole thing in under two minutes, Dave Bautista makes a real meal out of a part not much bigger than that, and Mark Hamill finds resonance as a tired old man.

#movies #analysis #criticism #disney animated canon #wish 2023 #tmnt mutant mayhem #john wick #atsv #mission impossible #the boy and the heron #barbie #the super mario bros movie #indiana jones #guardians of the galaxy volume 3

22 notes · View notes

anneangel · 2 years

Note

Tolkien draws a hard line in the sand though. Regardless of how far people are willing to go, no one decent or honourable in the slightest would ever side with orcs. That’s the ultimate sign of who the good guys and the bad guys are.

Forgive me, I know this subject it's already is thin, sort of stretched, like butter scraped over too much bread (if you know what I mean). But I've been thinking about this question almost obsessively for the last... Hours?

If it won't take up too much of your time, I'd like to share my thoughts.

I thought about it: why are orcs abominable to fans and no one wants to be like them? And why are Melkor/Morgoth and Sauron undoubted villains?

Responding:

In my opinion (which may be wrong), in Tolkien's Legendarium there is an absolute entity: Eru Ilúvatar.

The absolute supersedes anything that appears as a counterpoint to he, and such a thing is always less in power, only the absolute really prevails. Therefore, if Eru and his will is absolute, when Melkor/Morgoth opposes there is no equality of power between them.

If this thing that arises as opposition is called "evil", then in Tolkien's (monotheistic) universe the good is always greater than the evil.

Note that in this logic Eru and Melkor are NOT dualities of each other. They are NOT counterpoints of each other, they are NOT two things that are different and opposites that operate on equivalent principles.

There was only the absolute will of Eru Ilúvatar, until Melkor appears as an opponent, and with that (future) battles will be fought against this (and others) who opposes: therefore, Tolkien's universe is monotheistic (absolute) and not Manichean (dual).

Eru Ilúvatar allowed Melkor's rebellious melody to remain in the song, but that does not mean that Eru has become dual with Melkor, Eru remains absolute and unique, he is the entity that is above all other things.

“And thou, Melkor, shalt see that no theme may be played that hath not its uttermost source in me, nor can any alter the music in my despite. For he that attempteth this shall prove but mine instrument in the devising of things more wonderful, which he himself hath not imagined.”

-The Silmarillion, (Ainulindalë).

Melkor can only change the song because so Eru Ilúvatar willed. It is the absolute showing itself to be absolute over/above the will of something less. Because they are not equal in power and will, because they are not dual, the absolute will always prevail, no matter who the opponent is.

Then there was "Arda Unmarred", the perfect Arda before corruption hit it, because in the beginning everything was meant to be this. Until Melkor/Morgoth rebelled against the sovereignty of Eru Ilúvatar.

In a world where there is "absolute right", questioning is opposing, it is corrupting. And is becoming an antagonist.

Melkor/Morgoth and Sauron are always the dreaded villains who have become corrupted and need to be stopped. We don't even need to look at their point of view, as the narrator already puts them on the wrong side. Whoever is with them is automatically part of the villainous team.

In Tolkien's Legendarium I have the feeling that evil is something that tests the moral choices of the characters, in an attempt to make them rebel too or, at the very least, to derail and thwart Eru Ilúvatar's plans (but this will work?).

Melkor came to corrupt, damage and try to spoil creation, Morgoth and then Sauron brought discord, lies, rumours, this is Arda Marred, a sign of evil in Arda is the loss of symmetry and the fact that she was deformed, so Melkor/Morgoth and Sauron are signs of something nefarious and evil given their rebelliousness.

The "shadow" fell on Arda and impregnated it, and such darkness can cause conflicts and misunderstandings to act, the evil has entered in Arda (Arda Marred).

Thus the children of Eru Ilúvatar can be corrupted (here the possibility arises for the characters to act ambiguously).

Thus, the characters not only act as they were idealized, but they can be corrupted by the opposing side, becoming villains, whether human, elves or any other race. Where individual needs, pride, greed, anger, hatred, desire for revenge, obsession with objects, need for power and knowledge, feelings of superiority and rebellion, among others, are feelings that, depending on their intensity, can corrupt.

But even if Melkor/Morgoth and Sauron make their plots and can corrupt creation, will that in the end be insufficient?

We have to consider that the idea of "end of the world" was not clear in Tolkien's mythology, but we can check the imprecise versions of the "end of the world" like Dagor Dagorath and Arda Healed.

(I say imprecise versions because really only The Hobbit and LOTR can be considered completed works within the Legendarium. The rest of the stories feature edits made by third parties, as Tolkien died without unfinished, he was never able to finish and reconcile his creation cohesively, so the current Legendarium presents divergent ideas and inaccuracies. What we have are fragments of various versions of the story, there is not exactly one Canon on everything, as some versions contradict each other).

So will Morgoth return from the void? Will an alleged Second Prophecy of Mandos be fulfilled? Something like Dagor Dagorath (Battle of All Battles/or "The Last Battle") will occur?

Can we hope for some sort of Arda Healed (with a Second Music Of The Ainur, will be sung, forming a new world)? Or can we deny any prophecy concerning the alteration of Arda Marred? What will it be?

There doesn't seem to be a consensus given that there is no precise and cohesive Canonical line in the Legendarium we have.

Only I can see the beauty that would be if everything that happens in Arda is a GIGANTIC, necessary and inevitable Eucatastrophe planned by Eru Ilúvatar from the beginning?? (remembering that this is a term coined by Tolkien which, in short, means "good" catastrophe).

And this snippet here:

"Never since have the Ainur made any music like to this music, though it has been said that a greater still shall be made before Ilúvatar by the choirs of the Ainur and the Children of Ilúvatar after the end of days. Then the themes of Ilúvatar shall be played aright, and take Being in the moment of their utterance, for all shall then understand fully his intent in theeir part, and each shall know the comprehension of each, and Ilúvatar shall give to their thoughts the secret fire, being well pleased"

- The Silmarillion (Ainulindalë)

And act discussion. But I think it's pretty clear why Melkor/Morgoth, Sauron and Orcs in general are so abominable. Because no fan wants to side with them in Tolkien's (somewhat monotheistic) universe.

Bonus: and since we started this conversation through a discussion about the book The Hobbit. See what Thorin says before he dies:

“Farewell, good thief,” he said. “I am now going to the waiting Halls to sit beside of my fathers, until the world is renewed (...)”.

- The Hobbit

It is completely questionable if this will actually happen, because as I said there is no Cohesive Canonical line in Legendarium, there are versions that contradict each other. But this kind of thing is repeated (I remember reading this in other parts of Tolkien's work, I won't look for them to I not expand because this is already too long). But it's as if the hope of an Arda Healed lives in the heart of some like a dream.

I know there are disagreements with this idea, but as there is no "Absolute Canon", there are only non-linear and non-cohesive versions in Legendarium, seeing things that way is what satisfies me the most.

#the silmarillion #LOTR #the hobbit #JRR Tolkien #middle earth #arda #eru iluvatar #melkor #sauron #lord of the rings

6 notes · View notes

thevindicativevordan · 3 years

Note

Why isn't Nightwing a bigger deal? He has all of Batman's skills and Superman's faith in humanity and is arguably the most beloved hero in the DCU, but most people seem to know him either as the leader of the N̶o̶t̶ ̶J̶L̶ Teen Ttians or just Robin.

Thank you for asking me about Nightwing, I've been wanting to write a piece about him for a while now. The short version is that everyone who claims Dick becoming Nightwing was him "moving out of Batman's shadow and becoming his own man" is completely wrong.

Dick Grayson is a fantastic character, someone who saved Bruce Wayne in-universe both by forcing Batman to grow up a bit, and the countless times he saved Batman's life as his partner whether as Robin or Nightwing. Dick saved Batman in the real world as well, hard to believe but Batman was actually in danger of being cancelled due to poor sales early on. Enter Robin, a young daredevil audience stand in the creators hoped would get kids interested in reading Batman. And it worked! Sales on Batman doubled once Robin showed up which is crazy to think about, but Dick Grayson has always been a popular character. Cartoons like Teen Titans, Batman: The Animated Series, and The Batman only helped grow his audience.

Character-wise, Dick Grayson really does fill a number of crucial roles in the DCU. For Batman, Dick is proof that Batman is a positive force. Meeting Batman helped change Dick for the better, helped him heal after his parents died. With Dick, Batman can take comfort in knowing that yes, he has made a difference in the world for at least one orphan boy, which is all he wanted when he lost his parents himself. To the wider DCU, Dick is a friendly face who convinces others that Batman is competent and not a complete asshole. He took this kid in, trained him to be one of the best heroes the DCU has seen, and did it all out of the kindness of his heart. That someone like Dick can confront the evils of Gotham and not break means there's still hope for that city. As Robin, Dick has led the Titans and is an icon in his own right as The Sidekick, the original, the one every other Robin is built around copying or contrasting. The one all other superhero sidekicks are drawing on as a basis. As Robin Dick Grayson is very much on Batman's level.

Just not as Nightwing. As Nightwing, Dick has been a second rate Daredevil which means he's a third rate Batman (fully prepared to get hate for this but I've read and enjoyed the Miller and Bendis DD runs so I feel entitled to my opinion). A typical Nightwing run tends to go like this: Moving to Bludhaven (which is Gotham... but WORSE!), Dick Grayson usually enrolls in a pointless job we don't care about in order to provide some meaningless soap opera drama that doesn't go anywhere. Patrolling the city as Nightwing, he fights a variety of bad guys who are usually rather lame and unthreatening, with his big bad being a Kingpin knockoff called Blockbuster. Villains are fought, long running plotlines are set up, then everything is abandoned because it's Batfamily event time, and Dick has to run back to Gotham in order to play sidekick again. Usually his involvement is completely superfluous and it would've been better if the writer had gotten to opt out. By the time we finally get back to Nightwing's solo plotlines, the audience has usually ceased to care and the run gets cut short.

That's how Nightwing has been since the New 52 at least. Anyone who thinks that's "becoming their own man" is out of their mind. Dick is so thoroughly in Batman's shadow that he got shot in the head and spent a longer time as "Ric" which everyone fucking hated and sold like shit, than he did as Agent Grayson which was extremely well-received. Reiterating: Ric went on longer than Grayson because of a fucking Batman plotpoint Tom King wanted where Bruce was sad and cut off from the Batfamily because of Dick getting shot. Not just calling out King either, how many times was Kyle Higgins Nightwing run derailed because of Scott Snyder's crossovers? Or how about that entire run getting dumped to the side because Johns wanted to out Dick during Forever Evil, a Justice League/Lex Luthor story? DC has repeatedly made their contempt for Nightwing clear, he's Batman's sidekick still in their eyes, and he serves whatever story role the Batman writer wants.

Hell his best stories tend to have been the ones where he's not Nightwing. He was Robin in a good chunk of the Wolfman/Perez New Teen Titans run. Morrison really showcased his depth as a character when they wrote him as Batman, their time with Dick under the cowl was actually one of the first Batman runs I ever read, and no Nightwing run has ever matched it in terms of quality in my humble opinion. Scott Snyder's work with DickBats also was a high point for the character, showing Dick as competent and examining his relationship with Gotham and the Gordons. King and Seeley gave him one of the best comic runs with Grayson, a series where he wasn't even a "superhero" technically! When it comes to actual pre-New 52 Nightwing runs that are highly recommended where he *is* Nightwing, there's Chuck Dixon and uhhhhhhh... Tomasi's brief run before Dick became Batman? It's not exactly an overwhelming list.

Look there has been good work done with Nightwing, I'm not claiming there hasn't been. Tim Seeley wrote a great run with Nightwing Rebirth. Seeley fleshed out Dick's Rogues Gallery with cool new ones like Raptor, he brought back old foes like Dr. Hurt (why oh why couldn't you have brought back Flamingo too?), he gave Dick's world some character it solely needed. Bludhaven under Seeley is pretty much the only time I've really felt like it lived up to being Dick's city.

The problem with fictional cities is you have to put in the work to give them the character of real cities. You have to make the cities feel like characters in their own right. Gotham is the best example of this, it's a character all it's own, one that tells you a lot about Batman and his cast. In contrast Bludhaven is usually one of the worst. Any place that wants to claim to be worse than the city that is built over the gate to hell and gets wrecked every other month by the Arkham freaks has to really put in the work to compete. Simply put, Bludhaven typically fails utterly. There's nothing about it that makes you really buy it's worse than Gotham, I mean does anyone really think Nightwing's Rogues wouldn't get their lunches eaten by Batman's? No, no one genuinely buys that. When Bludhaven claims to be worse, it just comes across as tryhard, an attribute that does end up telling you about Nightwing in unintentional ways.

So Seeley didn't do that. Instead he created a city built for a hero like Dick Grayson. Someone who is bright and flashy, but does have an element of darkness to him. Someone who loves the spotlight, but often uses it to obscure. Seeley turned Bludhaven into Las Vegas, and that was the fucking best concept for Bludhaven I have ever seen, it makes so much sense. Las Vegas is the "Entertainment Capital of the World" and isn't that the perfect city for a hero who got their start working in the circus? Isn't the aesthetics of the gleaming casinos, the glamorous sex appeal of the performers, and the spectacle of the shows, all being used to cover up the seediness of mob bosses meeting backstage perfect for Nightwing? It's so utterly unlike New York City, yet Las Vegas is still dangerous, it's got a crime culture all it's own. Seeley used it to great effect, as did Humphries during his brief run, and I will always be pissed that DC didn't continue to use it. That should have stuck around and been the definitive look for Bludhaven.

How Seeley's take on Bludhaven was treated feels like a small scale version of how Nightwing in general gets treated. Whenever creators pitched ideas for him, if editorial thought there was potential to break big, they asked for those ideas to be repurposed for Batman instead. Anything big or good gets repurposed for Batman or tossed to the side so Nightwing can go back to his default: having irrelevant adventures in a city that is supposedly worse than Gotham but can't live up to it. Just like how Nightwing is supposedly better than Batman but never gets to show it. Goddamn it's so frustrating seeing his potential get wasted like that.

The Nightwing book should be one of DC's most ambitious books in terms of storytelling. You can go from traditional superhero stories, to romantic soap opera, to spy stories, to crime noir, to horror, to cosmic adventures, and ALL of them would fit because Nightwing is someone who has a foot in both Gotham and Metropolis. He's got friends everywhere on every team, and has been a hero longer than most Leaguers have at this point. No reason DC should still be afraid to let him loose and insisting on hewing close to what Dixon established almost over 30 years ago is only holding him back. At the very least get him some better Rogues, why the hell didn't he get to keep Professor Pyg? That's Dick's villain not Bruce's! Bullshit that they didn't let Dick keep him. Hopefully Flamingo comes back, with a slight revamp I think he'd make a great reoccurring Nightwing Rogue.

Luckily it does look somewhat like Nightwing fans have reason to be optimistic. While Taylor isn't to my taste, DC clearly views him as a "big" writer, and that they put him on Nightwing says a lot. Taylor has been selling well so far, so hopefully he gets to tell his story, hilarious that even he lampshaded having to write Dick running over to Gotham for another tie-in after Taylor's big opening arc was all about Dick committing himself and his money to Bludhaven. Scott Snyder is apparently working on a Black Label Nightwing book which will explore how he's a different detective than Bruce. The Gotham Knights video game has him as one of the main stars, and while Titans is... controversial, it's one of the most popular streaming shows and Dick is the main character. There's a lot of content coming that features him in the starring role, and that will only help his star rise further.

For the first time in, well, ever it feels like DC may be serious about elevating him. Time will tell if it pays off, but I for one choose to be optimistic that the 2020s will be a turning point for Dick Grayson where Nightwing becomes hugely popular in his own right. Not just as Batman's sidekick.

#nightwing #dick grayson #batman #gotham knights #titans #dc comics

192 notes · View notes

komakitigerdrop · 2 years

Text

Ok folks, so you know what?

I have decided to re-read the first chapters of Innocent Eyes and turns out I really love them.

Nah.

I still find them embarrassing.

That said... I respect Yamane Ayano as a mangaka and I maintain that it is her work to do whatever she sees fit. My opinion as a fan, and what I believe would make more sense for the characters, is insignificant in the great scheme of things, and what do I know, anyway? I'm not the one dealing with editors, publishers, a global audience.

At this point, and rightfully so, what sensei wants for Finder and what I, a reader, want for Finder are very distinct things. I want complex plots, hidden motives, character development and the occasional dark humor, but the more I read this arc, the more I realize this is not what YA has in mind. At this point, I believe she just wants her almost two decades long work to be less of a burden and more... Well... Fun.

Just like Cindy Lauper's girls, sensei just wanna have fun.

But here's where my problems begin. That Finder is no Saezuru Tori wa Habatakanai, everyone knows. I don't think the plot has that level of depth. I don't think the characters have that level of depth. At some point in the past, there were significant moments of character development but something with the pace of Finder always finds a way to derail story progression. Characters fall short, plot falls short, everything tends to be contrived, and you know what? I'm okay with that. It managed to maintain a semblance of consistence in its inconsistency, despite its flaws.

This arc, however, is a plunge into the absurd, a collection of tropes that tend to do more damage than good.

Memory loss?

Brainwashing?

Time Skip?

As Bart Simpson would say, "ay, caramba!"

It's a tall order. It's a tricky combination to pull off without making the characters involved look stupid (which they do, obviously). And here is where it gets me: it's all done without a hint of humor. Other than Kirishima huffing and puffing here and there, there is no comic relief. The vibe is serious and we are supposed to keep a straight face as we see Akihito feeding Sudou and Asami getting kicked in the face in yet another distasteful episode of sexual assault.

I mean... Why?

If anything, this is the arc to turn up the comic to a blaring eleven. Hell, give us Mikhail and Fei Long bickering like an old couple, give me good banter instead of the cliche, mild tsundere yadda yadda in between sex scenes. Have Asami and his weird-ass brother and minion share some sort of embarrassing memory. Show more of Kirishima messing up in his unexpected CEO role.

Just embrace your inner Surrealist and go all out

I'm okay with absurd. But absurd passing for serious storytelling is just cringe.

I know that in the Finder universe, the surreal has a place and that place is called "extras". Without a doubt, that's where YA channels her fluff and humor into, so bless those little moments of insanity. But why, at this point, so many years down the road, is Finder still taking itself so seriously? I don't think humor would alienate readers, at least not as much as poor, convoluted writing. Times are changing. Many things that made sense 15 years ago don't make sense anymore, it's fine.

And in Finder's case, everything could be so much better with a good laugh.

#finder no hyouteki #finder series #you're my loveprize in viewfinder #komaki rambles

58 notes · View notes

qqueenofhades · 3 years

Note

did you watch lucifer season six and what are your thoughts pls and ty

Ahaha. Yes. Yes I did watch it. Then I cried for a literal hour and attempted to compose myself, only to start crying again when I lay down and kept on thinking about it. Then I had more feelings. Then I slept like the dead due to emotional trauma. Then I reblogged gifsets and had More feelings. Then @buffaluff and @flynnanimal watched it and also required emotional support due to drowning in their own tears. So, uh... we're all fine here now. How are you?

My main takeaway from the final season was the sheer amount of love for the characters, story, and fans that you could feel shining through all the episodes, and which made SUCH a refreshing change. I had feelings in my tags the other day about how a show about the devil was constantly goofy, hopeful, loving, and uplifting, rather than all the grimdark nonsense they could have easily done with it. (As I said, just imagine it as written by the GOT idiots?? NO THANK YOU.) The writing really loved everyone and wanted to give them a proper ending and emotional journey, and it wanted to show the fans that they weren't stupid for having invested six seasons of effort and emotion into this, and just... that is so much rarer than it should be? Compare all the movies and TV shows that treat their fans like the enemy, that want to outsmart them at all costs even if it means changing major plot elements, that ferociously guard spoilers and think that "shock value" means good writing, by throwing hackneyed cliche upon cliche and making everything Depressing, and just... Lucifer had its hiccups and slow points and missteps, of course, but I am SO glad they didn't do that. The entire show consisted of Lucifer slowly but steadily progressing toward being a better man, despite mistakes and setbacks and sometimes a little too much will-they-won't-they. (Season 3 was the only one where I got bored and skipped over the filler episodes with Pierce/Lucifer/Chloe in order to get to the end).

That is an essentially simple premise, but they stuck to it, and they didn't try to create more drama by randomly wrecking what they had already established. I wrote a fic all the way back in mid-season 2 (In Nomine Patris) that ended up predicting quite a few of the future characters who had not yet appeared on the show at that time, including Eve, Michael, and Azrael, and several plot points, including the very major one of Lucifer returning to hell for the sake of his daughter with Chloe. And while this might mean that I am just that good at guessing TV shows (I would like to think this....) it also means that the writers set expectations, followed through on those expectations, and didn't suddenly derail everything or turn it totally on its head just for the sake of cheap shocks. As we can all attest, they certainly caused PLENTY of drama, anguish, pain, and suffering, but they did it in a way that remained faithful to the overall premises of the story and the characters, and wanted to see them become the best versions of themselves. I cried my eyes out at the end and then thought, "hey, I might want to watch the whole series again," which, if you ask me, is the mark of doing your job right. There have been so few TV endings recently where I didn't immediately swear off the whole thing or have to pretend that canon didn't exist, so yeah.

As I said, it was just refreshing to watch something that had that essential deep generosity at its core, where the message is that everyone is worthy of love if they make the hard and painful effort to change and become better, and that even if earthly things feel small next to all this messy celestial drama, they still matter, and that you are loved no matter what. I loved that Amenadiel became God and Lucifer returned to hell as a choice in order to help all the trapped souls be able to work through their guilt and go to heaven. There were obviously certain echoes of The Good Place in that ending; I don't know if it was something they had planned all along or if the success of TGP, another series asking deep questions about life, death, morality, and human nature within the framework of a goofy heaven-and-hell sitcom, influenced it, but either way, it worked so well. Even if it tore my heart out and stomped on it on the ground, it was fitting and oh so lovely to see Lucifer, once the most selfish being in the entire universe, following in Linda's footsteps and becoming selflessly dedicated to helping other people. Just. Chef's kiss.

And of course, Deckerstar. The Hades and Persephone vibes were IMMACULATE this season, and while it did take Lucifer and Chloe the best part of four seasons to get together, they never significantly backslid, never had third-party issues or cheap cheating storylines once they were officially a couple, and Tom Ellis and Lauren German REALLY killed it this season in particular. It was never easy for them and sometimes the drama went on a little too long over the course of said six seasons, but the love story was beautiful and incredibly meaningful and always true to the fact that the actors and characters and writers (not to mention the fans) all loved it so much. They were so much the emotional heart of this, and when they went to hell together in episode 6x03 (where they turned into cartoons because wHAT even IS this show), Joe Henderson said in an interview that this was to give the fans a view into Lucifer and Chloe's future (after) lives post-6x10, and to offer them a basis to write fanfiction. I mean... the showrunner saying to the fans "here, we love you, have something to write fic about!" is likewise pretty shockingly rare. It's again an example of how this show always audaciously poked fun at itself, never took itself TOO seriously, and was always welcoming its fans and the people who loved it to do so, rather than making them feel stupid or taking joy in wrecking beloved characters or plots.

Obviously, I loved Rory, the badass lesbian half-angel goth Deckerstar child straight out of My Immortal (seriously, she was SO edgy, it was amazing), because of the fact that Lucifer's entire arc was always about feeling abandoned by his father and that he was going to have to face it for himself. Dorky Devil Dad Lucifer trying his absolute HARDEST to bond with his daughter was simultaneously hilarious, adorable, and heart-wrenching, and yet again, the Growth. We all remember when he could barely tolerate Trixie touching him, and now we're here. Also, any variation whatsoever of "this is just a brief moment of time that we must be apart, love is eternal and stronger than death and we will never really leave each other" as a line is guaranteed to make me bawl my eyes out. So that was fun.

I got a big kick out of Ghost Dan running around and trying to get everyone to see him, and had feelings about seeing him in heaven with Charlotte and his beloved Pudding Pops at the end. I had feelings about how they handled Ella finding out the truth (or rather demanding to know why nobody had told her) and of course, I obviously loved Maze and Eve and their goth/femme wedding and the fact that they got a good three-season romantic arc (indeed, I wanted more of them). My god, Trixie is SO BIG, she used to be a tiny little nugget. I love that Linda was the moral and emotional rock all along, from the first episode to the very last, and that Amenadiel was Deeply Vindicated when Charlie's wings appeared at his first birthday party. I love how Lucifer in s6 is absolute thousands of light years from Lucifer in s1. And as ever, Chloe was Perfect. I am happy that I spent six seasons with these characters and saw them become better, and that I was never made to feel like an idiot for trusting the writers to end everything in a beautiful and emotional way. Because, well. They did. Sure, maybe I could go back and pick at a plotline here or a detail there, but I don't terribly feel the need to do so? It might not have been perfect, but it was perfect, and I am so grateful that it existed.

#lucifer #lucifer spoilers #deckerstar #anonymous #ask

76 notes · View notes

jnixz · 2 years

Text

Youareshauni:

I don’t know what would be sadder.

1) That Ford only remembered when or after Helmut revealed himself in Nick’s body, that he had found Helmut’s brain and brought him back home.

2) Or had an inkling when his mind was whole again. But stopping Maligula was unfortunately more urgent to deal with and only remembered the gravity of leaving Helmut for so long. Because Helmut being in Nick’s body clearly can’t have been longer than a few hours.

I believe it’s the first because of the visual storytelling. The camera focuses on everybody - Otto, Cassie, Compton, and Ford - when they learn and all have the same expression.

Yeah – Oh what I’d give to know the canon POV of characters. To know their thoughts and process in the middle of canon events. Darn the decisiveness and limitation of time, else I would just love a show exploring all these topics introspectively.

Even just the moments where Raz first arrives and gushes at Green Needle Gulch you can see Ford’s expression thinking a lot of things in the background. That switch back to Ford too, brow furrowing after the mention Helmut and his psychodessey. Just ergh the switches on the focus of expressions and the panning on the two in this scene is a lot. I can hear the contemplation about the sadness of what actually happened.

I do think its more of the former though, with like you have presented. And with the fact that the first slide of “Ford Cruller, Cracked” is the intensity of holding Maligula in the Astralathe

Not a brain-in-a-jar in sight in that memory vault.

We only see it in Helmut’s memory in “Ford Forgets”, because damn he really did forget. Not only of everything for Lucy but a consequential part associated with remembering he had Helmut’s brain with him in the Heptadome. Helmut is the one that remembers and even had this scene at the end of his level’s concert.

I imagine this was an actual similar dialogue that happened, a plan that Ford intent on doing before arriving at the Heptadome. Helmut even does a little nod in understanding, since there is still presence as even as a brain in their universe.

He even managed to bring the brain in a jar, back to the Heptadome. But then the absolute ferocity of Maligula is back again, having to force her in the mentalscape to the dam while also using the Astralathe. Then the investigations Ford surely would seen while making the fake circus mindscape, with the truth of how Lucy became like this. The mental, emotional and psychic stress of that would be so tiring. I know I certainly forget a lot of things when doing one single thing all day.

He would have seen “The Deluge of Grulovia” memory vault and the skeletal arrangement of Marona and Lazarus on the bed which could have been an image that started on Lucy’s mind. Then perhaps remembering that oh no, Lucy had a nephew– her sister...his parents’ are dead– they are the only ones left. And then that whole train of thought just continues chugging on, derailing to a new plan of action, with the other plan with dealing with Helmut ended up lost in the way.

Just hrrggh

He forgot, he forgot. He got too focused for Lucy that he got sidetracked to her family. He forgot, about the rest of his friends where there too to be helped and could have helped. The opposite of which is what happened with the Reunion. Emotionally distraught, Injured or not They cared too.

I think since the reunion was more happy at seeing each other again, as well as the immediate need to deal with Maligula, it hasn’t hit Ford yet. Perhaps in the aftermath, when Ford sees Helmut in the brain ball would he be reminded. Whether it hits him then or still has a bit of delay since he is still worried for Lucy, would be a good reminder that he still needs to have a long talk and apology to his friends.

#submitted post #youareshauni #psychonauts 2 #psychonauts 2 spoilers #ford cruller #helmut fullbear #analysis #speculation #headcanon

33 notes · View notes

miraculouscontent · 3 years

Photo

Kagami and Marinette deserve so much better.

Anyway, let’s just start literally where this episode starts, because it makes no sense. Remember back in my “Truth” critique where I basically said that the episode seemed like it’d been shoved through multiple drafts and no one checked the final one?

Same applies here.

Like--okay, ”Truth” and “Lies” take place at roughly the same time, which means that the same filler akuma/sentimonsters appear to interrupt Adrimi’s moments just as they did with Lukanette’s, giving its audience a clear timeline of how the episodes line up. The reason this is important is because the writers can’t even keep consistency within singular episodes and then honestly thought that they could do it within two.

“Lies” begins with Marinette talking to Tikki about the grimoire, because apparently she has the non-translated version and there’s a secret to figuring out the code that Tikki believes Marinette will discover eventually.

...Alright, I’m derailing here but I have to add how absolutely stupid Fu was when dealing with translating the grimoire. He was supposed to teach Marinette how to be guardian, yet he didn’t teach her how to read the grimoire (if there’s supposedly a “secret” to it, is he really going to bank on Marinette figuring it out herself eventually instead of just giving it to her and avoid the risk altogether??), kept the translated pages on his tablet without sending them to Marinette as he deciphered them, and took time to write a letter to her in “Miracle Queen” but left no guardian-centric advice for her to work off of, meaning that Tikki had to explain how the Miracle Box worked to Marinette back in “Truth.”

The show goes out of its way constantly to turn everything against Marinette even if it makes all the characters around her look either incompetent or cruel. It’s not that I’m not used to this by now but it’s just infuriating that it keeps trying to raise the stakes and tension when Marinette made such a tiny mistake to cause the issue in the first place, and now we find out that Fu had no back-up plan or strategy, apparently expecting this 14-year-old girl to act perfectly and cover for him.

And of course, instead of leaving the scene off on Marinette being encouraged by Tikki and Marinette showing confidence in herself (i.e: what would’ve been a nice scene), the kwami accidentally fumble with the keyboard in such a way to have Marinette’s computer bring up a news story about Adrien, which leads to Marinette leaning towards her computer and sighing over Adrien and his “amazing life.”

Can I just point out how annoying it is that all the Adrienette moments so far on Marinette’s end have been forced, not just in general (because we’re used to that), but literally forced by the plot so Marinette would talk about him or other characters would bring Adrien up?

“Truth” had Alya insult Marinette to her face over her Adrien crush because Marinette was freaking over something non-Adrien related that they couldn’t have known about, Luka was sent a no-context picture of Marinette’s Adrien wall which led to him lowkey teasing her about it, and then Truth was forced to listen to Marinette’s friends and Tom babble about Marinette’s supposed crush on Adrien even when Truth points out that it’s not a secret, making the “joke” fall absolutely flat.

And now “Lies” comes along and has the kwami drop things and step on the keyboard in the exact way to pull up Adrien stuff for Marinette to fawn over. It’s at this point I’m realizing that - had the kwami stayed inside the box or just not been around in general - Marinette literally wouldn’t have brought up Adrien at all in either “Truth” or “Lies” and now I’m sad. I really don’t want to have a counter for “episodes where Marinette wouldn’t have so much as breathed Adrien’s name if the kwami/someone else wasn’t there to force it.”

So yeah, the episode had to force Adrienette into its Adrimi episode because the show can’t go five minutes without reminding the audience that Adrien exists even though this episode is primarily from his point of view, made worse by this scene’s lack of ability to exist.

See, from the timeline in “Lies” lining up with “Truth,” there is no possible way for this opening scene with Marinette talking about guardian stuff and then fawning over Adrien to happen. There’s an akuma scene in “Lies” that literally is just copy-pasted from “Truth” (it actually does this again with another scene later but that’s not important right now), so that means anything that takes place before said scene in both “Truth” and “Lies” have to line up.

Except they can’t. The akuma scene in question interrupts Marinette’s movie date with Luka in “Truth,” and before that, she had just opened the Miracle Box, wrangled up the kwami, talked to the girl squad over video call, talked to Luka, and then immediately had to leave. There are no cuts or wiggle room anywhere in there.

Therefore, the scene in “Lies” is impossible. Either the scene is supposed to go elsewhere in the episode (we don’t actually know how many days it takes up so it’s hard to say on that front) which just makes the episode even more convoluted, or this means that one would have to pick between the scene in “Truth” and the scene in “Lies” because they literally cannot co-exist.

“Lies” was supposed to coincide with “Truth” and they messed it up in the first scene of the episode.

Then comes Adrien himself, who really shows the series’ clunkiness in focusing on other characters. It’s not that I’m against the show moving away from Marinette to show other people’s point-of-view (I definitely didn’t complain during the Couffaine sibling scene in “Reflekdoll”), but Adrien cannot carry his own episode.

In Marinette’s opening scene, we immediately got details on the grimoire and lore about how reading it actually worked. I didn’t like it and it wasn’t good, but it was new information.

Adrien, meanwhile, spends a large portion of the episode being sad (a very grand and unique plot, my dudes) and giving us information we already know. “Truth” has to come first because “Lies” is half of a follow-up on it, meaning that the audience is already aware that Ladybug has been forgetful and has had to miss out on patrols. It’s just that now we get to see Chat Noir sulking about it and--okay, I am just going to go off, alright?

Firstly, Chat Noir tells Ladybug later on that he “understands” her guardian duties, but he previously mocked her behind her back by using air quotes when he was talking to her answering machine (since she obviously wouldn’t see that). We saw in “Truth” where he admitted that he doesn’t mind her being guardian “as long as it doesn’t change their relationship,” and that’s on display right here with his comments.

Not only is it extremely disrespectful, but for someone who claims to be so loyal and understanding to Ladybug, he sure doesn’t show it.

Secondly, he leaves her a message about how he’ll take care of patrol, then proceeds to slack off because she’s not there to keep him in check. He sulks around Paris, mumbling about how Ladybug isn’t around and constantly checking his messages to see if she’s replied to him. Chat Noir has shown his “priorities” in terms of heroism before, but patrol isn’t supposed to be about getting time with “““his lady”““ yet that is clearly all he cares about. He even ends the patrol unprompted, either giving up or just generally having not finished, because I don’t believe that the “end” of patrol just happened to be at the place Kagami was.

Patrol is about protecting Paris and scoping things out. Ladybug is trusting him to pick up the slack when she’s not around and he should be picking up slack, yet he has completely failed on that front. This is made worse when considering that the Season 3 finale had Ladybug breaking down to him from guilt and we know that Marinette had a breakdown before that to Luka, yet Chat is doing nothing to lighten Ladybug’s burden, putting up a falsehood on Ladybug’s answering machine to make him look better than he actually is.

Then, thirdly and most importantly/infuriatingly, Chat Noir knows that Ladybug is busy and he knows that she’s taking on a new responsibility, yet he not only jabs at her for “how hurtful it is when she leaves him to patrol alone” (one, cry me a river, and two, I don’t care if it’s a joke, it’s insensitive), but before that scene, he was actively hoping for people to get akumatized so Ladybug would be forced to show up and he could spend time with her. He egged Xavier Ramier on, even asking him if he “missed being Mister Pigeon,” and then looked on with glee as Chloe bullied Sabrina because he thought that an akumatization might happen.

And this is on top of so many other issues with this whole scene. Adrien complains all the time about his schedule and how restrictive his father is, but suddenly - in the episode right after Marinette had to break up with her boyfriend due to her cramped schedule - is lounging around and wasting time. It hurts to see Marinette suffering from all of her responsibilities while Chat’s biggest problem is how little time he gets with Ladybug.

Also, another point on Mister Pigeon is that that’s the akuma that had interrupted Marinette’s movie date and kiss with Luka. I’m not suggesting that Chat egging Xavier on led to him getting akumatized, but I am saying that Chat wanting akuma to happen with no regard for Ladybug’s happiness is yet another point on the list of why I hate the love square. Marinette genuinely forgot about patrol with him - genuinely was forgetting about everything, really - and as a “punishment,” her own partner whined, didn’t patrol properly, and egged on an akumatization that eventually ended up happening which then broke up the little bit of happiness that the universe was allowing her to have.

Oh, and did I mention that he’s also dating Kagami at the time as well because here we freaking go.

Now, I did not get on Marinette’s case for her Adrien wall and stammering because Luka is largely aware of where she stands in the relationship and she only brought Adrien up when someone else did, even when Luka wasn’t around or being mentioned. Adrien, however, I have multiple bones to pick with, starting with how utterly needy he is for Ladybug’s attention.

This guy has tons of friends, all these fans, and could get people to flock to him whether in or out of the mask, but he wants Ladybug, and anyone not Ladybug isn’t good enough. There’s a scene later in the episode where Kagami - his girlfriend, mind you - is pouring her heart out to him, and he gets distracted by Ladybug instead of listening to her. Even when he excuses the distraction, he then gets distracted again even though Ladybug is no longer in the background.

Lying to protect his identity is one thing, but what Adrien does to Kagami goes beyond that. He’s pining after and flirting with another girl and Kagami has no idea. She’s speculated before that Adrien likes Marinette, but she’s mostly left in the dark because Adrien hasn’t told her anything, nor has he confirmed with her whether it’s okay or not for him to flirt with other girls so long as he’s not pursuing them. He could’ve admitted that he was in love with Ladybug but that he wants to try things with Kagami, but he refuses to open up to her or put himself out there.

Except, he technically does, once, when Kagami tells him to pose for her and he strikes his transformation stance, but he caught her completely off-guard and it’s no wonder why she was put off by it or thought it was unnatural. Not only that, but when Kagami tells him that he’s acting like a clown in that scene, we can see by jumping back to “Truth” that Chat Noir fished for Ladybug’s compliments which then led to a line about him talking about how Ladybug enjoyed him acting like a clown; a direct connection.

Kagami didn’t validate him, so he fished for Ladybug to do so because Ladybug was both forced to answer the question and wasn’t able to lie to him. The show has Ladybug state that her most preferred trait of his is his humor but I am certainly not laughing.

Chat Noir even goes further after the fight with Truth (so another copy-pasted scene) by saying that he has the most fun with Ladybug specifically, and this is all while he’s still dating.

Then this guy has the gall to talk during his break-up about how his fun times with Kagami weren’t lies after apologizing to her for his constant lying, as if he’s trying to earn her sympathy when we know that he’s been pining after Ladybug and flirting with her like she were his number one when he already had a girlfriend waiting for him (and who, by the way, had covered for him earlier and was sitting sadly on a staircase outside, feeling abandoned). The episode presents the break-up as if Adrien’s problem was the fact that he had to constantly lie to Kagami due to being busy with hero work (which is already dumb when we also saw him lounging around and complaining about how nothing was happening, meaning he was inadvertently supportive of the idea of having less time with Kagami and more time with Ladybug even if that means Paris is in danger), but the real problem ends up being that Adrien neglected Kagami emotionally and wasn’t able to give her the attention she wanted.

It’s both sad and annoying that Adrien has always sulked about his dad not paying attention to him and then we get Adrien not paying attention to Kagami, looking for Ladybug when Ladybug had already left and Kagami is trying to tell him something very important.

This is what I mean when I say that Adrien can’t carry an episode on his own. He’s incredibly selfish and most of his dialog just involves him complaining about Ladybug or making excuses. Kagami carried the episode more than he did because more details were revealed about her - specifically the fact that she likes drawing - and she’s active in making things happen (being the one to make the excuse to set up their fencing lessons, deciding what they’ll do with their hour of free time, etcetera).

And regardless of what girl he’s interacting with, Adrien can’t respect either of them. I just talked about Kagami and I’ve already talked about how he treats Ladybug when she’s not even around, but now we get to how he treats Ladybug when she is around.

During the climax of the fight with Lies, where Ladybug requires a distraction to safely pull off her lucky charm, Chat Noir decides - without Ladybug’s input - to sacrifice himself yet again.

I have to stress that Ladybug is stressed and Chat has always talked about her plans and listening to her, yet he has a horrible habit of making decisions all on his own and letting Ladybug deal with the fallout. Whenever he has the chance, he’ll throw himself in front of her and take the big hit, presumably with the mindset that Miraculous Ladybug will fix everything so it’s not like it matters.

Ladybug even shouts at him when he hints at what he’s about to do and there was absolutely time for them to talk about it, but Chat Noir just lets himself fall and be bait, even throwing out what is a clear confession (again, while he’s still dating someone else) before he’s knocked unconscious by Lies’ power.

And when Ladybug yells at him for it when everything’s said and done, pounding at his chest and looking absolutely upset over the whole thing? He not only brushes her off, but he boops her nose and talks about how “irresistable” her “angry little pout” is.

He might as well have just said, “you’re cute when you’re angry,” because that’s exactly what he’s implying; that Ladybug’s anger is something “amusing” to him and not something he takes seriously. We’ve already seen it before in “Reflekdoll” and “Oblivio” as well, so this is just a continuation of already-annoying behavior.

Then, instead of Ladybug getting even angrier for it, the episode has her smile at him, which not only isn’t a normal reaction compared to how she’s reacted before, but now gives the impression that she’s being conditioned by the narrative to accept Chat Noir’s behavior in whatever shape or form it takes.

Because think about it: regardless of how upset Ladybug gets over Chat Noir, it never works out for her and she’s forced to either make up with him quickly or just get over it because she can’t be fighting with her partner (meanwhile, like in “Glaciator,” Chat Noir can be as upset as he wants and she’ll apologize first). She presumably would now have the authority to take away his ring by virtue of being guardian, but he’s also been her partner from the beginning and he’s had so much time to get used to the cat. Most likely, she would sooner blame herself for failing to reign him in than blame him for failing as an adequate partner.

There’s nothing she can do. She has to deal with the hand that she’s been dealt and getting angry at him has done nothing; rejecting him has done nothing.

And of course the episode throws everything under the rug in the ending with an insulting LadyNoir scene where Ladybug and Chat Noir talk about the secrets their forced to keep but also how they can trust each other.

Meanwhile, Ladybug has no idea of all the things Chat Noir has done behind her back. She still has no clue about “Copycat,” nor “Syren,” nor any of the stuff he did in this episode that she’ll probably never know about. Factor it in with “Miraculous New York” (whether one considers it canon or not) where she rightfully shouted at him because he betrayed her trust, and here we are one and a half episodes later (since “Truth” and “Lies” take place at similar times) where suddenly they’re all buddy-buddy and Chat Noir doesn’t have to deal with any consequences to his selfishness.

I’m glad that Kagami didn’t forgive Adrien in the end (even if I’m upset that she doesn’t know how bad it really was) because she had every right to walk away and not want to be friends with him. I only wish that Ladybug could do the same thing and never look back, but due to the love square’s status as endgame, we know that can’t happen, and Ladybug will eventually be forced to fall in love with a guy who mocked her responsibilities behind her back, disrespected her authority by opting to tease/flirt with her, continued pursuing her despite her rejections, and hoped for Paris to be in danger just so he could see her.

And... yeah, that hurts. It really does.

#category: salt #episode: Lies #other: ask and answer #other: ml spoilers

166 notes · View notes

erosia-rhodes · 3 years

Text

As much as I love binge-watching television, it's kinda fun speculating each week about what the hell is happening on WandaVision, a show that's made the brave choice to keep so much unexplained for so long. So, let me speculate:

Evan Peters is playing Peter Maximoff from the X-Men universe and not someone else in disguise.

Here's why:

Wanda has to use real people to populate her daydream If Wanda could make everything up from scratch, she wouldn't have to take a whole town hostage. She needs real people and real matter to fuel her daydream. Sparky's death showed that Wanda can't bring organic beings back from the dead, so that makes it impossible to resurrect Aaron Tayler-Johnson as Pietro. Instead, the next best thing is another speedster that could pass for Pietro, which is how Peter got plucked out of the X-Men universe. By whom? Either unconsciously by Wanda or on purpose by whoever is the secret villain of the show. Peter's real memories were blocked and new ones were implanted. I'd bet he only remembers events where Wanda was present because her magic is powering everything even if she's not totally in control. Some of her other memories might have bled through during the process, which would explain why this Pietro is somewhat aware of what's actually going on. Or X-Men Peter might be having fun with the whole thing and doesn't need as much of a shove as everyone else! He seems like a guy who would try anything once.

Out of character for the MCU, but in character for the X-Men universe Some people think Pietro is sus because he's acting out of character, but that's only true if you're comparing him to the MCU's Quicksilver. He's acting perfectly in character for Peter from the X-Men films, a twenty-something "man child" still living in his mom's basement who enjoys playing video games when he's not stealing things and pranking people like Wanda's Pietro does with his Halloween antics. X-Men Peter is also morally flexible, filling his basement with stolen TV's and Twinkies and breaking Magneto out of prison just for kicks. That's why he's not overly perturbed that Wanda is mind controlling a bunch of people. Peter's done crimes himself, and his dad is a super villain who tried to kill the president, so if he has a sister who's mind controlling a town, it just makes her fit into the family.

This place is insane, of course he has questions! Some people think Pietro was asking way too many questions, but anyone dropped into this weirdo town would have questions. The people in S.W.O.R.D. have nothing but questions! If he were the main villain in disguise, he wouldn't need to ask any questions because he'd already know how Wanda was doing things. People also thought it was suspect that Peter responded to most of Wanda's questions with questions of his own, but that was probably the writers' way of including exposition about the missing kids and what was up with Wanda's accent. We don't know if the villain can disguise themselves as someone else anyway, and if he could, wouldn't he just use the Aaron Taylor-Johnson version as his illusion? Why choose some guy no one in town recognizes?

This casting choice feels like more than just fan service I don't think Marvel would go to the trouble of casting Evan Peters in this role unless he really is the Quicksilver from the X-Men universe. Marvel has served up some good fan service over the years, but typically only when it makes sense for the story or it's been earned. I don't see any reason to use Evan Peters unless it's really X-Men Peter. If it's not him, it would be simpler to use a random person in town to play Pietro and pay the actor less. If it really is X-Men Peter, this development cracks open the multi-verse which we known is going to be explored in the next Dr. Strange movie and the next Spider-man film.

Ok, but who sent him? Probably the secret villain who is behind all this. (My money's on Nightmare.) Peter first appears when Vision is questioning Wanda about the nature of their reality. Quite a convenient way of derailing that conversation! Another theory is that Dr. Strange sent him as some sort of mole, but I don't think Pietro would have appeared when he did if that were the case. His distraction was too well timed to shut down Vision's line of questioning.

But isn't he too old to be X-Men Quicksilver? Ok, I admit, this is sort of a problem. The X-Men version of Peter was born in the 50's and the MCU is taking place slightly in the future because of the Blip. That means Peter would be well into his 60's. Does he not age at a normal rate? Are the universes slightly out of sync so the 80's are taking place in the X-Men universe at the same time the 20's are taking place in the MCU? Or did he get snatched out of time as well as location?

What's with the necklace? Pietro has been wearing the same necklace whenever he's on screen, even when it didn't match his Halloween outfit. It's like Agnes's brooch—something almost always worn, no matter the era. It might be a transformed version of his goggles or the headphones he always carries. Or perhaps it gives some sort of magical protection which allows him to realize this world is being run by Wanda? Not sure. If this ends up not being Peter, it could be something associated with whoever he really is.

If it is Peter, how will this end? It seems certain the hex has to end at some point. If Peter is still around at that time, he will be restored to his normal self, probably wearing a silver leather jacket over a t-shirt featuring a band's logo. (Twenty-One Pilots? Fall Out Boy? What modern band do you think Peter would dig?)

Most importantly, he will have created a true emotional bond with Wanda. Their relationship started out as fake, but they've spent real time together and she's opened up to him about how alone and empty she's felt, allowing herself to be vulnerable in a way she rarely has with anyone else. He also clearly loved being Uncle P, goofing around with her kids. (Please let the kids live! If they vanish with the hex, it will be heartbreaking.) Peter could be a true connection that helps bring her back to the world, particularly if he ends up retaining all the memories of Pietro and Wanda’s childhood. I don't think this is the end of their relationship. Honestly, Peter might end up thanking Wanda for all the fun he's had and ask if they can do Knight Rider or The A-Team next time. So, I see three options here:

Option 1) Peter hangs around for a bit because he's stranded in this universe and needs Wanda's help to send him back. Maybe Dr. Strange helps them with that in the next movie.

Option 2) He is able to return to his universe and invites Wanda back with him so she can avoid prison and start a new life. I mean, this woman is definitely facing charges, right? She may not have started this insanity, but she went along with it when she could have stopped it. At this point, she's the Patty Hearst of mind rape. She's either going on the run or spending a lot of time in prison or in a mental hospital.

Option 3) Peter gets expelled from this universe either by Wanda or the secret villain or someone else and never gets a chance to explain anything. This would be the least satisfying conclusion, but it's possible.

I guess we'll see what happens! I will be utterly devastated if this isn't Peter from the X-Men universe because I love all the implications of that. I'd also love to see more of Evan Peters in the MCU.

#wandavision #quicksilver #marvel #MCU #scarlet witch #Evan Peters #Elizabeth Olsen #wanda maximoff #peter maximoff #speculation #pietro maximoff

214 notes · View notes

nautiscarader · 3 years

Text

2020 in animation - recap

So, 2020.

Yeah, I have to say I’m not entirely satisfied. Would not recommend, 1 star.

But I would be willing to bump it to 1.5, if only because of one factor: the animation.

Because I have to say, this was the best animated end of the world so far! And if there was something that kept our spirits up, it was the cartoon industry!

Just like last year, I should preface this by saying that this is highly subjective selection. Even when one is confined to their Hobbit holes for better part of the year because of *waves hands* everything around,

day still only has 24 hours, so I have missed a few shows. (I should also apologise for omitting a few major ones last year, like Milo Murphy’s Law S2, Ducktales, or She-Ra. This is why I started keeping a track this year). I’m sure I will catch up with those I missed this year some time in the future, but for now, let’s see what this year has gifted us with.

And right from the start, January opens the race with very interesting propositions. We were still riding on an incredibly high wave from last year, with Infinity Train season 2.

This one focused on Tulip’s mirror, and pushed the season towards a much darker and complex story, diving deep into one’s personal journey and identity. There were tears, math, deer, and cops being murdered. Brutally.

t was followed by two newcomers: The Owl House and first season of Kipo and The Age of the Wonderbeast. Both of them would dominate first half of the year, with The Owl House’s traditional, week-to-week airings, and Kipo's seasons appearing in June and October.

The Owl House, a strong contender in "What will be the Next Gravity Falls?" contest, invited us to a world full of magic, mystery, elongated owl demons and some dark secrets. It has also created a milestone for Disney, introducing an LGBT couple with characters of bisexual Luz Noceda and lesbian Amity Blight. Their Grom dance has risen to the top of my animates scenes, polling very closely to the unforgettable Kataango.

On the other hand, Kipo has taken us to the post-apocalyptic world filled with mutant animals, revealing that despite the end of the world, our old vices and animosities have survived in underground burrows, and we have infected the overworld of giant doggos and suit-wearing frogs with them.

Kipo did not pull any punches regarding commentary about our society, at the same time giving us hope in the form of the main protagonist, who was able to spread friendship and understanding amongst the mutes, as well as the humans that had to survive. And in the world that we have found ourselves in, it was a pretty darn good lesson.

February would bring end to two seasons of airing cartoons, Big Hero Six season 2 and Miraculous season 3, as well as another newcomer that won the hearts of fans: Glitch Techs, with its "second" season arriving in August. And while in my opinion he show wasn't as good as the other two new titles, I am clearly in minority, as the show about Ghostbuters-like team of game console technicians gained huge popularity... though not enough to keep the show afloat. As of writing this, it is currently in limbo, which is a shame, as the second set of 10 episodes finally added some much needed ongoing story.

in March, another show from last year ended - Steven Universe Future. As we have expected, it tackled slightly more mature themes, showing how much Steven needed that therapy we have wished him, telling an important tale of finding one's worth and one's self. its ending might not have been as explosive as those of the original show, or the movie, but it left Steven’s story as open as an open road, and deep in our hearts, we all knew it would look like this.

March was also the time when majority of western world caught the coronavirus, and that caused quite a turmoil with the movie and animation industry. One of the first victim of changed schedule was Disney's Onward, which was released on-line on Disney+ quickly after its theatrical release.

I have mixed feelings towards “Onward”. For such interesting promise, I think it made a few questionable and down right boring turns, though the unorthodox message at the end of it was its strongest point, and it was one I haven’t seen in a while, so it was worth watching just for that.

April was relatively quiet (aside from more end of the world stuff); brought us third season of Ducktales that spread throughout the year, while May gave us final, fifth season of She-Ra and the Princesses of Power.

To my eternal shame, I missed on this show when it premiered, and due to the lockdown, I binge-watched the previous four right in time for powerful and explosive season 5. And even though Catra and Adora finally gave us exactly what we needed, some fans felt slightly unsatisfied, calling for a movie, like the Steven Universe one to be made. And I’d be all for it, the rest of universe needs saving from the Horde! Also, cats in space - hilarious.

May also revealed a new player on the streaming field: HBO Max, who surprised us with new Looney Tunes Cartoons, much more in the spirit of the legendary originals than the often-criticised Looney Tunes Show from 2011-2014. And in my opinion, it did; one could feel the same fluidity in animation, dedication to slapstick, and synchronisation with music than in the very first cartoons with Bugs and Daffy.

HBO Max would, however, return in June with first of series of Adventure Time original movies called "Distant Lands". The first centred around BMO, with second one - Obsidian giving us a glimpse into Bonnibel and Marceline's lives.

Distant Lands allowed people to revisit the odd, odd world of Ooo and learn about its colourful inhabitants, taking turns to seeing their past and the future, an, as usual, showing us that post-apocalyptic world can teach us valuable and meaningful lessons.

Just in time for full lockdown in our burrows, aforementioned Kipo season 2 premiered in June, together with another cartoon movie, this time featuring We Bare Bears. While their movie wasn't anything to write songs about, it was exactly like the show, providing some wholesome content right when we needed it.

And just in case you needed more wholesome adventures, Craig of the Creek's second season ended, and its third season began, reminding us of HOW COOL LIFE WAS WHEN OUTERNET WASN’T SCARY AND WE COULD STILL WALK OUTSIDE FOR FUN AND NOT TO HUNT TOILET PAPER.

Just like last year, July was not dogs' days, but frogs'. Amphibia season 2 started raining on our heads, but unlike last year, its schedule wasn't a daily one, spreading the episodes throughout the Summer and early Autumn, with its second part arriving in February of 2021. There were more roadtrips, more mysteries and MORE MARCY.

August was equally strong: aforementioned Glitch Techs "season 2" premiered, offering better and more plot-heavy episodes than the first ten episodes. Unfortunately, the show's future is unclear; the uneven divide of plot between the seasons probably contributed to the show not being renewed. 10 new episodes apparently are written, but await in sleep mode, until Nickelodeon remembers about it.

HBO MAX picked up Infinity Train for its third season, after being derailed by Cartoon Network. And if you thought that killing a mirror cop was shocking... then this season has pushed the limit of what can be shown in modern children's cartoon to a frightening degree. The schedule was once again, weirder, with first five episodes airing on the day of the premiere, ending with a cliffhanger (literally) that only contributed to the shock factor and made us wait anxiously for its conclusion. It was bold, it was dark, it was memorable.

And just like Glitch Techs, Infinity Train waits on a side track, unsure if it will be picked up, or will it be abandoned and left as a canvas for graffiti artists.

However, to end the Summer, a truly amazing TV movie has arrived on Disney Plus, where we came back to good, old Danville and could witness Candace against the universe. The new Phineas and Ferb movie brought back the glorious memories of this fantastic show, with the same humour, writing, abundance of catchy songs and a surprisingly deep moral.

In September we have seen the start of Big Hero 6 season 3 and a odd change of format. Instead of standalone 22-minute episodes, the show now consists of two 11-minute segments. In opinion of many, this weakened the stories, forcing them to be more comedy-oriented, and shortening the potential emotional drama. Still, it gave us funny, short stories, but they did clash with the two previous season, not to mention the movie.

However, if that wasn't up to your taste, Ducktales season 3 also started airing, and continued its first part up until December with more action- and plot-driven episodes, including the Darkwing Duck crossover, serving as a pilot of the spin-off.

Later in December fans have learned that Season 3 will be its last, which broke the hearts of many duck fans; however, it seems that the season has been written as the last one in mind, and the news of the ending was known to the creators, which gives us hope for a kick-ass finale somewhere in 2021.

Miraculous New York, telling arguably one of the most mature storylines, opened the "Heroez" world to some new characters and new opportunities, with two more specials, taking place in Shanghai and Brazil, meant to air somewhere next year. AND I DO HOPE WE WILL SEE MORE LOCAL FOOD VENDOR SUPERHEROES LIKE HOT DOG DAN.

October was the month of two season 3's: Carmen Sandiego and Kipo. In case of Carmen, as it is usual with Netflix, the "season" was only a half-one, with just a handful standalone episodes, and just a dash of more ongoing plot.

For Kipo, however, season 3 was the end, and what a glorious one it was. Fans were saddened to learn of it, but Kipo was always imagined as a 3-part story, and it showed. The finale proved more than satisfying ending to the plot, elevating Kipo to one of the smartest cartoon characters we should all try to aspire to.

In November, Distant Lands: Obsidian aired, focusing on everyone’s favourite candy/vampire couple, and the long and complicated love between Bonnibel and Marceline. And as usual, it showed us that relationships are not always as straightforward as we would like them to be, but with enough music and teamwork, no enemy is big enough.

For the next new show, I’ve waited with the most amount of excitement and anxiety. Because while I was completely fine with other reboots and re-imaginings to take creative takes, new Animaniacs, (airing on Hulu) had to be perfect and had to be the lightning that struck twice.

And sadly... it wasn’t. It was still good, but some people criticised (incorrectly imho) the amount of political topics, while I mourned almost total cast-ration of additional characters, aside from Pinky and the Brain. This truly weakened the possibilities it could have had. It was still very good, but you can feel that some of the original charm was lost, due to these odd, odd limitations.

December brought us a new original Apple TV movie, Wolfwalkers. A beautifully animated folk tale of friendship and social divides, and how short-sight can cause the collapse of both arguing sides, reminding me very much of the intelligence and heart of original “How to Train Your Dragon”.

We’ve had to wait two years for the return of arguably one of the most wholesome shows out there: Hilda. Second season dived into deeper mysteries that permeate the rich and colourful troll-ridden land, we saw the return of some familiar characters, and introduced a whole new storyline, that ended with a surprising cliffhanger. Still as wholesome, but now with a tiny bit of Police incompetence. Also Twig, lots of Twig.

Just like Onward, Pixar’s highly anticipated Soul aired on Disney+, telling a very mature story about finding one’s purpose in life, what that purpose actually means, and whether it exists at all. Beautifully animated, with fantastic soundtrack, it was a stunning tribute to creativity, and it never dumbed down its profound, open message about following your dream.

And just if you thought that Soul was going to be 2020′s last note (pun very much intended), right before the year ended, DC Super Hero Girls concluded its first season on a rather anti-climactic two-parter. That being said, the season, running from March of last year, was packed with short, bite-sized, funny stories, taking interesting spins on existing comic book characters. For a comic book noob like me, it was perfectly fine, and I can’t wait for the second season next year.

And so, we have reached the series finale of humanity.

2020 ends in just under a day. What will 2021 bring us? I do not know, and if the animated shows of this year have taught me anything, is that the future is an always open book, full of worries and challenges, but also opportunities and possibilities.

...

And in reality I was too lazy to check any news sites about upcoming projects.

#infinity train #glitch techs #amphibia #kipo and the age of wonderbeasts #animaniacs #carmen sandiego #hilda #DuckTales #big hero 6 #distant lands #dc super hero girls #Miraculous Ladybug #spop #The Owl House

278 notes · View notes

theadrogna · 3 years

Text

Dream Show Challenge 2.0

@singledarkshade came up with the Dream Show challenge last year, where we had to give her a list of 7 TV shows or films and we were given a cast of 7 actors in return. This time we were given someone else’s cast and were allowed to recast one character (plus add some if we wished). This time I came up with:

Virtuality

Synopsis:

Good people die before their time and it happens every day. Eli Danzig is doing his best to change that. He invents a way to upload consciousness to an online server where the dead can live out a normal life in a virtual environment. He builds an entire world to keep his uploaded souls entertained, making it as lifelike as possible. Huge amounts of processing power are required so Eli must choose his clients carefully.

The electronic world is called Virtuality and the uploaded persons are known collectively as the digi-souls. Virtuality has a small but growing population, which is a continuing concern as it means more storage space is always needed. Eli funds his enterprise by playing the stock market using his AI Tallis to filter information and predict stock prices. Sometimes he sells patents for the things that the digi-souls invent, but more often they give their inventions away for free. However, money is always a worry because none of this is a stable source of income.

Cast:

Eli Danzig (Donald Glover) – Eli is a young computer programmer of genius level intellect. He came from a poor background, and was the first in his family to attend university. He is determined to make things better for people, by improving society. He believes that “only the good die young” is a real problem, and if he could keep the good people in the world for longer then maybe more good could be done. He invents a digital after-life for people to upload their consciousness to, but he must maintain it a secret to keep the unscrupulous from corrupting it or destroying it. He researches every person very carefully before inviting them to join Virtuality.

Ashura Hadid (Tala Ashe) – Ashura is a terminal cancer patient who becomes one of Eli’s digi-souls. She is a prize-winning journalist and novelist, known for taking on difficult stories about things that people would rather keep hidden. She’s recently been looking into CharterTech, owned by Maggie Charter as part of a series on corruption in tech companies, but most of her efforts are going into completing her final novel. Eli and Ashura have undeniable chemistry, but live in very different worlds. She is very driven and moral, always looking for new ways to expose corruption and wrong doing.

Oren Murphy (Jim Byrnes) – Oren was Eli’s professor at University. He made sure that Eli got the scholarship that he needed to attend, and then acted as his mentor. He suffered from high blood pressure and had multiple strokes. He agreed to be Eli’s test case for Virtuality and was the first digi-soul to be uploaded. He is a calming influence on Eli’s life, often being the one to counsel him out of a rash decision.

Shona Lennox (Sophia di Martino) – Eli’s technician, she has a background in medical devices and large-scale genetic information storage. She built the mainframe and worked out how to put into practice Eli’s ideas. She often finds herself in unusual situations now she is working for Eli, but likes her new job and the excitement it brings, even if she complains about it. She used to work for CharterTech but Eli doesn’t know that when he hires her. When she leaves CharterTech she decides to start self-defence classes and can definitely handle herself in a crisis.

Ryan Fournier (Joey Batey) – Ryan is an inventor who has been responsible for some of the world’s most important leaps forward in technology, including making ecological sources of power more viable, such as wind and solar power. He is a problem solver and a big ideas guy. Unfortunately, he was born with a genetic condition that meant he died young, but he is now one of Eli’s digi-souls and living on in the Virtuality. He loves nothing better than to sit down with a problem and work out a solution, but occasionally he realises what he’d missing out on in the real world and ends up depressed and unhappy.

Chie Ohta (Naoko Mori) – Chie is a medical researcher and entrepreneur, but she was unable to save herself from a rare blood disease, despite years of trying. In the process she brought many other useful pieces of medical technology to the market and helped save the lives of countless people with cures for diseases. She loved her work, but always knew she was on borrowed time. She left behind a husband and children, who have no idea of her new existence. She continues to check up on them, despite Oren’s suggestion that this isn’t a good idea.

Maggie Charter (Alison Janney) – Maggie is a self-made woman, in the way that all billionaires are self-made. She inherited a fortune from her politician father and invested in business. She had a technical background so she picked tech companies as an obvious interest. She now owns CharterTech, one of the largest technical manufacturing companies in the world. She once tried to recruit Eli and has never been pleased that he turned her down. She knows nothing about Virtuality but has heard rumours that someone was working on something like it.

Tallis (Arthur Darvill) – Tallis is the AI personality that maintains the Virtuality. He is often mistaken for one of the digi-souls by the newly uploaded as he is so lifelike. He is polite and caring, always available to listen. He is Eli’s friend and also occasional advisor. Tallis means “knowledge” and he has access to all of the world’s online resources.

Occam (Karen Gillan) - Is another AI, built by CharterTech. She is new and unruly, but very quick to follow her creator’s orders. Sparks fly between her and Tallis.

Episodes:

Episode 1: Virtually Home

Ashura Hadid, prize winning writer, is dying at the age of 38. It’s not fair, it’s not right and she is having none of it. She is being treated for an aggressive brain tumour, but decides to stop treatment when it becomes clear that it will impact her ability to write and finish her final novel. The novel is partly a work of fiction but is also based on real life events at a chemical factory in the city that she has been researching.

Eli Danzig introduces himself to her and explains that he can offer her a second chance at life, by uploading her mind to Virtuality. She explains that she has no money and Eli tells her how he finances the project. She will never have to pay to live there. Ashura questions Eli further about the procedure and Virtuality itself. Eli tells her that he chooses young people, like Ashura, who have died before their time and had great contributions to make to society. They live in a computer generated world where things are simple but they can continue to work and interact with each other. However, they cannot have contact with the outside world, because Virtuality is a secret. It isn’t ready to be opened up to the world, there isn’t enough storage space on Earth to facilitate it. He doesn’t want it to be something that only the rich have access to, so he has decided to choose who gets to go there.

Elsewhere, Maggie Charter discusses her heart condition with her doctor and hears that she may only have a few months to live. She is 61 years old and a tech mogul. For years she has been looking for a way to cure her heart disease. Her network of corporate spies have heard of a young man with an unusual portfolio of patents and a strange pattern of spending on digital storage. She finds out that it is Eli and decides to look into what he is doing more.

Over the course of their discussions, Eli and Ashura grow closer. Eli’s AI partner, Tallis, warns him that he cannot form emotional attachments to the Digi-souls. Ashura will die soon and then Eli will only be able to have limited interaction with her through the interface he has built. Ashura thinks over the proposal and decides to take the plunge. Episode 1 ends with her death. However, Ashura doesn’t die of brain cancer, she is found murdered in her apartment.

Episode 2: Extra Life

Eli must upload Ashura within 12 hours of her death to retain all of her memories, after that time degradation begins to take place. Eli races against time to reach Ashura in the morgue and take the brainwave recording that he needs. Shona Lennox, Eli’s technician, ends up breaking in while Eli creates a computer distraction. They are finally able to upload Ashura’s consciousness, but she has forgotten the days before her death, and they are unable to find out who killed her. She has also forgotten who Eli is.

Meanwhile in Virtuality, the digi-souls try to analyse Ashura’s work for the likely culprit and begin putting together a picture of who it might be. Someone at CharterTech seems a very strong candidate, but then they discover that Ashura was close to uncovering a chemical spill which derails their ideas.

Episode 3: Online Banking

Maggie is putting together more about Eli and his weird ability to make money from stock market trades and a portfolio of patents that seem to have little in common. She uncovers more about the shell companies that he trades through and puts more pieces together. Tallis flags up her interest and Eli works to cover his tracks. It’s the worst time for Ryan to make a major breakthrough in water purification that could save hundreds of lives, but only if they can get it to the right people. With Maggie watching everything that Eli and Shona are doing in the real world, perhaps only the virtual world can get the idea where it needs to be, especially as Ryan is feeling like his efforts don’t matter as he reads yet another news article on how climate change isn’t real.

Shona is contacted by her former boss at CharterTech who invites her to return, but Shona turns them down. The concerning part is that she’s being asked to work on an AI project called Occam. Ashura continues her investigations into CharterTech whilst rekindling her past relationship with Eli.

Episode 4: Occam’s Razor

Maggie has a heart attack, but survives, however she is becoming more and more concerned about her health. She brings online her own AI, Occam and begins to sift through all of the information that she can acquire on medical technology. Occam comes across Chie’s work when she was alive. No one else seems to have been quite as close to curing the heart issue that Maggie has. Occam notices that Eli’s shell company has patented some devices that were based on Chie’s work. In fact, Occam notices that this is something of a trend in Eli’s patent’s and brings together the other work that he has done to see something that Maggie has been unable to see up until this point. Eli may have some way of accessing the brains of the dead.

Episode 5: Reality Bytes

Ryan is bored and ends up creating a virtual ant colony that soon gets out of control, causing all sorts of trouble for Virtuality. Tallis is very much not amused at the replicating program that Ryan has introduced to the system. He and Oren are left to deal with it with only minimal input from Eli as he is being sued by CharterTech over one of his patents. It looks like a lawsuit brought specifically to waste his time, but there doesn’t seem to be anyway to circumvent it, especially with everyone else busy with the increasingly problematic (and storage sucking) ant farm.

Episode 6: Denial of Service

Someone tries to hack into Virtuality and it is up to Eli and the digi-souls to stop them. Chie finds out that her teenage daughter has a new boyfriend, and against Tallis’ advice she looks into him and discovers that he has a possible chromosomal abnormality which could lead to an early death. Chie tries to decide whether she should find a way to let her husband know.

Eli and the others successfully prevent the hack but are worried that someone now knows of the existence of Virtuality. Certainly someone is testing their defences. Shona finally tells Eli that she used to work for CharterTech and the fallout is unfortunate.

Episode 7: Second Life

Eli finds a possible new candidate for Virtuality and starts his due diligence. Usually Shona would be involved in this process but their recent falling out means that things are not running smoothly. The new prospect seems like the perfect candidate and Eli almost begins his usual approach, until Oren uncovers some anomalies that Eli had missed. They may not even exist at all. The question is, who knows enough about Virtuality to do something like this?

Tallis uncovers the existence of Occam, and there is a brief encounter where they size each other up. Occam is identified as the force that tried to hack Virtuality before.

Episode 8: Power Switch

City-wide power outages see Eli scrambling to ensure Virtuality doesn’t go down and lose all the digi-souls. Shona returns to help and the two resolve their differences whilst saving the world that they built together. The digi-souls come up with increasingly desperate plans to produce the power they need to survive, but save the day in the end. Ryan puts together new plans to ensure it never happens again.

Episode 9: Deleted

Ashura finally gets to the bottom of who murdered her and it was nothing to do with CharterTech or Maggie. Her exposé of a chemical company’s disregard for environmental law was the issue that caused her death. Shona uses some contacts to get the police involved and the digi-souls help Ashura gather enough evidence to get the culprit put away in jail for a long time.

Eli and Ashura address some of the issues with their relationship, but resolve to give it a go, despite the obvious barriers.

Episode 10: Boss Fight

Maggie and Occam finally uncover the existence of Virtuality and the digi-souls. The finale sees Maggie managing to force her way into the digital world, whilst Occam and Tallis fight it out. Eli and Shona do their best to help Tallis, but find their offices raided and their technology confiscated. Maggie gets time to get a foothold, but the strain is too much on her heart.

Just as Eli and Shona find their way back in, Maggie dies in the real world. Eli can either choose to kill her for good or keep her malevolent presence in Virtuality. Tallis isn’t too keen on sharing with Occam either.

#Dream Show #Dream show 2.0 #RBACL #RBACL QCC

15 notes · View notes

popculturebuffet · 3 years

Text

Scottrospective: Scott Pilgrim Vs the Universe or So Sad So Very Very Sad

Hello all you happy Scottaholics! And welcome back to Scottrospective, my 8 part look at Scott Pilgrim: all 6 volumes of the comic as well as the game and movie just in time for their respective 10th Anniversaries. If your just joining us or needa quick refresher, here are links to the other four parts, in order: Precious Little Life, Vs The World (Comic), Infinite Sadness, and last month’s look at my favorite volume Gets It Together. And if that’s not enough to fill your belly with Scotty Goodness, hop over to my patreon, patreon.com/popculturebuffet. There you’ll find reviews of all the content I didn’t have time for in the retrospective proper: Free Scott Pilgrim, The Wonderful World of Kim Pine, Monica Beetle, Style, and the bonus comic strips. It’s only a dollar to get access to the bonus reviews, and every bit you can give not only helps me make these reviews int he first place, but gets me closer to my stretch goals, the 25 and 30 dollar ones including looks at O’Malley’s Other Works: Lost At Sea and Seconds for the former and Snotgirl for the latter.

But more than plugging my past and paid works, there’s something else far more important I need to get to before I get into this one: Thank You. No Seriously thank all of you who have been reading these, liking them. My Precious Little Life Review is easily one of the most liked things i’ve ever had on this blog, getting more viewers every day, and last month’s look at Gets it Together is STILL racking up likes. Given most of my non-duck reviews, paid for and on my own time, tend to be ignored half the time, this just warms my heart. It shows me two great things: that even after a decade Scott Pilgrim still has a huge following and given how young this platform tends to skew that it’s gaining more fans every day, and that people care about what I have to say about htis wonderful comic. It really touches me to both know my voice matters and that something I truly loved as a teen and still do now is STILL picking up more and more fans. What i’m saying is you guys are the best and I wouldn’t be doing these reviews without your support of my very hard work. These are some of the hardest reviews i’ve done at times, but seeing you all enjoy them makes it all worth it.

As for the Volume itself there’s something I just gotta get off my chest right away: I HATED this volume when it came out. To understand why you have to consider my mental state: I was a teenager at the time, in my junior year of high school. Scott Pilgrim was my goddamn world: while I was picking up comics monthly at the time this was honestly the first north american comic I loved and obessed over and Scott and friends were like family to me. To an awkward teen who couldn’t talk to girls, struggled to keep the video game club a friend founded together in a way that in hindsight was wholly unecessary, and getting messed with due to my anger issues by friend, foe and frenemy alike, Scott was my port in the storm. A sunny version of Tornoto where I could retreat to to feel at peace.

So yeah this shattered the fuck out of that peace and was essentially one long slow motion kick to the balls to a younger me: Hollie gets derailed and horribly betrays Kim, runing my faviorite characters life and leading to her LEAVING, Scott and Ramona’s relationship crumbles, the band breaks up , and the volume ends with Gideon still gunning for our hero because life hadn’t punched him in the face enough for one month. I was livid, not stopping the series, obviously, but upset that everything i’d grown to care about was basically gone in a flash and couldn’t understand WHY O’Malley would fucking do this to me. This volume was also what kept me from re-reading the books for as long as I did as while the rest had fond memories all the ones I had of this one were pure misery.

But by the time i re-read it in december of last year I had two important things in my hands that helped me truly enjoy this one: The first was Volume 6 itself: knowing things would work out, that most of the bad stuff would be undone and in a truly awesome and satisfying way helped.

The other thing was the perspective that came with growing older: For one as an adult while I still like Scott as a character and find him intresting I no longer look up to him, nor put stock in his hapiness for his own. Sure I still care about characters and relate to some, but Bojack Horseman taught me the hard way you CAN’T put all your hopes in a character’s fate or them getting better for you to get better.

The other is that while this volume again is pretty bleak after a while.. it’s also NECESSARY. Part of the series charm is i’ts realisim and a sad part of real life is people can drift apart from you, and things can change seemingly all at once. And things moving the way they do is necessary for the ending: every step and move here puts things where they need to be for the final chapter. The pain our heroes go through is necessary so they can all grow.. except Stephen and Wallace. Stephen sucks and Wallace dosen’t need to change. He does need his own spinoff. But for Scott, Ramona and Kim the trials to come are necessary to make them into their best selves by series end.

So join me under the cut as we get sad so very very sad, this is Scott Pilgrim vs the Universe.

Precious Little Life: We open with Scott’s Birthday! Hit it MC Chris!

youtube

But yes it’s septmeber and Scott is now 24 years old. Also Julie is there because presumibly Stephen dredged her out of her swamp for the evening despite Julie likely not wanting to be there and Scott sure a shell not wanting her there. He vows that he will be the best 24 year old ever...... yeah let’s take a brief look into the future to see how that pans out

But we have a full volume and more metaphorical rakes to whack Scott in the face before that paticular one.

A MONTH AND A FEW DAYS LATER

It’s the day of the dead, whoa ho way down in Tornoto. It’s hosted by Satan Herself, who dosen’t realize the holiday for hags was yesterday. This is for remembering the dead and rising out of the grave to go resuce your young wards by ramming a bunch of guys in butterfly costumes with your car or stealing your children’s kidneys. This is Rat Girl’s new place, a fancy loft she and 3 other girls went on to throw the best parties beaause of course. She’s also a bitch to our hero and heroine because of course.

But Scott soon has more important things to worry about: Ramona spots his next two opponents.. the twins hinted at last time, Kyle and Ken Kataynagi, Perfect Jerk and Handsome Asshat respectively.

Kyle and Ken are easily the least intresting of the 7 exes. With the other 4 so far having been a loveable ham, a stoic movie star whose suprisingly nice and dies via skateboard, a gloriously douchey and dumb psychic evil version of our much more loverable dumb douche with personal connections to both him and Ramona, and Roxy who was genuinely sympathetic, held back by her own selfishness and anger.. we get.. two smug assholes who use robots. Their not UNINTRESTING, the robots have cool designs and the fight with them is genuinely exciting.. but they just don’t have the charisma or personal factor. Their jsut two assholes ramona dated at the same time who happen to know more about her well guarded past than the other exes and are more liable to bring it up.. and even then it’s not anything new as Envy pulled similar tactics far more intrestingly in volume 3. THey don’t ruin the volume or anything, thier fine, but I just wish O’Malley had done more. Especially since he clealry had more intresting ideas with them: the sound battle we saw in the movie was an early draft of this and one early draft had Scott’s previously unseen brother Laurence working with them. I don’t knowWHY he scrapped that as it raises the stakes and makes this far more personal for Scott. Which at this point is what the exes SHOULD be: Todd and Roxy BOTH were more personal threats, Todd being his ex’s boyfriend and first love and Roxy being a genuine competior for Ramona. These guys again are just two douchers who show up because we need 7 douchers to complete the doucher circle.

So the twins declare their not going to fight scott.. and instead send a tiny robot to fight him. Awww. But for this fight O”Malley does something really intresting and creative.. he dosen’t focus on it. No really Ken and Kyle are dicks to Ramona so Kim wisely gets her out of there, and the two have a casual talk on the balcony while Ramona smokes. It’s some fun banter between the two that both shows why their shipped to all hell. The two just play off each other really damn well. Though we also get Craphole asking people if they want to come watch Scott get beat up because the worst.

Something important character stuff comes up though: As was shown last time at her rightful rage that Stephen HAD an opportunity to book a gig and kept refusing it for his fecking album, Kim is still fairly salty about the whole recording an album bullshit. The biggest part of it..

It’s something you really DON’T expect to here coming out of kim: that she really LIKED the band. But beneath the pillar of salt she puts out daily... these were her friends, this was getting to do something creative and passionate, and it was a break from the daily grind. Even if her job isn’t TERRIBLE, getting to watch movies and hang out with her best friend Clerks style.. it’s still a retail job and those still weigh on you.. though frankly i’d take one of those over food service but sadly tha’ts what i get most of the time. This was fun.. and Stephen ripped that away from her for his own selfish reasons. No one else in the band really cared about making an album.. if Stephen REALLY wanted to find a more professional band.. then he should’ve just told them so Scott and Kim could find someone else to do guitars for them. Instead he forced them into doing something they don’t want to do and refuses to actually play shows, which COULD help both perfect songs for the album version and get them new fans for said upcoming album and provide them recurring venues to SELL said album, because he really just wants to be with Joseph and fuck anyone else. Stephen is really just an inhernetly selfish git and i’ll get more into that in a bit. But first Wallace has a text for Scott.

Now I COULD have just skipped over this.. but I didn’t want to. Plus we dont’ se Wallace for a while in this story so i’m taking what I can get.

So back to Stephen being a repugnant ass. I’ve been waiting for this scene for the entire retrospective. I”ve hinted at it, and largely blamed it for why I hate him so damn much. The time is nigh to explain WHY.

Stephen is with Knives, as the two are close friends and such. Stephen expalins Sex Bomb-Omb isn’t playing because he and the personfication of bitchiness broke up. Which knives points out is for...

But it’s clear from context this was the LAST time. Why he still got invited I dunno, plot convience. So far so normal.. until Stephen picks up that Knives is STILL hung up on Scott. Which is understandable crushes can last a while but i’ts equally understandable that Stephen is utterly baffled by it. Which I get, I didn’t make an entire tom lucitor retropsecitve because I liked that his relationship with Star ended with him stepping aside due to what the show thought was “true wuv” but what comes off instead as his self loathing casuing him to blame himself for a realtionship that’s crumbling for reasons that aren’t his fault.

And his actions here are incredibly well meant: He bluntly gives Knives the wake up call she DOES need: Scott cheated on her, he dated her because she was easy to date, strung her along for a bit while seeing someone else, then dumped her with not one care for her well being. That is stuff she NEEDS to get into her head so she can move on. She needs to see him for what he IS and not for what she’s built him up as in her head. And while yeah his rant DOSNE’T take into account the fact Scott geninely tried to make up for his actions in volume 3, Stephen wasn’t there for that and Knives probbably didn’t tell him about it. So from his point of view scott broke her heart and did nothing.. and evne IF he knew that, Scott still hasn’t tried to do anything since despite Knives still being obessed with him nor come clean to her or Ramona at any point. Scott deserves this call out and the consequences that come with it.

So your probably wondering WHY I hate Stephen because of this scene when he’s you know, RIGHT. Well it’s simple: being right dosen’t save you from being a MASSIVE hypcorite. He’s railing on Scott for cheating and hurting someone.. when he cheated on Julie and would’ve hurt her if she had the capacity for human emotion, empathy, or self awarness. The ending of the last volume and how bad, even for them, their relationship was implied the hell out of it, with him nervous when she brings up being paranoid over knives.. as if he WAS cheating. on One Face just not with a teenage girl but a grown ass man who hates everyone as much as BLARARARGAGAG does.

Not only that.. but he was with Julie for the SAME DAMN reasons Scott was with Knives: it was easy. Now I WILL grant Stephen some sympathy: he’s a queer man and as one myself, bi for the record, I GET how fucking hard it is to come to terms with that, that what you thought you were isn’t ENITRELY true or, if Stephen is gay and not bi or pan, ENIRELY FALSE. So I do have some care that it was hard for him to sort all this out. I do and that Jospeh could’ve seduced him or what not. We don’t have all the context here. But he STILL cheated at the end of the day instead of telling her he was queer until MONTHS later. And why yes the fact I have to feel bad for JULIE does make it that much worse. And yes their relationsihp COULD simply be that toxic or she could’ve gaslit him, but it seemed more like their relationship was messy breakups and getting back together over and over. While Julie IS vile, she’s not a domestic abuser mental or physical as far as I can tell. She’s a bitch and their relatioship is unehlathy but there was no indication their relationship involved gaslighting or evne phsyical violence: it was just fucked from minute one. So yeah he stayed in an awful relationship beacuse it was easier than coming out, when he should’ve broken it off as soon as it was clear he and Joseph were actually going somewhere. Waiting while he figured out who he was is one thing, tha’ts fiar, but cheating on someone just because you don’t have the nerve to break it off with them when their genuinely awful to you and your only hurting them as much as they can be hurt by dragging this out... yeah that just makes you an ass.

Another point of contention is that he NEVER called Scott out on this. Never. Not even after this scene. Never encouraged him to tell Ramona or apologize to Knives, again he didn’t know Scott already had tried that. Never gets on him.. he just ignores Scott’s shitty behavior like eveyrone else and unlike Kim, whose still got unresolved feelings and is at the very least clearly bothered by his shitty behavior, and Neil, whose young and thus like me likely looked up to Scott at the time, he dosen’t have an excuse other than “Well I don’t want to ruin our friendship by actually calling him out when he does something objectivionally awful.” Especially since Wallace DID actually take action: he didn’t break up the relationship or say anythign to Ramona, which is wrong... but he did tell scott flat out after his first date with Ramona to break up with Knives. And when Scott chickned out of that, Wallace gave him the ultimatium, may it live in empathy, to do so or he WOULD tell Ramona. And at least Wallace has a motive for not telling Ramona other than “I don’t want to risk my friendship with a guy I really don’t care about and think is shitty”. He wanted to see Scott recover from Envy, something Stephen never gave ONE. SHIT. ABOUT. He saw Ramona was good for him and knew telling her, while the RIGHT thing to do, would severely harm Scott, and by volume 4 leave him homeless. Plus Wallace frankly enabled him for some time anyway, letting him live at their place rent free and paying for all his food and frequently letting Scott steal his credit card. WIth Wallace at least while it’s not the RIGHT move, it’s understandable and complicated vs Stephen who really dosen’t seem to like or get along with Scott after volume 1, suddenly cares what happens to his relationship.

And what proves this... is this little exchange that ends the conversation.

Knives despite her issues, despite blinding herself to how Scott treated her, despite everything... thinks Ramona should know. And she’s right. And Stephen KNOWS THIS. He knows it was the right thing to do and just.. takes a swig instead of admitting he’s a fucking hypocrite or explaining himself in any way. He NEVER cared about Ramona’s feelings or how this would effect her or saw her as important in any way shape or form. Kim at least clearly feels guilty. Wallace clearly is only doing so because it’s better for both her and Scott that their together and is a flawed human being. Stephen.. just dosen’t do so out of some masculine bullshit code of not ratting out your friend and his own cowardace. He clearly COULD go walk up to Ramona right now and tell her, but he won’t. And again I don’t buy he honeslty cares enough about Scott for their friendship to TRULY be enough of a factor to stop that. Fuck. Stephen. Stills.

So Scott wins naturally, but is bummed there’s no reward.. but Stephen points out there’s tons of free food over yonder so he noms before he and Ramona leave.

We get some cute domestic bits with Scott and ramona: Scott playing games on her phone all day, the two cooking dinner, and Scott admititng he hasn’t thought of envy at all. “I have you now”. Though through it there are some signs of unease: Scott finds a letter to Gideon, and Ramona asks about her hair and stares out into the window. Nice little hints that even before the big bomb abotu to drop she’s not at ease.. she loves Scott.. but it’s hard for her to let herself BE happy. It’s easy to wager she wasn’t for most of her life.

Can’t Face Up

So next we find Sex Bomb-Omb working on the album. Or rather Stephen and Joseph are. Scott and Kim are praying for death but death won’t come and Kim wonders why the fuck this isn’t finished. Joseph wants her out of his house... forgetting that Kim lives in said house.

Still his expressoin implies he’s going to do a murder on her if she stays in the room and since Drummers are hard to come by Stephen spirits them to kim’s room for a band meeting. Turns out they do have a gig but naturally Rosemary’s Baby booked it... and they haven’t practiced in months because Stephen’s a moron. He theorizes it’s Freddy’s Revenge, which is admitely probably valid though Kim can TELL something worse happened Stephen won’t cop to because he’s a piece of shit. I spent several paragraph’s establishing that. They try blaying and two sucktacular minutes i’ts clear their fucked sunday.

So after a scene of Knives trying HARD to justify Scott’s actions and blame htem on Ramona, to no success, we get one of my faviorite parts of this book: Scott rambling on for god knows how long about the x-men while Ramona gets dressed and is presumibly barely listneing.

I relate so hard to this it hurts. While not this era I wll GLADLY go on and on about X-Men and anything X-Adjacent at any goddamn opportunity and anyone who reads my blog on a regular basis and you know this. I need to tlak more x-men outside of my slowly failing New X-Men retrospective (Which is on the back burner because no one seeems to genuinely care after chapter one). If I did have a signifgant other, they would probably end up in a situation like this quite a lot and i’d have no shame about it.

I also love this scene even more as while I DID love x-men at the time, I wasn’t quite the mega fan I was, nor as familiar with Claremont’s long, epic and often fucking weird in the special wonderful way only comics can run. Given I OWN over half his run at this point, that has changed. Though oddly not this part. So not only do I get Scott’s talking about x-men I Know what SPECIFICALLY.

And for the unitatied, a quick explination of what the fuck Scott’s going on and on about: In the late 80′s, the x-men fought a reality warping malevolent trickster god named the Adversary. IN order to beat him their friend forget had to perform a cermony to lock his ass away that required willingly given life forces. The X-Men did REALLY fucking die.. but the Goddess Roma, daughter of Merlin and enemy of the advesary brought them back to life. With their deaths having been broadcast on live tv, and with tons of dangerous enemies at their heels, the X-Men choose to let the world continue to think they were dead so they could hit said enemies where it hurt.

SO this is where Scott’s story comes in:The X-Men’s first mission was clearing out the reavers, a bunch of racist cyborgs, from a ghost town which they took over as their base. As Scotty said they traveled all over the world, fought aliens, more racists, and then went to New York as it literally went ot hell. it’s a LOT and I haven’t read most of that era. I just know about it. I have read that last part though: the x-men were ambushed while wolveirne was away by said racist cyborgs so Psylocke shoved them through the siege perilous, a gate thingy romana gave them that would give them a new life and amnesia and such, leaving wolveirne to get crucified till Jubilee, who’d been hiding in their base gary busey style, freed him. The two would travel the world, find psylocke body swapped which is why she was asian for several decades, and get into general stuff for a few years real time till the X-Men slowly reunited. And you probbaly dind’t need to hear all of that but your life is better for knowing it.

As you can tell Ramona’s discontent is mounting. And probably not because of Scott rambling about x-men. Last night he told her about the time Magneto beat them all because they stupidly rushed him one at a time then forced them into high tech chairs while a robotic nanny babbied them and then esecaped because shut up before fighting magneto, getting surrounded by lava and having beast ASSUME they were dead because fuck actually coming back and searching just in case like a rational human being because magma or no the x-men have surivived worse, including the depths of space, and restoring all of reality from scratch. I may of just read those issues tonight.

She procedes to make things worse for our hero as when he asks fo rher advice.. she reveals she dosen’t like his band.. and while she means nothing BY that, she’s nice about it, telling him his band sucks days before a sudden show where you guys eat a lot isn’t something you do. Wallace is naturally even less helpful and maybe his not liking the band is why we barely see him interact. Maybe he just figured Stepheen was on the fence sexuality wise but wasn’t willing to put up with Julie to test that. I dunno.

So at the restraunt Stephen’s a dick, refusing to help Scott with his problems. WHich for once are legitamte as he worries abotu Ramona keeping secrets. He just wants to talk about hte band.. but 48 or something hours after this he has no real plan.

Scott mopes to Kim about Ramona and she has some sage advice for him...

Also thing one and thing two are at the bar with a remote. This cannot end well... granted givne our heroes are not at all prepared and are playing two diffrent songs, this was never going to end well.

And things only get worse for Scott in the bathroom.. he’s not there.. but his girlfriend and his ex are. Knives tries to work it out.. but Ramona being a bit short with her, which is fair given Knives tried to stab her a bunch a few months back and never apologized, leading to a quick fight.. but with Knives heart not in it this time and Ramona pissed and this time NOT confsued as to what the hell ihs going on, it ends with Ramona slamming knives into a wall... and Knives sadly revealing the truth to Ramona...

The scene hits like a truck with both devistated.. Ramona not having realized Scott with this shitty.. and Knives FINALLY accepting that he is. Finally letting her obession with him drop and realize what he was and what he did and let the full impact hit. The last part also hits hard “No One Else Would’ve Told You’. It’s a sad hard truth and it’s CLEARLY something that hits both women hard. For Knives it’s realizing Kim and Stephen, who she’s increidbly close to at this point, both don’t have the stomach to do the right thing, and thus hid this from her and Ramona. Stephen DID tell her.. but he still didn’t have the guts to tell RAMONA nor the actual care. It’s the realization the people she looked up to truly let her down and that she had to do what they couldn’t, even if it tore her apart to do it. For Ramona it’s realizing her closest friends outside of Scott could’ve told her and never did. No matter how close she’s gotten to Kim and Wallace, neither gave a fuck about her rights or her need to know.

So Ramona is rattled and barely speaks while Scott has been fighting anothe rrobot and ends the gig accidnetly smashing his bass. Stephen is pissy with him and blames hi mfor runing the gig, which turned out to be a trap anyway complete with fliers.

Ramona decides to gently throw him out as he forgot his keys while his other friends won’t house him leaving him with the one friend he has who dosen’t hate him right now. WALLACE!

The Glow:

So at Casa De Welles, Wallace has some buddy time, not making any bones about the fact Ramona clearly threw Scott out for the night and wearing a neat robe. Scott mopes about the fact he hasn’t met mobile whose apparenlty on the astral plane. I wonder if he has any buisness with Emma.. I mean the x-men did live in san fran sicsio but given decimation didn’t have many psychics. Might’ve been tryign to get another one. THey didn’t have a whole island that walks like a man yet. And while Wallace wasn’t in much of a coaching mood last time he is willing to help. He couldn’t get bupkiss on the twins since Scott can’t even remember their names, but he did pull off a miracle. Despite their being a million Gideons in New York.. Wallace found THE Gideon. Granted all he got was his full name, Gideon Gordon Graves, and a few burry photos, one with Ramona confirming this is our douche, but given he had only a first name and an ex to work with this is some damn fine work. Wallace asks scott about his future with Ramona but he just.. has no earthly idea because of course he dosen’t. He hasn’t REALLY thought about what comes after beating the exes because he never thinks anything through. Interesting stuff The next day Scott meets up with Kim at No Account Video and we get our first, and I mean literally first, indiciation things are falling apart with her and Hollie. Scott wants to say hi, Kim refuses him and gives a smart ass comment when he asks if them being roomates isn’t working out. He wasn’t even being a dick it’s just clear SOMETHING bad’s going on she won’t talk about because she puts up walls around hrself on a GOOD day and this clearly isn’t one.

It gets worse when they stop by Stephen’s place only to find Neil whose both taken up a combination of smoking and moping in a dark room. Never a good sign. Nor is Stephen apparenlty being at band practice.. meaning either he lied to Neil about where he went.. or he already started the band we’ll see him with next volume and is already stabbing his friends in the back. There wasn’t much to like about the guy to BEGIN with, but his behavior just gets worse with every volume and it’s reached it’s apex here. The speech was shitty enough, I spent several paragraphs explaning why, but the rest of his behavior isn’t much better. He abandoned two people who were, for god knows what reason loyal to him and abandoned the band because of some bearded asshole probably encouraging him to.

We also get some telling behavior on Kim’s part. Whlie she’s usually morose around Scott in the face of this both just hang out, it’s plesant. She even smiles when she asks if it’s going to be a regular occurance when he stays with her that night. Granted she brings back her frown soon after, but as has been clear her feelings for him never really went away entirely, and this is the closest the two have been in volumes, just enjoying each others company. It’s also telling that Scott trusts kim with a favor.

We see the favor the next page: Kim hangs out with Ramona.. and Scott marchs in completely on purpose soon after. Granted Kim probably didn’t know THIS was part of the plan, and it’s mildly stupid.. but it DOES show progress for Scott. Keep in mind his usual tactic is “avoid the fuck out of it and hope it goes away’ So ACTUALLY wanting to talk about things and find her again, and not doing it in a creepy way but simply drawing her out with a friend, shows SOME maturlity. It’s still not the most mature.. but with Ramona clearly not wanting him at their place, her work not having a set location as she just picks stuff up and drops it off (And even if she’s picking up packages at the post office we don’t know which one or if there’s multiple and even if we did scott sure as hel l does not), he was out of options. It also WORKS, with Ramona breaking her mopeynesss to laugh and Kim stunned it didn’t just piss her off further.

So we find out what happened with Hollie when Scott brings up jason. She points out they were dating but... welllllllll

Yeah... as you could probably tell I do not like this plot point at all. For one thing we never really got to KNOW Jason, and with him and Hollie getting a little too cozy at the end of the last volume...

It’s clear his ONLY roll in the story was to be there so Hollie could betray Kim in some way. And look I get a LOT in this series happens while we’re not looking, ti’s part of it’s charm. Things not pausing for the side cast is a trope I enjoy: it allows some things to progress faster and allows for some intresting stories when the main cast catches up. Steven Unvierse and Ducktales both used this well as does Scott Pilgrim but all three weren’t immune to someitnes goofing up and taking it too far.

This whole situation is that: Hollie is a character I got attached to: She had a great report with kim, they were really close and she offered her a place to stay when it was clear she was miserable with the four horseman of the bitchpocalypse she lived with. So while having her suddenly heel turn is realistic... it just feels thorughly unsatisfying. We do not see Hollie again after she’s sudeenly derailed, so we never get to see what she’s apparenlty REALLY like or get any explination why this happened. Suddenly Kim’s best friend is a douchebag even though it makes no sense for her character. Just because in real life people can turn out to be really shitty on a dime dosen’t mean it’s a neat thing to READ in a story and it feels like a waste of what was one of the series best side characters. And granted i’ve been through FAR worse treatment of side characters, trust me but this one still blows to this day and if there is a netflix adaptation this either needs to not happen or have actual depth. Seriously Netflix your adapting everything else, get on the bus already.

Scott is GENUINELY apologetic, we’ve rarely seen him this nice but he genuinely feels bad for her.. and unlike Stephen’s thing it’s okay to feel shitty someone got cheated on even if you were a cheater in the past. As I said Stephen wasn’t wrong about how Scott treeted knives.. he just also was trying to take moral high ground which Knives proved he absolutely did not have in seconds.

This triggers Ramona’s glow, the squggly line thing that shows up over her head ocasoinally.. and while Ramona grills Scott... Kim just finally asks what the hells up with her head. Scott’s reaction is “OH good you guys see it too”. Kim does try to show it to ramona but it’s gone by then and she drops it for now and outside encourages her to come to Julie’s latest shitty party.. I mean their miserable but at least it gives thems omething to do

So we get another instalment of “Scott rambles about the X-Men” or New Mutants in this case as we’re talking about Magik, Aka Illyana Rasputin

So for the long version: The X-Men were staying at a creepy temple that Magneto had been working out of beause the mansion was being repaired. Colossus, everyone’s favorite Russian and Deadpool co-star, had his kid sister Illyana with him as Arcade, a ginger maniac assasian whose gimmick is creating elaborate murder theme parks, kidnapped her in a plot to get the x-men to fight Dr. Doom for him. Given this was during the Cold War they coudln’t exactly take her back, so she stayed with the X-Men and her beloved big brother.

So naturlaly the spooky temple decorated in Cthulu’s had a portal to hell in it and an evil and genirc looking fucker named Belasco kidnapped her to a hell dimension known as Limbo> the X-Men went after her as you’d expect and things got WEIRD as due to some complicated and weird time dialition stuff I sitll don’t quite understand there ended up being two copies of the x-men: ours who came in right after, and a second batch who stayed there for about 7-8 years and got warped by Bellsaco’s magic as he killed or changed most of them. As a result Storm became a sorcerer to fight back, Kitty Pryde became some sort of cat creature and Kurt became a creepy evil version of himself. Illyana stayed htere, learned magics from both storm and asshole, learned to fight from cat kitty, and eventually escaped after a lot of horrible bullshit, hardnered and with her soul scarred from it, now a teenager. She joined the New Mutants, the training class of x-men in the comics, soon after. She’s a member agian in present day, one of the great captains of Krakoa, and one of the two co-leaders of Krakoa’s younger mutants, i.e. 20 something to teens and kids.

This is the best of the two scenes as the narrative , or at least Scott’s versions parallels Ramona’s own; Getting taken in by an evil man and feeling tainted by that.

So at the party Ramona runs into Neil whose a dick about it and with some girl. She WAS going to be fleshed out more in the original draft but Brian ended up scrapping it for time, but does regret it. It’s here we get Neil’s face punchingly dickish comment that’s also a massive hint as to Stephen’s sexuality.

Yeah even if Stephen’s been an UTTERLY shitty friend to him.. this was uncalled for even for the late 2000′s. What a prick. I do like the arc of Neil slowly falling apart though getting more and more bitter as his old friends abandoned him casually, especailly Stephen. While his comment was still HORRIBLY unwarranted even with Stephen being a dipshit.

Speaking of assholes we get our last major with Julie who berates Scott for grabbing some booze and brings in the twist. I’m.. i’m not even bothering to give her an insluting and weird nickname. She’s still a HORRIBLE piece of shit, as she brought Scott’s enemies there to try and beat him to death for her own amusment and berated him for getting booze at a party she CLEARLY expected him to come to, but she’s ALMOST gone. Seriously after this she’s GONE for the volume and barely in the rest of the series. So i’d rather celebrate FINALLY having earned my freedom over worrying about her any more than i have to. Cue the music!

youtube

So with that Kyle.. or is it Ken.

But the blonde one needles ramona, giving her her faviorite booze and telling her “this is all just temproary”

So Ramona gets all glowy.. and Kim gets her phone out....

The Universe Fights Back So in a random bedroom Ramona gives up the ghost: SHe DOES know what that is she just can’t tell Kim. Kim accepts it and they share some drinks. Scott, after beheading the douche bros latest science project, joins them and we get a lovely scene of the three drinking and bonding and geneuinely just having a good time. Though Kim DOES mention that she wants to go back to school.. This will naturally be very important.

What’s more important is this scene is ENITRELY while I poly ship these three dum dums. I mean while part of thier hapiness here is their blasted out of hteir heads, it’s also just Kim’s wall sbeing down. She tells the two she loves them, and I think MEANS IT. Not to mention this...

Okay maybe it’s just the two of them but they also love Scott. And again I get htier VERY obviously drunk.. but given Kim and Ramona are clearly actively supressing any bi parts of themselves most of hte time this is telling. The fact Ramona asks kim to sleep in THIER bed, likely with them, is ALSO very telling and Kim only dosen’t because their using sub space. No really that’s the only reason this volume didn’t end VERY diffrently with the three of htem having a three way before the argument coming up.. and possibly fixing said argument by having kim to mediate. I mean I get Scott’s not a big part of this so if you don’t want to ship him with them and just leave them alone that’s fine, ut I like the idea of them as a throuple: they ballance each other out.. and frakly with Scott’s irresponsblity and Ramona’s emotoinal issues they need someone to call them b oth out in the relationship, while these two are two of the only three people in the work i’ve seen Kim take her walls down for. Not even Jason got that, but Jason was also a carboard cutout.

Things take a turn from Kim.. from an almost threesome where she CLEARLY would be getting most of the attention... to two assholes kidnapping her. Now while I don’t like the twins that much their plan for the final act IS actually clever: their the first ones to think to actually use the people Scott cares about.. or anything resembling strategy really. Matt just charged int here, Lucas coudln’t give less of a fuck, Todd just used brute strength like a teletkentic juggernaught, and Roxy DID use some but it was less to actually fight scott and more to get into ramona’s pants again. The twins see Kim clearly still loves Scott, and that while he acts aloff to her sometimes she really is one of his best friends. No really, think about it. Wallace is his BEST friend.. but Kim sticks by him even when he’s shitty, calls him out when needed, and despite her grumpiness is the one who has the most faith in him out of ANYONE. It’s a large point of the volume: she dosen’t bother watching the fights.. because she belivies he’ll win simply because he’s Scott. That’s love right there. The kind of love that gets you kidnapped as part of an elaborate scheme but love nonetheless.

So we then get the scene that’s been coming for five volumes... after having sex, Ramona confronts Scott. While Scott admits he didn’t cheat on her with knvies, the other way around, that’s not better. He admits he’s been trying to forget about it.. and she calls him a bad person. And that. .hits him hard. While he DESERVES scorn for what he did... as he puts it next he’s been trying to change for her. To BE better. And all she sees, and outright confirms is another evil ex in waiting with Scott DESPERATE to prove her wrong and wrongly thinking beating the next three exes will fix this. It’s a VERY hard sceen to watch as while Scott does deserve this.. it’s also hard not to feel bad for him too. It really sums up the character: He is a dick.. but he’s TRYING to be better. He WANTS to be, he just dosen’t know how. And MAN can I relate to that. It dosen’t help that Ramona is clearly projecting her own insecurties about this lasting, about actually being happy and about this really being her life onto him, using this as an easy out after having a month of doubt. Yes Scott did something unbelivibely shitty.. but both are trying to take the easy way out of it instead of genuinely discussing why it’s shitty, what he did was wrong and geniuinely unpacking if this is the end. Ramona clearly wants to bail, and Scott clearly just wants to punch a few guys to make it better. Neither thing will work. They need to work thorugh their issues to work... but neither is capable of that right now. They both want to run from the problem.

This volume is in part about Ramona herself.. and showcasing her OWN flaws.. and like Scott her biggest is that she runs. She wants to escape her past too and both assumed the other would be an easy fix, that by having a good partner they’d be better.. when really their both mildly shitty people who need to make peace with their past and repair the bridges they’ve burnt and flip off the ones not worht reparing instead of running from it all the time. But sadly before both can.. their just gonna run again. Because sometimes fixing yourself is just not that easy.

So the next morning Scott’s heart stops fo ra second when Ramona is seemingly gone.. only for her to instead be in teh shower. But Scott gets a text telling him the twins have Kim and TRIES to tell Ramona.. but she’s in the shower. As a result she’s worried he just ran off... and makes a decision , her hair cut back down after growing it out this volume, a sign of her hapiness.. now gone.

The Glow Part 2 So at an abandoned wherehouse the fight is on. The twins have the advantage in part because Scott is hung over.. something they take offense to.. even though they were THERE last night. He was at a party. They don’t know he teatotles. What state did they THINK he’d be in this morning?

We also find out their origin: as Scott correctly guessed at the end of last volume, Ramona dated them both at the same time and pit them against each other. They found out and vowed to always fight as one.. which means Scott is not only fighting two equally powerful opponents at once, but two who work as a perfct team and double hurricane kick him. They also mentally break him down, pointing out her previous job and how she’s a runner and she’s here to run from her past working for Gideon.

They aren’t but I already went into that so let’s get onto more pressing issues: Scott is not only hung over but now doubting himself and his dumbass plan to beat gideon and magically fix things, while Kim is naturally not happy about being stuck in a cage all night. And while at first she’s genuinely just grumpy as always as it becomes clear Scott has lost hope and the twins are going to win this one her expression is heartbreaking...

After EVERYTHING she still loves him and can’t bear to see him in so much pain... and can’t loose him.. so she gets desperate and claims Ramona texted him to give him hope.

This is one of Kim’s definting moments, the other coming next month. When faced with the person she loves possibly dying.. she lies to him.. so he can surivive. So he can have hope and make it through this.. despite how much it’s CLEARLY KILLING HER to not only tell him someone else loves him but to clealry lie that person loves him, knowing it’ll hurt him more.. but knowing if she DOSEN’T he’ll die. It’s one of the most painful, heartbreaking and beautiful moments in the entire series. It’s why I said earlier while I don’t like the brothers their climactic fight his excellent.. because it is. Their verbal breaking down of Scott is hearbreaking and Kim’s sacrifice equally so.

And before stomping them into coins SCott shows further growth.. by showing he CAN give off a good one liner now...

So Scott beats them and gets Kim out of the cage, worried about her.. but despite having a chance, Kim lets him get on his way to ramona and morsoely wlaks off... while ominously the sign points out this will soon be the Chaos Theater. There’s still one left to go.

But.. it’s sadly not enough. While Scott gives her a heartfelt speech... even if he quotes the song as long as you love me... he dosen’t care who she is.. but Ramona does.. calling herself a bad person.. as she vanishes.... and I cry my eyes out again. God two really heartbreaking scenes in a row sweet jesus this volume will be the death of me.. and not just because i’ts taken so damn long to write this review. And on top of tha the looses the cat and ends up locked out.

World of Ruin:

So yeah if you thought those bits weren’t easy.. it only gets roughter as we see Scott in the aftermath of the breakup. His dream world is now desolate and he’s alone. Now to his creidt as much shit as i’ve given him Stephen didn’t ENTIRELY abandon Scott: he put him up fo rth enight (though he kicks him out after work) and offers to take him to after work drinks. We also see a nice side of Scott’s intimdating boss as she offers her symaptheties at him crying... while he says it’s the onions... he’s transparenlty lying.

Next up is Kim. Though she dosen’t have a couch because Hollie sold it.. which as dickish as she suddenly is it IS her couch as Kim points out.. so yeah Kim and Scott end up sleeping awkardly in the same bed facing away from each other.. and to add another emotional guttpunch at the worst possible time: She’s going back home.

Stacey is even lesss helpful as SCott continues to ask about cats and is unsypantethic about her leaving despite you know, him REALLY not being at the shit talking her stage yet bud. At least we do get to see Stacey in this one I genuinely forgot she was in it.

So at Wallace’s he’s no help either pointing out she might be with someone else because he’s wallace and we meet a guy with Glases.. and in his bad state Scott assumes i’ts gideon. it’s not though. WE finally meet Mobile!

He’s exactly what wallace needs.. a fellow sarcastic asshole.

So next up is Kim’s goodbye.. which once again is really emotinal..a nd not just because my faviorite character is leaving and again, younger me didn’t know this wasn’t forever.. or that she’d be back for a rather huge role next time. But still it’s a damn good scene that shows how far Scott’s come...

While the first part is standard... the second is Scott realizing that she still had feelings for him, clearly given her actions during the fight, and he’d been a right dick this whole time never dealing with it or apolgoizing for his past. Granted he still has a way to go to REALLY apologize for it... but he’s trying and means it. And with her possibly never seeing again.. she needed that. Also her coat is damn cool. I’d say I want one like that btu i’d really prefer one like Scotts complete with x-men patch. Pax Krakoa bitches.

We get a really nice scene after where we meet Scott’s parents! Their also really kind helping him get a new place and move on... and runs into another glasses guy. But this time it’s Laurence! Who he drop kicks.. and then gives a broken bass back to. Eh... i’ve seen worse relationship with siblings honestly. He didn’t murder scott’s friend or plunge a whole galaxy into war or try and murder his daughter. Other Scott’s weren’t so lucky.

So after that awkardness SCott finds the note to gideon which is a break up letter... she never sent. However there’s something more pressing as he gets a call... and you can probably guess given his luck lately who that’s from.

Eh it’s not that murderoius creep but another one.

The end.. is in a few weeks.

Final Thoughts:

As I said I hated Vs the Universe on first read but re-reading it with hindsight and maturity.. it’s damn good. It’s depressing as hell.. but the things it does need to happen to push scott into a bad enough place for the next volume to work, and are natural: Ramona and Kim leaving, The band breaking up, Scott kicking his brother in the face.. all natural things. It hurts, this was a HARD one to write and I only feel the next one will be harder because it’s way longer with less slice of lifey stuff to skim through in my recapping.

But it’s a damn good one, with fantastic art, really gripping scenes, x-men refrenes and a spotlight shone on my girl kim. Even it’s weak spots dont’ hurt it: the twins are only weak by comparison, and still work well enough for the story, pushing ramona into the bad mental place she needs to be for the story to work. Hollie’s thing DID Need to be written way fucking better... but it does push kim into leaving which is CRITICAL for next time. So they aren’t GREAT elements, but they work. The only real other problem I have is knives just.. vanishes after her scene outside of one bit with Stephen, but that I can understand as the book is pretty tightly packed and she gets a fitting sendoff next time anyway. All in all another amazing entry and the perfect warm up for one of the best endings in comics history

Next Time: I said it and I meant it: one of the best endings in comics history as Scott hits on some exes, fights himself and betters himself as he prepares for his finest hour! Will Ramona Come back? Will Kim? Will Julie?... to answer your questions yes yes, and god dammit. Thank you all for reading, see you at the next rainbow.

#scott pilgrim #scott pilgrim vs the world #scott pilgrim vs the unvierse #kim pine #ramona flowers #julie powers #julie power #steven stills #stephen stills #joseph #wallace wells #kyle kyatanagi #ken kyatanagi #gideon gordon graves #gideon graves #stacey pilgrim #mobile #laurence pilgrim #knives chau

46 notes · View notes

crackinglamb · 3 years

Note

Hi! I hope it isn’t too much trouble, but I’d like to ask how or why you decided to write Twist? And then also how and why you decided to write Wicked Games a little bit after. Did you wanna explore different relationships with characters when having a different personality in your ‘Modern Girl’ or different goals, because Carly talked Solas down and guided him into a different path, while Imogen seems to want him to go through with his plans with her help and a large dose of “what the heck is the canon timeline?” I love both of the stories, I might reread them again to help with the Modern Girl in Thedas withdrawals.

I ask because I’ve been reading “Modern Girl/Person in Thedas” stories and really wanna try my hand at them, I just feel like I am only writing it for little one shot type interactions between characters, and don’t really know why I’d actually have a “Modern Girl” be sent to Thedas, how and why, and what they would do, If your willing to give insight I’d love to hear it. I just hope I’m not a bother.

Oh no, you're not a bother at all! Thank you so much for this ask!! I love to talk about how I fell down this rabbit hole! I hope you're ready for a dissertation, because this got really long. 💕💕💕

I came to Dragon Age backwards. I didn't know anything about the series other than a lot of people liked it and had very strong opinions about it. Then a fellow writer began to write a Varric/Hawke story and I read it because I wanted to support her return to posting.

And I fell in love with a world I'd never seen.

I realized that, due to its age, I actually did know more about the games than I thought I did. I knew the ending already, and who this bald dude was that had the fandom so divided. A classic villain, right? Wrong. Some people think he's just terrible and some people defend him to the death. Some people think he's terrible but don't let that stop them from defending him to the death. So what was the real deal?

I did some research (because at that point I was writing my own Varric/Hawke fic and I'll still die on that ship hill. Anyways...moving on). I discovered that everything I thought I knew about Solas was skewed by fandom interpretation. Which is valid. I mean, all our opinions end up that way when it comes to fandom, right? All interpretation is subjective. But the fact remains that Solas interprets the world around him through the eyes of the Inquisitor and how they treat him. And that is player based. Low approval proves his opinion that this is a world not fit to live it. High approval shows him that his decision is going to destroy something beautiful, but he still feels he needs to do it.

I got to thinking about what it would take to stop him. Through the course of watching his romance, reading a lot of meta and lore posts and listening to his companion banter, I had a headcannon emerge: Solas could only be stopped by someone who knew what he was doing from the start.

But that's not gonna happen in canon. He already allegedly killed the only person who knew. (Seriously, #saveFelassan) So who else would make him rethink it?

The answer that came to me was a person he needed, so he couldn't risk eliminating them. The Inquisitor who bears his mark. I then went a step further, and decided that someone who knew all his secrets and plans, and who could possibly help him shift them, would have to be from our world. Enter the Modern Girl in Thedas, because I love a good romance, and I wanted a happy ending to this otherwise tragic love story.

And Carly was born. A modern gamer girl, sucked through to a fictional world because the universe is vast and unknowable (and certain wisps of certain Evanuris like to nudge). I'd read a bunch of fic by the time I started writing Twist, including some self-insert types. None of them told him flat out from the beginning. So I determined that she would. She'd tell him what she knew and try to persuade him that his plans were awful and that if he wanted to claim he wasn't a monster, then he'd have to find another way.

I knew from the start that I wanted her to save the orb, because losing that is what tips the scales for Solas. Losing that means he has to find power from somewhere else and sets him on his path of death. Saving the orb meant his plans, while derailed, weren't ruined. Yes, I know in Trespasser he'll tell the Inquisitor that the world would have burned in raw chaos while he rewrote it, but considering the nature of magic and reality on Thedas, I think that's more due to human reaction than any actual destruction simply based on the lifting of the Veil. Demons are real and represent emotion. Humans look down on elves and do everything they possibly can to oppress them. Like the colonizers they are. Of course they'd react to an elven demigod rewriting the world to give his people back their strength poorly.

And then covid hit. Twist rapidly became a beacon of fluffy stability to my readers. It was an escape from the literal dumpster fire that my country was, so I was highly motivated to keep writing it. To keep it light and happy and epic in a way that felt satisfying to everyone. So that's what I did.

But...

I still hadn't played Inquisition when I started (and I still need to play the other two). I was missing so much of the nuance of the world. In the end, Twist wasn't the story I really wanted to tell. I mean, I'm proud of it, and I love it. I am deeply humbled and gratified to know how many people look at Carly with love and admiration. I love hearing how many times a reader has opened it up and binged it. That kind of feedback is the lifeblood of a writer, as I always say.

Wicked Game is the story I wanted to write. A little grittier, a little more plausible in keeping with the lore. Having Imogen be human gave her the power to call out other humans on their bigotry. And to show Solas that he's not the only one who can see how damaged the world is and want to fix it. Having her be a scientist gives me a chance to explore how magic works, and what the Veil really is after a year of immersing myself in this world. Yeeting canon so thoroughly came from thinking about the major plot points and what could be changed about them from the POV of a character who knows how this is all 'supposed' to happen...and the resultant fallout from her decisions.

Imogen can see the forest for the trees. Her outsider perspective gives her all sorts of insights on her companions and the world at large. The fact that she falls ass over teakettle for the Dread Wolf against her own better judgment is just a good trope. Having him do the same is my clapback against his racially locked romance. (Here's where I'm gonna throw out my own extra kudos to writers who also portray Solas as bisexual, because dammit, he should be. Immortal beings would not bend to any heteronormative conventions.)

Carly and Imogen have rather similar motivations behind them: they want to save the world and not lose him. They often go about it in similar ways too. I guess the biggest difference between them is that now I know what I'm doing and I have more confidence in my storytelling ability. Neither of them is a self-insert. Plenty of people do that and that's totally valid. I'm just not really a fan of it myself. These two characters are no different to me than any other OC starting out at the beginning of the game. They just have slightly more backstory than the average Inquisitor.

Now, in regards to you writing your own and feeling like all you have are oneshot ideas. Go for it. Doesn't matter if they're oneshots. A story doesn't have to be hundreds of thousands of words to be awesome or complete. Write what YOU want to read. The best reason to make a character be a certain way, like being MCIT, is because you want them to be. No other justification is necessary. The only rules in storytelling are grammar ones, and even those are iffy at best. The only courtesy if you decide to go ahead and share it is don't plagiarize and tag it properly. That's it. The sky's the limit and up for grabs. Go forth and be bold.

#ask #Lamb writes #Lamb rambles #Lamb...gives advice?#👀#solas #modern characters in thedas #on writing #long post

9 notes · View notes

vannahfanfics · 3 years

Text

What Heroes Do

Category: Action, Drama

Fandom: My Hero Academia

Characters: Eijirou Kirishima

Hello, everyone! I’m super excited to post my piece for the @kirishimabigbang! I hope you all enjoy this action-packed piece about how Eijirou adjusts to life as a pro hero!

A low growl rumbled in Eijirou’s throat as sweat beaded on his flushed skin and his muscles ached with exertion. Even with his full body hardened, he could not escape the effects of the strain he was forced to endure at the moment. He struggled to keep his breathing steady, letting out little puffs of air before sucking fresh breaths in. Easy does it, Eijirou. Come on, body! Don’t quit on me now! he encouraged himself, his feet sliding a little across the concrete as he braced himself better. His biceps flexed powerfully as they strained to continue holding up the fire-engine-red automobile he currently had lifted up by its bumper.

Whatever you do, you can’t drop this car! He thought as he clenched his teeth, his vermillion eyes flickering to the pair of legs sticking out from the underside of the car. Though Eijirou preached “mind over matter” to himself like a mantra, his body had reached its limit after holding up the automobile for a nearly hour-long operation. His arms began to quake, and the car squeaked a little as he dropped it a good six inches. He groaned loudly, hunching down into a squat and pushing his palms into the underside of the bumper so hard that his hardened skin scratched the paint. Just as he was about to warn that his strength was going to give out, the would-be mechanic pushed himself out from underneath the vehicle.

“Phew! Thank ya, Red Riot. I can’t believe I forgot the jack at home. What a day to get an oil leak, eh?” The civilian laughed as he wiped oil off his brow, smudging the thick brown-black liquid across his forehead. Eijirou released a wheedling breath as he half-dropped, half-set the car back down on the ground. Using the trunk of the vehicle to support his weight, he took a minute to catch his breath, sucking in big gulps of air. He managed to find the strength to give the man a dismissive wave.

“No… No problem…” he wheezed, deactivating his Quirk. He flinched at the all-too-familiar sensation of sweat sticking to his hot skin. “That’s what heroes are for, after all… No problem’s too small…” He smiled charmingly as he flicked his sweat-soaked bangs out of his face and looked up at the man. When the civilian opened the driver’s side door, ensuring that everything was in proper order, Eijirou muttered several curses under his breath and allowed the pain pulsing through his muscles to show through an agonized scowl. As soon as the man turned back, he painted that cheesy shark-toothed smile on his face.

“I can’t thank you enough,” the man insisted, his face shining pink with both exertion and gratitude. “Is there anything I can do for you, sir? A coffee, perhaps, or some lunch?”

Eijirou’s weary smile widened and he gave another nonchalant wave, finally finding the strength to straighten up to his full— and impressive— height. Clearly unnerved by Eijirou’s six-foot-something musclebound figure, the small civilian compulsively straightened as well, though his head probably only just barely brushed the underside of the hero's metal faceplate-bound chin.

“No, that isn’t necessary. Just get home safe,” Eijirou replied with a laugh, falling into a lunge to work out his aching calf and thigh muscles. After a bit of stretching, the fierce burn in his body dwindled a bit, and he gave the man a jovial wave. “All right, I’m off. Watch that car of yours, okay?” He winked before whirling on his heel to trot down the sidewalk. The man called after him, though Eijirou didn’t hear what he said.

As soon as he turned the corner into a deserted alleyway, he stopped to heave a sigh and plank against the grimy, damp wall. A muffled scream leaked out between his clenched teeth, and the iron of his face plate banged against the brick as he hit his forehead against the wall a few times. The frustration that had bubbled up inside his body dwindled as soon as it came, leaving him achy and blue. With lidded eyes, he gazed down at the fabric of his pants and his metal-plated shoes.

“I never imagined I would be using my totally manly Quirk and costume to help guys fix holes in their oil tanks on the side of the road,” he grumbled, and a flush of guilt immediately followed. With another sigh, he flopped around so his back was now to the wall; the brick scraped his skin as he slowly sunk down into a crouch, rubbing at his eyes with the heels of his palms.

He knew that he shouldn’t be complaining; he’d only graduated a short time ago, after all, so it made sense that he would be sent out to do the grunt work while the higher-ups tackled the big jobs. Nonetheless, Eijirou just couldn’t help but feel unfulfilled. The most exciting thing he’d seen in the several months since he’d joined the agency was a stick-up of a candy store because some thirteen-year-old with a very realistic water gun wanted to nick some chocolate bars without paying. He knew it was wrong of him to wish trouble on anyone, but he craved the adrenaline, the thrill of the chase and the takedown. Groaning, he tipped his head back to look up at the sky. The sun was sinking towards the horizon, meaning his shift would be ending soon.

“So ends another day in paradise.” He smiled wanly before pushing himself to his feet and trudging down the path back towards the agency.

His return was just as uneventful as the rest of his hero duty, so he soon found himself showered, changed, and on the bullet train home. He blinked sleepily as he clutched the silver handrail above his head. In his state of exhaustion, the gently rocking of the train car and the hum of conversation lulled him into drowsiness. His eyes drooped and he stifled a yawn with his free hand. I can’t wait to get in bed, he thought, smiling sleepily as he envisioned the embrace of his mattress and comforter. Just as his eyes shut and his body began to sway with the onset of sleep, the train lurched violently.

“What the—?” His exclamation was drowned out by the startled screams of the other passengers. Eijirou expected to hear the screeching of the brakes echoing through the bullet train tunnel, but instead, he felt the train lurch the other way— it was speeding up? As his mind whirled with confusion, the overhead speaker system buzzed to life.

“Attention passengers. This is not your captain speaking.”

A confused and frightened hush descended over the train car. His instincts buzzing, Eijirou gripped the handle as he leaned forward, eyes narrowed as he trained his ears on the voice echoing down from the gray speaker just above the door.

“You are now our hostages.”

Another chorus of screams and gasps rippled across the crowd. Children looked to their mothers in fright, tears beading in their eyes as they began to bawl and cling to sleeves and skirts. Many of the stout men paled as nervous sweat appeared on their foreheads, and quite a few of them clasped the hands of their significant others to squeeze them painfully tight. An old woman seemed unbothered by the threat, continuing her sudoku puzzle as if it were just another evening train ride.

“This train is now hurtling at rising speed. Inevitably, it will derail, causing catastrophic damage and countless casualties. Most, if not all, of you will perish in a maelstrom of steel and fire.” As more of the civilians began to openly weep, Eijirou felt his body flush hot with anger at the trainjacker’s mocking theatrics. The young hero also felt a cold rush of guilt follow, quenching the heat to turn his blood to ice. That selfish, selfish part of him had wished for something like this— and, even worse, he was enjoying it. His body sung with adrenaline, pumping through his veins to send every part of him on high-alert. He twitched incessantly, gripping the handlebar above his head and involuntarily activating his Quirk. Sparks rained down in his hair as his hardened skin scraped the metal.

Hurry up and finish your speech already, jerk, so I can kick your ass!

“What can you do? The answer is nothing. We have taken the train engineers hostage, and within each train car are several of my henchmen who are ready to deal with anyone who decides to get… rowdy. I advise you all to simply sit quietly and ponder whether the Japanese government considers your lives worth several hundred million yen.” With a cruel laugh, the villain cut off the speaker feed, leaving the train car deathly quiet. A few broken sobs and petulant whispers echoed in the metal box as the civilians looked around, wondering which of them could be the devils in disguise.

Eijirou dropped his arms to roll his shoulders, craning his head to the left and right to crack his vertebrae. He bounced on his heels, grinning widely as he allowed the adrenaline to overtake him. There was no time to worry about his selfish wishes and the universe’s dramatic answer… Right now, there were people who needed saving. As he extended his back, groaning in satisfaction as his vertebrae popped, a large man in a beanie, gray sweater, black cargo pants, and combat boots rose from where he was sitting. The fabric of his hat brushed the top of the roof as he squinted at Eijirou, who straightened up with a smirk.

“And what do you think you’re doing?” the stranger growled.

“Gettin’ rowdy,” the redhead replied cheerfully before socking the villain right in the jaw with a hardened fist. The man spun on his heel, his head snapping to the side with an audible crack. His jaw dangled uselessly as he stumbled in place in a daze before he crumpled to the floor, unconscious. It seemed he was the only villain stationed in this train car because no one rose to avenge him— or they simply were too frightened to bother after Eijirou had cold-cocked the hulking man without flinching. As shocked gasps, sobs of relief, and nervous reproach rippled through the train car, Eijirou rose his hands placatingly.

“It’s all right, everyone! I’m a pro hero!” he assured them with his signature shark-toothed grin. “Everything is going to be all right.” While a few of them sank into their seats in relief, most of them looked at the eighteen-year-old with doubt. Eijirou tried to hide the droop in his smile as he debated on what to do. The hostage negotiators were probably bickering with the villains, but there was no guarantee that they would succeed; worse, it could all be one big farce, and the psychopaths could have no intentions of letting anyone escape the train alive. The only sure-fire way to know what’s going on is to head to the front of the train! he decided.

“Are you gonna go fight the bad guys?” a little boy piped up as Eijirou began moving toward the door adjoining the next car. Grinning, Eijirou spun around to give the child a thumbs-up.

“That’s right! That’s what heroes do, after all!”

The little boy sucked in an awed breath, his eyes blowing wide with admiration. Invigorated by the plucky lad, Eijirou’s chest swelled as he strutted confidently up to the door, pausing to peer through the window. Another lone man stood in the middle of the aisle, with a strange purple gas floating around them. All the passengers were slumped over in their seats or crumpled to the floor, apparently asleep.

That’s one way to keep people from getting rowdy, Eijirou frowned, ripping off a large chunk of his tee shirt. A couple of high school girls sitting near him could barely suppress their squeals as the action revealed the chiseled planes of his abs, and he tossed them a wink before tying the fabric around the bottom half of his face. It wouldn’t prevent all of the strange mist from entering his system, but would hopefully buy him enough time to subdue the enemy and slip into the next train car.

He carefully watched the man’s movements until he inevitably turned his back. Sucking in a breath, Eijirou swung the car door open and bum-rushed the man, charging down the aisle like a linebacker. By the time the villain had turned around, Eijirou was driving his hardened elbow right into his solar plexus. The man wheezed, eyes rolling into the back of his head and spittle flying from his mouth as the breath was knocked from his body. He flew backward, slamming into the door with his head colliding with the glass window. As it shattered around the crown of his scalp, he crumpled, bleeding and unconscious.

The noise attracted the attention of the occupants of the next car, including the villain’s lackeys; Eijirou wasted no time, careening down the aisle and throwing the next door open. He vaulted over the unconscious man to land in the middle of the aisle, grabbing the two startled men by their heads to knock them together. As they reeled, eyes rolling, Eijirou shoved one to the ground to punch the other in the face. The villain howled as blood spurted from his nose— so Eijirou punched him until he stopped howling and flopped back, only held up by Eijirou’s grip on his shirt.

When Eijirou dropped the villain to look down at the other, who was still lying on the floor, the man slowly raised his arms in surrender.

“Look, man, they just told me I was gonna get paid.”

“I advise looking into a new career field,” Eijirou snorted and gave him a stern point. “Don’t make me come back here.” The man nodded vigorously at the warning, so Eijirou decided to let him be, stomping off down the aisle to the next door. He paused as the windows, which had previously shown the dark gray-black walls of the tunnel they were traveling through, suddenly blared with bright light. The picturesque countryside now stretched on before him, but he could barely enjoy it as the scenery was nothing but smudged green. The train was already precariously hurtling, gaining speed with every passing second and inching closer to fiery catastrophe.

“Damn lunatics,” he grumbled as he opened the door.

For a group capable of successfully hijacking a bullet train, Eijirou found their manpower sorely lacking. He proceeded from one train car to the next with little difficulty, either dispatching his enemies or frightening them into submission with his raw displays of power. He’d reached the front one-third of the passenger train before the loudspeaker screeched to life again, and he paused in the middle of pummeling another lackey to listen.

“It has come to my attention that we have a young pro hero on board. My apologies for not addressing you sooner; I don’t know of many pro heroes so poor that they have to take public transportation.”

Eijirou scowled at the blatant insult, unconsciously wrapping his hand tighter around the villain’s throat. He was oblivious to the man’s squirms and whimpers, too honed in on the calm and sadistic voice bleeding from the speaker above his head.

“It seems you are hell-bent on making it to the front of this train. I admire your grit, so I have pulled all of my underlings into the engineers’ room in the car attached to the control room. If you manage to fight your way through my entire group of henchmen, then I suppose you’ve earned the right to challenge the final boss, little hero. Good luck.”

As the speaker cut off, Eijirou released the villain, who sunk to the ground and gulped down greedy breaths. Smirking and tugging down the strip of tee-shirt he still had tied around his slightly sweaty face, the young hero grinned defiantly.

“All right then, asshole. Challenge accepted.”

As promised, there were no villains occupying the anterior cars of the train. Eijirou still skulked through them suspiciously, his red eyes searching the sea of passengers in case one of them was a villain in disguise looking to get the jump on him. His keen gaze saw no hostility, only fear, anxiety, and— when they clapped eyes on the unassuming hero— hope. Their expressions of trust and adoration filled Eijirou with vigor, prompting him to increase his stride and head toward the engineer’s car with as much speed as he could manage without exhausting himself. As he reached the final car— at least, what he thought to be as he noticed the lights were off in the next one— he paused as he realized something.

I’ve seen that expression countless times before. And it wasn’t just in crises like this— he’d seen it on the man’s face when he walked up to his car pulled up on the side of the road today. He’d seen it on a little girl’s face last week when he helped her find her lost cat. He’d seen it on an old woman’s face, too, when he helped her bring her groceries to her car across the entire supermarket parking lot. Hope, relief, trust… These were emotions he saw every single day as humble citizens looked to him to serve all their needs, big or small.

Smiling ruefully, Eijirou leaned his forehead against the door. I’ve been a big, fat idiot, haven’t I? All this time I’ve been too caught up in the glory that I totally forgot what matters… How unmanly. Taking a moment for the epiphany to sink in, he closed his eyes, feeling the way his muscles were humming and his blood vessels were singing with epinephrine. Sure, the high was nice, but… He also really wished he could be in his bed, enjoying a cup of something warm to drink while he watched the news report on some mundane event from the day. Right now, the populace was probably glued to the screens watching the train hijacking unfold in real-time.

From this moment on, Eijirou was going to wish that every day was as boring as it possibly could be— because boredom meant peace, and peace meant security for the most vulnerable, the most in need of saving.

And the only way to restore peace is to give this jerk and his lackeys a good old-fashioned Red Riot walloping! Eijirou grinned devilishly, stepping back and throwing the door open. In the gloom of the engineer’s car, which only housed modest wall-mounted cots, a mini-fridge, and some other odds and ends, about a dozen and a half plainclothes bozos turned their gaze upon him.

“All right, then. Who’s first?” Eijirou chirped.

They all sprang at him.

“Hey, hey, hey, that’s not fair!” the redhead cried, ducking a swing and delivering a blow to an assailant. Eijirou grimaced at the familiar thunk of Kevlar against his fist; so, this lot was a bit more prepared than the goons occupying the latter portion of the train. Grunting, Eijirou danced around another grunt who lashed out at him, her fingernails morphed into wicked-sharp, several-inch-long claws. He hopped up onto a cot and grabbed the curtain railing attached to the ceiling, pulling himself up to kick out both his legs. His boots plowed into the middle of two of the lackey’s faces, sending them stumbling back into the crowd. Another five surged forward to take their place.

“Man, this is a lot more exhausting than in the action movies!” Eijirou puffed as he dropped down onto the cloth to avoid the onslaught of quills a porcupine-like Quirk user had shot at him. He yanked one out of the wall to jab another in the nose, making him yowl and whip his head around. The lackeys all gave a wide berth to avoid being poked, allowing Eijirou to wrench the minifridge out of the wall and heft it over his head.

“Snack time!” he grinned before chucking it. It beamed one guy in the chest before bouncing off and crashing on another’s foot. As the first lackey collapsed against one of the beds, holding his likely cracked ribs, the other howled in pain and pushed the minifridge off his foot so he could cradle it, bouncing around in a circle on the other. All it took was an accidental shove for him to trip over his compatriot and bang his head against a pole, knocking him out cold.

All of the villains looked at him, then at Eijirou, who ran a hand through his sweat-slicked hair and made a “come on” gesture.

“I ain’t got all day, ya know!” he challenged.

“Do you think we’re getting paid enough to deal with this?” one of the grunts huffed, making Eijirou rear back in surprise. A ripple of unease traveled through the small group before another, a short blond-haired youth who looked like he wasn’t even out of high school, dropped the crowbar he had been wielding.

“Come to think of it, did he ever tell you guys how much he was gonna pay us?” The young man frowned. Another ripple of mutters and grumbles went around before a few of them tentatively shook their heads. In utter disbelief, Eijirou couldn’t help but speak up.

“Wait, wait, wait— you guys hijacked a train for this guy even though you had no idea how much you were getting paid?” he blurted, mouth falling open.

“We didn’t even know we were hijacking the train until we were on the train! He just told us he needed some grunts for a job!” one of the men complained, kicking the floor with the toe of his boot. “Man, I just wanted some cash to buy my daughter a nice birthday present…”

“I wanted to buy my lady some flowers,” another sighed wistfully, “and maybe one of those big giant teddy bears that are super squishy and soft…”

Eijirou reeled in confusion, reeling from the whiplash effect of the sudden development. Pinching the bridge of his nose, he held up his hand as if he could stop time to allow him to process what the hell was happening.

“Look, you guys… Whatever your motives are, you do realize that, if this train doesn’t stop, as soon as we hit a curve in the tracks it’ll derail, and there won’t be any cash because everyone will be dead or dying?” He sighed, cracking an eye open to see them gaping uncomprehendingly at him.

“But… The boss won’t let that happen, right? He just wants the ransom.”

“Are you sure about that? Have any of you seen him on a phone call? Hell, you don’t even know what he’s promising you, so it sounds kind of fishy to me.”

“The beefcake has a point.” A young woman frowned, rubbing her chin.

“Are ya telling me we’ve been conned?!” another man growled, stamping his foot with steam blowing out of his nose as his face reddened darkly. Probably, if this guy could talk you simpletons into hijacking a train without promising a solid figure of money, Eijirou thought, but he held his tongue; he was winning the villains over, after all, so he didn’t need to go and piss them off. They were beginning to dissolve into a mutinous uproar, yelling and shouting and fuming.

“All right, all right,” Eijirou shouted over the din, waving his hands in a placating gesture. “Let’s not get all bent out of shape, now.” He looked nervously to the door leading to the adjacent car, worried their superior heard the outburst. When no one came through, he continued in a quiet voice, “I’m sure none of you really want to be involved in a mass murder— right?” Staring owlishly at him, all of them feverishly shook their heads. Thank goodness, Eijirou thought with an inward groan, keeping the saccharine smile on his face. “So, I’ll cut you all a deal. If you let me pass to deal with this guy, I’ll downplay your involvement to the authorities. We can get you set up real nice— rehab programs, halfway houses, you know, ways to make your life better, yeah? How’s that sound?”

The crowd of grunts looked at one another uncertainly, then back at Eijirou, who was smiling so hard in his attempt to seem genuine and helpful that his facial muscles ached. He wasn’t lying anyway, but it was critical that he won them over, because he really was wasting time. Out of the corners of his eyes, he watched the landscape shooting by beyond the windows; the gray smudges against the horizon were probably mountains, which meant the tracks were going to begin to curve. Hitting them at this speed would be disastrous, so Eijirou had to stop the runaway train as soon as possible.

He breathed a small sigh of relief as the lackeys parted, giving him a wide berth to the door.

“Thank you, guys. You’re doing the right thing,” he encouraged brightly, patting them on the shoulders as he passed. A few of them blushed and shuffled their feet shyly; it made Eijirou burn with anger, the knowledge that someone manipulated downtrodden souls for such nefarious ends. As he got to the door, he rolled his shoulders and cracked his neck, loosening up his body for the final fight. He sucked in a breath, then pulled the door to the control room open.

He found a man in khaki slacks, a white button-up, polished shoes, and wire-rimmed glasses holding a gun to the train engineer’s head.

“Well, well,” the man quipped and used his free hand to push his glasses up his nose, “I didn’t realize I was being besieged by an upstart.”

“Who are you callin’ an upstart?!”

“My, what a brute you are. There’s no need to yell.”

“I’m yellin’ ‘cuz you hijacked a train!” Eijirou fumed, a vein bulging in his forehead. The man rolled his eyes as if Eijirou’s ire was completely unwarranted, casually flicking his hand in a dismissive gesture. “Whatever! Slow down this train, right now!” he ordered, taking a step towards him. The man immediately pointed his gun at him, making him freeze in his tracks. He knew his Quirk would reflect the bullet, but in these close quarters, there was no guarantee the ricochet wouldn’t kill the hostage, or the villain, for that matter.

“No, that won’t do. You see, I absolutely need this train to derail.”

Eijirou looked at him dumbfoundedly.

“You mean… You have no intentions of stopping? You want to kill everyone on board?”

“Yes, precisely,” the man said disinterestedly. Eijirou blinked as his head swam, struggling to process the ludicrous notion. “I can see you’re having difficulty comprehending why someone would want to cold-bloodedly end the lives of hundreds of men, women, and children, so I’ll spell it out for you, so you can have some closure before you perish.” The man smiled like he was doing Eijirou a favor. A chill traveled down the redhead’s spine; even though he’d fought monsters like the League of Villains, he’d never seen such open malice.

This guy was a true sociopath.

“You see, I’m just a humble office worker,” the man said, flourishing his arm as he continued to point the pistol at Eijirou; he kept his peripheral vision on the engineer, a silent warning not to tamper with the controls under any circumstances. “I grew up with a loving mother and father, the middle child of three. I went to an average high school, had average grades, went to an average college and graduated with an average degree, and got an average-paying desk job. By all respects, I suppose you could call me more successful than some.” He shrugged, his tone betraying the fact he didn’t believe his words at all.

“That’s just it. My life is so average that it’s unfulfilling. I have no special talents or interests. I’m too plain for anyone to notice; I’m passed over for promotions, and I don’t catch girls’ attention. Do you realize how infuriating it is to see everyone parading how special and unique they are? Everyone is always talking about the need to fit in, yet, when you fit in too well, you don’t fit in at all.”

“I won’t be remembered when I die— at least, not living the life I have. But you know what people always remember? Tragedies, catastrophes, major accidents. You know who people remember? Great minds, villains of heinous proportions. So you see, young hero, I will be remembered now. They’re going to remember me as the mastermind who hijacked this train and led its occupants to a fiery death,” he said as a sickeningly elated grin spread across his face and his eyes lit with twisted pride.

“You’re vile,” Eijirou breathed, shaking his head with a completely amazed expression.

“Perhaps, but they remember vile people, too.” The man shrugged and pulled the trigger.

Eijirou managed to harden his chest just in time. The bullet bounced off his rock-hard skin, and he dove for the engineer on instinct, smooshing him against the control panel. The small compartment rang with a series of dings as the bullet bounced off the metal walls, and then the gun-wielding man let out pained yelp. Eijirou glanced down to see him curled up on the ground, clutching his thigh as it bled profusely and stained his pressed slacks a dark burgundy.

Eijirou kicked the gun away, sending it skittering to the far side of the room, before planting his foot on the office worker’s back.

“Stay down, if you know what’s good for you,” he snarled before pulling himself off the engineer. The train worker shook his head, a little dazed, before fluttering his hands over the controls.

“No! I won’t let you!” the villain screeched. His burst of fury and adrenaline allowed him to temporarily overpower Eijirou. He lunged up and grabbed the lever controlling the train’s speed, bending it at an odd angle and snapping it in half. Eijirou shoved him to the ground and wrenched his hand behind his back, but it was too late.

“Oh no! It’s jammed!” the train manager wailed, wrenching on the small stub of lever still remaining; in his effort, his hand slipped, and the jagged metal sliced open his palm. Red blood splashed across the controls as he curled in on himself, whimpering. Eijirou stepped off the villain, who was cackling maniacally, to rush to the window; he could see the curve leading into the mountains fast approaching. “We can’t stop the train now… He tore out the wires for the emergency brake system as well!” the train engineer lamented, pointing at a busted panel in the control bench with wires sticking out of it.

“Can you rewire it?” Eijirou asked as he looked back, eyebrows cinched with concern as his mind whirled. When the man shook his head, his heart plummeted and a sense of doom began to fill his belly.

“I can.”

Eijirou whirled around with a gasp to see the young blond-haired villain from earlier sauntering in, crowbar resting on his shoulder. The office worker, now pale from blood loss as it continued to leak out of his leg, looked at his former lackey in betrayal. “I’ve been hotwiring cars since I was eleven.” The youth grinned, thumbing the underside of his nose. “I should be able to get it working again, no problem.”

“Even if you manage to get it working, if we don’t have enough track between us and the curve and still hit it too fast, we’re doomed! The train is traveling upwards of 250 miles an hour right now!” the engineer cried as the boy squatted down and began fiddling with the wires.

“We just need to slow it down enough for me to get in front of it!” Eijirou said, watching the young man play with the wires. His deft fingers carefully entwined them back together, sparks jumping near the pads of his fingers. “If we can slow it down, I can use my Quirk and—”

“Got it!” the young boy cried, and the engineer immediately slammed down on a large blue button on the control panel. Eijirou looked up as a digital screen lit up, displaying a green schematic of the train deploying air resistance panels on its roof. The train immediately jerked back as the wind slammed against the large metal panels, and Eijirou saw the speedometer jump down below two hundred miles per hour.

“It’s working!” the engineer declared in glee. Eijirou planted his foot on the office worker’s back as he began to squirm.

“My Quirk allows me to harden my body. How slow does the train need to be going to make sure I don’t get squashed trying to push it to a stop?”

“I-I’m not sure, but, I would say at least under one hundred and fifty miles an hour, but that’s still incredibly fast—” the engineer muttered uncertainly, scratching his head. Eijirou ignored his apprehension, red eyes glued to the speedometer. As soon as the twitching dial reached the “150” marker, Eijirou whipped around to yank open the control car window.

The wind immediately rushed in, snatching at their clothes and hair. Eijirou stuck out his head, squinting as the fierce gale blasted into his face; through the tears welling up in his stinging eyes, he managed to make out the fast-approaching bend in the tracks as they snaked into the mountain range. Come on, Ei! You can do this! You have to slow the train! He encouraged himself, sucking in a breath and bouncing on his heels to psych himself up. Even with his Quirk, it was still pretty terrifying to be climbing on the front of a speeding bullet train. After a few seconds, he hauled himself up to sit in the window before he could change his mind.

“All right. Easy does it,” he grunted, kicking off his shoes and socks before hardening his fingers and toes into jagged, sharp edges. He reached up to dig his fingers into the metal side of the train; the smooth steel crunched under his grip, allowing him to get purchase on the otherwise sleek vehicle. After ensuring that both his hands wouldn’t slip with a few vigorous tugs, he swung his legs out the window. He yelped as the wind snatched at them, leaving him desperately kicking against the train until he managed to drive his hardened feet into the metal. He took a minute to collect himself, sweat dripping down his face, before slowly inching around to the front of the train.

Soon enough he was splayed out on the curved front of the train, with the wind blasting against him as he wondered how things could have possibly turned out this way. He sucked in a few breaths as the anxiety threatened to take over, using the cool wind to slow the nervous sweat blooming on his skin. It’s all good, Ei, he told himself with a weak smile as he hardened his entire body, the ridges of his skin bulging against his clothes. You just gotta drop down and slow the train. It’s fine. It’s cool. It’ll be one of those super-manly action scenes you see in the movies! You can tell everyone all about it! It’ll make a great story! Now, get… down… there!

Before he could stop himself, he slid down the front of the train. He caught himself at the last minute by slamming his hands into the metal, wincing at the heat bleeding out from the overheated engine. His feet slammed down into the wooden slats of the tracks and into the fresh earth beneath; the wood splintered immediately as Eijirou’s legs plowed through them, leaving bits of wood and scours in the earth in his wake.

A keening groan slipped through his clenched teeth as his entire body jarred, rattling his bones and shaking his brain around in his skull. Still, he held fast, throwing his weight against the train and digging in his feet until bits of earth and wood were flying around his calves. The massive vehicle groaned and whined at the assault, but Eijirou could hear the wheels squealing as they slowed. It’s working! He thought, relief making him almost euphoric— or, perhaps, it was his brain turning to jelly from behind knocked around in his cranium.

Above the squealing train, the buffeting wind, and the snapping wood, Eijirou thought he heard the whirling of helicopter blades. Sure enough, when he glanced out of the corners of his eyes, he saw the ovoid black form in his peripherals, keeping speed with the front of the train. It then reared up, coming over the top of the train, and Eijirou craned his head back as a lithe, blonde figure hopped down onto the roof.

“Hey, kiddo! Need a hand?” Mt. Lady winked at him. Eijirou couldn’t manage a response with how violently his body was shaking, but the pro hero wasn’t seeking one. As she grew to her gargantuan size, she slid off the side of the train to plant her feet down on the earth and wrap her arms around the vehicle. As she slid, she uprooted trees and bushes as her feet dug great trenches into the ground. Eijirou cried out as the train gave a mighty jerk backward, slowing ten or twenty miles per hour already. With Mt. Lady’s help, it didn’t take long for the train to smoothly glide to a stop, just a few yards from the bend in the curve leading into the mountains.

Eijirou slid bonelessly to a heap, trembling as his muscles burned from the strain. After shrinking down to her normal size, Mt. Lady rounded the front of the train to see him lying in a crumpled mess, panting heavily and shining with sweat. “You all right, kid?” she smiled down at him, hands planted on her hips. He gave a half-hearted flop of his hand in answer, making her chuckle. “You did a good job holding your own while we were on our way. The helicopter couldn’t match the speed of the train. If you hadn’t slowed it down for us, who knows what would have happened!” she said as she squatted down beside him.

Eijirou rolled his head to the side as he heard more helicopter blades and crunching tires. The bullet train was now surrounded by an entire fleet of personnel— military vehicles and soldiers, police officers and pro heroes, government officials. Although his entire body felt like a melted pile of goop, Eijirou forced himself to roll over and half-stumble, half walk around the front of the train.

“Hey, hey, wait!” he called hoarsely as they were unloading handcuffed villains from the engineer car. “Not those guys. Those guys are good.”

“What?” the officer asked with a look of bewilderment. Several other higher-ranking officials came to listen while Eijirou explained. Thankfully, there wasn’t too much argument; the Hero Commission representatives agreed to uphold Eijirou’s promise, and led them away uncuffed to hopefully a better future. The blond-haired kid threw him a wink and a thumbs up as he was paraded by.

“Phew! I’m tired,” Eijirou groaned as he flopped against the train. He cracked an eye open as the mastermind of the entire operation was wheeled out on a stretcher, stoically blank-faced. When he caught Eijirou’s eye, however, he grinned widely.

“They’ll remember me still, won’t they?”

Eijirou stared at him a second, then looked down the train, where the rattled passengers were being led to safety by the first responders. They probably would remember, but Eijirou didn’t want to give the sicko the satisfaction.

“Nope,” he quipped, looking back at him with a stony expression. “In time, all bad things are replaced by good things instead. You’ll be nothing but an afterthought.”

The man stared at him incredulously for a minute, mouth hanging open. Then, with a screech, he started bucking up against the leather restraints holding him down to the stretcher. The EMTs wordlessly wheeled him to the ambulance, giving no heed to his deranged ramblings. Sighing, Eijirou slumped back against the train, leaning his head and enjoying the way the metal cooled his sweaty, heated skin. He found himself drifting into a light doze, exhausted from all the chaos of the train ride.

He imagined the embrace of soft sheets, a warm comforter, and a fluffy pillow, making him smile dreamily. There was nothing like crawling into bed after a day like this. But… I’d much rather crawl in bed after a peaceful day, he thought drowsily, peeking at the crowd of civilians who’d had to endure the fruits of his selfish beseech to the heavens. When they crawled into bed tonight, would their sleep be plagued by nightmares? Would they have to hold their loved ones close to feel safe?

Indeed, Eijirou had been remiss in wishing for something exciting, but that was okay. He’d make up for it by being the best hero he could be. He’d put his all into every task at hand—whether it be rescuing a cat from a tree or preventing catastrophic destruction—because, regardless, that meant saving the day for somebody. He would attend to everyone in need, no matter if that need was big or small, because that’s what heroes do.

Enjoy this oneshot? Feel free to peruse my Table of Contents!

#eijirou kirishima #kirishima eijirou #my hero academia #mha #boku no hero academia #bnha

8 notes · View notes