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writingwithcolor · 3 years

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Arab Character Joining Corrupt Superheroes, Police Parallels

Anonymous asked:

I’m writing a story with a Arabian diaspora main character. The story is about corrupt superheroes, and how they affect an oppressed superpowered minority. The main character is one of these superheroes, naively joining them in his teens believing he’s going to help people. Doesn’t help that his parents are having money trouble. Eventually he ends up fighting a superpowered crook, and gets a bystander killed.

1)I know portraying an Arabian character committing violence is a pretty touchy subject, even if accidental. Is there any way I can write this that makes it clear to the reader that the action itself is messed up without the unfortunate implication that Arabs are violent?

2)A large part of the story is the MC’s parents reaction. They are loving parents, however after this incident happens, they are confused and ashamed. While they still love him, they temporarily cut ties with him. Eventually they reconcile and start to be a family again. In my research (they are diaspora Saudi Arabians), Family is very important and tight-nit. Shame towards the family is to be avoided at all costs. However I’ve also read that disowning a family member rarely ever happens. Is there a way to write this kind of narrative with respect to this aspect of Arabian culture?

Let us begin with some terminology.

- If a person is from Saudi Arabia, they are Saudi Arabian, or more commonly, Saudi. This is their nationality.

- They may or may not be Arab. Arab is an ethnicity. Not all Saudis are Arab. Not all Arabs are Saudi.

- Arabic is a language. Lots of people across the world who are neither Saudi nor Arab speak Arabic.

- Arabian on its own is a word used to refer to a specific breed of horses.

If you are referring to humans, you want to either say "Saudi Arabian" (both words) or “Saudi” to indicate nationality, or "Arab" to indicate ethnicity. If you’re looking to describe your character’s culture, you probably want to call it Saudi culture. (While grammatically correct, talking about “Arab culture” doesn’t make much sense because Arabs are an incredibly diverse ethnic group and there is no such thing as a single monolithic Arab culture).

Now for the first question. In my mind, the issue is less about the character committing violence, and more about the premise of the story and how it mirrors real-life oppressive structures. You have an organized group of superheroes who think they are doing good by fighting “crooks” but in reality are enacting systemic oppression upon a marginalized group. This immediately brings to mind police violence, racial profiling, and the way that policing in North America is used as a tool of white supremacy while glorified in propaganda as a force for good. Essentially, you are telling a story about a character who joins an oppressive policing force, enacts violence upon a marginalized group as a result, and (I’m assuming) eventually realizes that they are not, in fact, the good guys. This is very close to being a “bigoted character learns not to be bigoted” story. I recommend re-examining your premise in light of the real-life parallels and asking yourself whether this is the story you want to tell.

The issue is compounded by the fact that your character is an Arab teen, who in real life is more likely to be the one facing racial profiling from the police. Taking this character and making him the oppressor in your story makes the already flawed premise even more problematic, especially if the characters in the oppressed group are white.

As for your second question, it seems believable to me that a teen’s parents might reject him if they learned that he committed a crime. However, when the family in question is Arab, you are suddenly feeding into harmful tropes about oppressive and violent Arab parents. You are asking if there is a way to write this respectfully. I believe that there is, but it requires a great deal of care, nuance, and cultural awareness. While it is possible to write a Saudi Arab character grappling with the consequences of violence and familial estrangement in a compelling way, the way your ask is phrased leads me to believe you are not equipped to do it justice.

- Mod Niki

Think about why Arab people committing violence is a touchy subject, and then think about the general propaganda narrative that came about from the act that made things so touchy.

It’s going to sound one hell of a lot like what you have here.

Military and police use buckets and buckets of propaganda to continue hooking in young, impressionable teens to commit state-sanctioned colonialism and oppression. That propaganda looks suspiciously like “we have health insurance, we will pay for your education, you just have to do what we tell you even if that means hurting or killing others, but it’s okay because you get to be the hero in the situation.”

Now, propaganda is a very powerful tool. I was taught, in my media classes, that controlling the message means shaping reality. The media is built as a propaganda machine, and when you start to see who owns what media properties you start to see some really disturbing patterns (Rubert Murdoch owns a lot of right-wing sources across America, the UK, and Australia, and he’s too rich to investigate his culpability in spinning terrible narratives found in right-wing publications. He owns the big names).

As Niki said, this situation mirrors police violence and police-sanctioned terrorism. And the very, very unfortunate implications of making the target of police violence be in that wheel. But I want you to look at the media situation that has made the plot happen.

Because even if you swapped out ethnicities, you’d still have a reckoning to do with the American culture that their primary social safety nets involve killing people.

I am not kidding.

Some of the most well-funded unions in the country are police unions. These people have pensions. They have health insurance. It’s damn near impossible to fire them. They get overtime very well mandated, and it’s a known thing among defence lawyers that arrests happen right before a cop’s shift will end so they get the overtime of filing the paperwork. They absolutely go into poor neighbourhoods and recruit based off people needing an escape, and them having the money to provide it.

A similar sentiment is true for the military, except they push for college education a bit more and don’t really have overtime, but they do have deployment bonuses. So the way to get extra pay for yourself is to go out and do colonialism outside the borders. The military doesn’t necessarily like it when the economy is doing well, and don’t like the idea of college being affordable, because they rely so heavily on poverty and fear of college debt to recruit.

The story you’re telling here goes so far beyond an individual’s actions and instead taps into America’s single biggest cultural investment: that oppressing others makes you a hero.

The Pentagon funds most military media out there as a propaganda tool, including most superhero movies and a large number of video games. This is in their budget. They will also go so far as to literally commission the games to exist. Part of getting that funding is you cannot critique America’s military, basically at all (the only exception I’ve seen is Ms Marvel, but that’s set in the 90s). This turns any sort of military-using media into a potential propaganda tool.

And the thing is? Even if you fall for that propaganda and were part of the military or the police, you still have to reckon with the fact you put whatever your own desires were above a huge track record of those groups being terrible. You still have to reckon with the fact you didn’t realize they were wrong, and were complicit in a lot of crimes.

This goes very far beyond “the action is terrible” and goes into “the system is rotten to its core, and you chose not to believe it, or to believe you could change what was built with blood.”

“Good” police officers get fired. If you try to question anything, if you try to say this action is wrong, you will absolutely get destroyed. Military’s much the same. You need some degree of buy-in to the concept of white supremacy to sign up for the military or the police, because you need to see their actions as not deal breakers instead of actions that violate multiple international laws.

In short: you need to see the people being oppressed as deserving of being oppressed to some degree in order to participate with police and the military.

Marginalized people can hold this belief, it happens. But that is a very sticky situation that outsiders shouldn’t touch.

It’s possible but difficult for you to write a white person having this sort of arc, but it would be extremely challenging to have it not come across as a white guilt story. To not have a socially aware audience roll their eyes at how long it took. You’d definitely not be writing a story with a diverse audience in mind, because you’d mostly appeal to those who saw the propaganda as just fine and not that bad.

This isn’t even getting into the oft-cited adage that boys who bully others become cops, while girls who bully become nurses. And the more police atrocities become mainstream news, the less and less people can convince themselves that becoming a police officer is a good thing.

Which brings me to the point of: how well-documented is this oppression? Is this character walking around in an oppressive situation like, say, pre-social-media where there was no direct access to the oppressed groups and you could close your eyes and look away even if it made national news? Or is this in a media connected world where these oppressed populations have a voice in the narrative?

The former has an angle of the character slowly realizing the horror and it’s slightly more forgivable for their early ignorance. But in any sort of world where there’s access to the people getting hurt? Things get more and more “ignorance is indistinguishable from maliciousness.” And keep in mind, these stories are read in the real world, where police brutality and war crimes go viral, and a lack of knowledge is getting harder and harder to defend as a position.

Media plays a huge role in shaping our perception of what’s happening. Cameras on a situation makes different activism tactics work, as we can see with how activism changed in the 60s and 70s as tv reached the masses. Social media has made it possible for you to look up firsthand accounts of discrimination within seconds.

This is a factor you are absolutely going to have to consider, when you want to look at how nice your hero is seen by marginalized or otherwise socially-aware people. If there is a way to find out how bad this superhero organization is before you sign a contract with them? Then that doesn’t look particularly good on the “hero”. You’d really have to establish them as super idealistic, super sheltered, super desperate, and/or just swallow the knowledge that they really don’t see anything that happens “over there to those people” as that bad.

All of the above is more than possible. And they’d still be seen as complicit no matter what justification you gave, because they are.

Does this mean all corrupt organization stories are off limits? No. The reason these stories have such deep cultural resonance right now is because of the propaganda I outlined above.

But you as the author are going to have to examine your own engagement with the propaganda narrative and do your own private reckoning so your own sense of guilt and compliance doesn’t bleed through the narrative too strongly, so you can tell a good story instead of an overt message story that’s you working out your own feelings.

By all means, write a story where police and the military are taken down, where propaganda is weaponized and the media is controlled (because that’s sure as hell the modern world).

But know that stories where the hero discovers the corruption already have a ticking clock because we, in the real world, are slowly being faced with a mountain of apathy instead of ignorance. The knowledge of oppression is out there so much that marginalized people are tired of the ignorance defence.

As the saying goes, “privilege is the ability to ignore the oppression of others.”

Propaganda, centralized media, and strategic cultural investment made it possible for police and the military to have a chokehold on their public perception. But that’s changing. The chokehold is starting to fade, people are starting to question their beliefs.

The past year has shown that knowledge isn’t the issue; it’s white supremacy. People don’t want to believe that any of this is that bad. People want to believe that oppression is justified, that if people just followed the law they’d be fine. They don’t want to question themselves. And marginalized people are tired of these narratives where, suddenly, people snap out of it. Because there was so much evidence to show it was bad, but it was only when you do one of the worst crimes imaginable that you realize this is bad? It’s only when it becomes personal that things are worth looking at critically?

No. And you need to examine where you are in processing your own complicity before writing a story where you’ve swapped around the ethnicities to try and distance yourself from the problem, where in the end you made the target the oppressor.

~Mod Lesya

#police brutality #oppression #arab #saudi arabia #military #superhero #superheroes #asks #violence #propaganda

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cblgblog · 3 years

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I know I’m probably beating a dead horse at this point but I feel like it isn’t talked about enough how the accord do not and will never affect Tony the same way they’ll affect those like Steve & Wanda. Tony can always just blow up all of his suits again & go back to a fully normal life if he wants to. He doesn’t have to wear a tracking bracelet, or submit dna samples, or fear getting shoved into a straight jacket or electroshock collar if he gets arrested. I’ll I just don’t think it’s addressed enough how blatantly privileged Tony & other normal humans like rhodey & nat would be under the accords compared to their other teammates. No wonder they were so supportive of them from the beginning.

Ah, but what is fandom for if not the beating of dead horses?

I agree with you. I generally prefer the film over the comic event (granted I haven’t read it in a few years now), but I do like that the Civil War comic had more time to discuss those civil liberties issues. Like, the damn thing, as with most comics events, is annoyingly massive. Not if you just read the core 6 books of the main CW storyline, but the tie-ins, oh my God the tie-ins. Comic events and their damn tie-ins…

For the sake of telling a fuller story though, I do like that the comics had so damn much. There was much more room for side content, for lesser characters who aren’t in the MCU, or weren’t, at the time. There’s a fuller picture of why various people are taking the sides they do. Some of those reasons make more sense than others, but yeah.

There’s a bit from the comics that I’ve posted before where Tony and Peter (mid 20’s, his own hero Peter, not Frankenstein, Tonky Jesus fanboy Peter) are arguing about the Registration Act—as it’s called in the comics—and talking about the civil liberties being violated. Being a 2006 book, it’s got a very post 9/ll, Guantanamo Bay theme going. The lack of trial, of legal representation, the prison that’s even worse than The Raft. There are several scenes like this as I recall, and yeah, the film is sorely missing them in places. You kind of see it with Team Cap in The Raft, but it’s very much a quick thing in the larger narrative of the film, and that’s annoying.

I’m not exactly advocating for this, because the film version with it’s smaller focus works a lot better in many respects, but I do sometimes think of the alternate reality where Disney Plus existed sooner, and Civil War was turned into a series instead of a film. Say six episodes, match the number of installments in the main comic event, eight eps if you wanted to push it. Then we could get something that delved deeper into what these documents actually say, what the public’s reaction to them is, how they would affect people besides our core Avengers group.

Show some kid like Peter who has abilities but doesn’t want to go out and fight bad guys, just wants to live a normal life. Show someone who can’t reveal their Enhanced nature to friends or family because it wouldn’t be safe for that person. Show the every day or every day-ish people (ala the Netflix shows) and where they stand on this. Wanda talks about people being scared of her after the Lagos incident and you kind of see that, but not really. Actually show that. Show the fears that people have of these Enhanced people, the legit and less legit ones, and show the other side too, the regular, every day people who still look at this and say hey, no, hang on, this is wrong.

Again, not necessarily saying I’d want this over the film, but if the Mouse overlords ever wanted to revisit that storyline and expand on it, I wouldn’t complain.

And yeah, people have talked about this too, but it kind of sucks the way the film handled everyone and their reasons for siding how they did. Steve is all about choice and keeping the government from abusing its citizens ala Hydra, Tony’s got his whole, we need to be kept in check thing, but very few of our other players land where they land because of the actual Accords. Nat doesn’t want her Avengers family to fall apart, and wants to maintain some control over the situation rather than none. Rhodey’s the career military man who (generally) follows orders and hey, if this is what most people want, we don’t get to just decide eh, no thanks. Panther doesn’t care about any of this, dude just picks the team that’s going after Bucky. Peter doesn’t know what the fuck he is actually fighting for, Tony didn’t tell him, Scott and Clint are there because Cap asked, and also, presumably, because of the danger the Accords would put their family in, but that second point is never explicitly stated.

And Sam…I feel like we really got fucking robbed with Sam, especially in light of what we’ve learned about his character in Falcon and WS. The film doesn’t much go into his reasoning, beyond the fact he believes in Cap, he’s Cap’s ride or die, etc. But given the history he has in Falcon and WS, again, we were robbed. Dude is all about making sure minorities aren’t oppressed, aren’t punished for existing. Dude is very much aware of the double-standards in this country. I know that stuff was written in later, but my God did we miss out on a Sam monologue about this in CW. Sam, who’s like Nat and Tony in that he can theoretically hang up the wings and be free of the Accords, but still takes the other side. Would’ve been hella interesting to see Sam and Rhodey’s little argument they have about it be an actual scene, an actual debate. Sam who knows of the US government and it’s unjust laws and abuse of power, knows it long before he hears of Isiah Bradley. Who has those nephews that will have to grow up in a post-Accords world. It just would’ve been super interesting to see Rhodey and Sam, both Black men who joined the military, one who left, one who didn’t, have an actual discussion on why they feel what they feel. Even discounting the finer details of the Sam stuff, the stuff that wasn’t written yet, it would’ve been cool.

And, of course it would’ve been awesome to see Tony and the non-powered on Team Iron Man (but mostly Tony) get called out on their privilege with this issue, but that of course couldn’t happen, because Tony has plot immunity. Let fire and lightning pour forth and destroy all who dare to question the wisdom of Tonky Jesus, praise be to Tonky and all he has given us.

#pro steve rogers #pro team cap #anti tony stark #anti tony stans #anti team iron man #anti iron man #sam wilson #fatws

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innuendostudios · 3 years

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Thoughts on: Criterion's Neo-Noir Collection

I have written up all 26 films* in the Criterion Channel's Neo-Noir Collection.

Legend: rw - rewatch; a movie I had seen before going through the collection dnrw - did not rewatch; if a movie met two criteria (a. I had seen it within the last 18 months, b. I actively dislike it) I wrote it up from memory.

* in September, Brick leaves the Criterion Channel and is replaced in the collection with Michael Mann's Thief. May add it to the list when that happens.

Note: These are very "what was on my mind after watching." No effort has been made to avoid spoilers, nor to make the plot clear for anyone who hasn't seen the movies in question. Decide for yourself if that's interesting to you.

Cotton Comes to Harlem I feel utterly unequipped to asses this movie. This and Sweet Sweetback's Baadasssss Song the following year are regularly cited as the progenitors of the blaxploitation genre. (This is arguably unfair, since both were made by Black men and dealt much more substantively with race than the white-directed films that followed them.) Its heroes are a couple of Black cops who are treated with suspicion both by their white colleagues and by the Black community they're meant to police. I'm not 100% clear on whether they're the good guys? I mean, I think they are. But the community's suspicion of them seems, I dunno... well-founded? They are working for The Man. And there's interesting discussion to the had there - is the the problem that the law is carried out by racists, or is the law itself racist? Can Black cops make anything better? But it feels like the film stacks the deck in Gravedigger and Coffin Ed's favor; the local Black church is run by a conman, the Back-to-Africa movement is, itself, a con, and the local Black Power movement is treated as an obstacle. Black cops really are the only force for justice here. Movie portrays Harlem itself as a warm, thriving, cultured community, but the people that make up that community are disloyal and easily fooled. Felt, to me, like the message was "just because they're cops doesn't mean they don't have Black soul," which, nowadays, we would call copaganda. But, then, do I know what I'm talking about? Do I know how much this played into or off of or against stereotypes from 1970? Was this a radical departure I don't have the context to appreciate? Is there substance I'm too white and too many decades removed to pick up on? Am I wildly overthinking this? I dunno. Seems like everyone involved was having a lot of fun, at least. That bit is contagious.

Across 110th Street And here's the other side of the "race film" equation. Another movie set in Harlem with a Black cop pulled between the police, the criminals, and the public, but this time the film is made by white people. I like it both more and less. Pro: this time the difficult position of Black cop who's treated with suspicion by both white cops and Black Harlemites is interrogated. Con: the Black cop has basically no personality other than "honest cop." Pro: the racism of the police force is explicit and systemic, as opposed to comically ineffectual. Con: the movie is shaped around a racist white cop who beats the shit out of Black people but slowly forms a bond with his Black partner. Pro: the Black criminal at the heart of the movie talks openly about how the white world has stacked the deck against him, and he's soulful and relateable. Con: so of course he dies in the end, because the only way privileged people know to sympathetize with minorities is to make them tragic (see also: The Boys in the Band, Philadelphia, and Brokeback Mountain for gay men). Additional con: this time Harlem is portrayed as a hellhole. Barely any of the community is even seen. At least the shot at the end, where the criminal realizes he's going to die and throws the bag of money off a roof and into a playground so the Black kids can pick it up before the cops reclaim it was powerful. But overall... yech. Cotton Comes to Harlem felt like it wasn't for me; this feels like it was 100% for me and I respect it less for that.

The Long Goodbye (rw) The shaggiest dog. Like much Altman, more compelling than good, but very compelling. Raymond Chandler's story is now set in the 1970's, but Philip Marlowe is the same Philip Marlowe of the 1930's. I get the sense there was always something inherently sad about Marlowe. Classic noir always portrayed its detectives as strong-willed men living on the border between the straightlaced world and its seedy underbelly, crossing back and forth freely but belonging to neither. But Chandler stresses the loneliness of it - or, at least, the people who've adapted Chandler do. Marlowe is a decent man in an indecent world, sorting things out, refusing to profit from misery, but unable to set anything truly right. Being a man out of step is here literalized by putting him forty years from the era where he belongs. His hardboiled internal monologue is now the incessant mutterings of the weird guy across the street who never stops smoking. Like I said: compelling! Kael's observation was spot on: everyone in the movie knows more about the mystery than he does, but he's the only one who cares. The mystery is pretty threadbare - Marlowe doesn't detect so much as end up in places and have people explain things to him. But I've seen it two or three times now, and it does linger.

Chinatown (rw) I confess I've always been impressed by Chinatown more than I've liked it. Its story structure is impeccable, its atmosphere is gorgeous, its noirish fatalism is raw and real, its deconstruction of the noir hero is well-observed, and it's full of clever detective tricks (the pocket watches, the tail light, the ruler). I've just never connected with it. Maybe it's a little too perfectly crafted. (I feel similar about Miller's Crossing.) And I've always been ambivalent about the ending. In Towne's original ending, Evelyn shoots Noah Cross dead and get arrested, and neither she nor Jake can tell the truth of why she did it, so she goes to jail for murder and her daughter is in the wind. Polansky proposed the ending that exists now, where Evelyn just dies, Cross wins, and Jake walks away devastated. It communicates the same thing: Jake's attempt to get smart and play all the sides off each other instead of just helping Evelyn escape blows up in his face at the expense of the woman he cares about and any sense of real justice. And it does this more dramatically and efficiently than Towne's original ending. But it also treats Evelyn as narratively disposable, and hands the daughter over to the man who raped Evelyn and murdered her husband. It makes the women suffer more to punch up the ending. But can I honestly say that Towne's ending is the better one? It is thematically equal, dramatically inferior, but would distract me less. Not sure what the calculus comes out to there. Maybe there should be a third option. Anyway! A perfect little contraption. Belongs under a glass dome.

Night Moves (rw) Ah yeah, the good shit. This is my quintessential 70's noir. This is three movies in a row about detectives. Thing is, the classic era wasn't as chockablock with hardboiled detectives as we think; most of those movies starred criminals, cops, and boring dudes seduced to the darkness by a pair of legs. Gumshoes just left the strongest impressions. (The genre is said to begin with Maltese Falcon and end with Touch of Evil, after all.) So when the post-Code 70's decided to pick the genre back up while picking it apart, it makes sense that they went for the 'tecs first. The Long Goodbye dragged the 30's detective into the 70's, and Chinatown went back to the 30's with a 70's sensibility. But Night Moves was about detecting in the Watergate era, and how that changed the archetype. Harry Moseby is the detective so obsessed with finding the truth that he might just ruin his life looking for it, like the straight story will somehow fix everything that's broken, like it'll bring back a murdered teenager and repair his marriage and give him a reason to forgive the woman who fucked him just to distract him from some smuggling. When he's got time to kill, he takes out a little, magnetic chess set and recreates a famous old game, where three knight moves (get it?) would have led to a beautiful checkmate had the player just seen it. He keeps going, self-destructing, because he can't stand the idea that the perfect move is there if he can just find it. And, no matter how much we see it destroy him, we, the audience, want him to keep going; we expect a satisfying resolution to the mystery. That's what we need from a detective picture; one character flat-out compares Harry to Sam Spade. But what if the truth is just... Watergate? Just some prick ruining things for selfish reasons? Nothing grand, nothing satisfying. Nothing could be more noir, or more neo-, than that.

Farewell, My Lovely Sometimes the only thing that makes a noir neo- is that it's in color and all the blood, tits, and racism from the books they're based on get put back in. This second stab at Chandler is competant but not much more than that. Mitchum works as Philip Marlowe, but Chandler's dialogue feels off here, like lines that worked on the page don't work aloud, even though they did when Bogie said them. I'll chalk it up to workmanlike but uninspired direction. (Dang this looks bland so soon after Chinatown.) Moose Malloy is a great character, and perfectly cast. (Wasn't sure at first, but it's true.) Some other interesting cats show up and vanish - the tough brothel madam based on Brenda Allen comes to mind, though she's treated with oddly more disdain than most of the other hoods and is dispatched quicker. In general, the more overt racism and misogyny doesn't seem to do anything except make the movie "edgier" than earlier attempts at the same material, and it reads kinda try-hard. But it mostly holds together. *shrug*

The Killing of a Chinese Bookie (dnrw) Didn't care for this at all. Can't tell if the script was treated as a jumping-off point or if the dialogue is 100% improvised, but it just drags on forever and is never that interesting. Keeps treating us to scenes from the strip club like they're the opera scenes in Amadeus, and, whatever, I don't expect burlesque to be Mozart, but Cosmo keeps saying they're an artful, classy joint, and I keep waiting for the show to be more than cheap, lazy camp. How do you make gratuitious nudity boring? Mind you, none of this is bad as a rule - I love digressions and can enjoy good sleaze, and it's clear the filmmakers care about what they're making. They just did not sell it in a way I wanted to buy. Can't remember what edit I watched; I hope it was the 135 minute one, because I cannot imagine there being a longer edit out there.

The American Friend (dnrw) It's weird that this is Patricia Highsmith, right? That Dennis Hopper is playing Tom Ripley? In a cowboy hat? I gather that Minghella's version wasn't true to the source, but I do love that movie, and this is a long, long way from that. This Mr. Ripley isn't even particularly talented! Anyway, this has one really great sequence, where a regular guy has been coerced by crooks into murdering someone on a train platform, and, when the moment comes to shoot, he doesn't. And what follows is a prolonged sequence of an amateur trying to surreptitiously tail a guy across a train station and onto another train, and all the while you're not sure... is he going to do it? is he going to chicken out? is he going to do it so badly he gets caught? It's hard not to put yourself in the protagonist's shoes, wondering how you would handle the situation, whether you could do it, whether you could act on impulse before your conscience could catch up with you. It drags on a long while and this time it's a good thing. Didn't much like the rest of the movie, it's shapeless and often kind of corny, and the central plot hook is contrived. (It's also very weird that this is the only Wim Wenders I've seen.) But, hey, I got one excellent sequence, not gonna complain.

The Big Sleep Unlike the 1946 film, I can follow the plot of this Big Sleep. But, also unlike the 1946 version, this one isn't any damn fun. Mitchum is back as Marlowe (this is three Marlowes in five years, btw), and this time it's set in the 70's and in England, for some reason. I don't find this offensive, but neither do I see what it accomplishes? Most of the cast is still American. (Hi Jimmy!) Still holds together, but even less well than Farewell, My Lovely. But I do find it interesting that the neo-noir era keeps returning to Chandler while it's pretty much left Hammet behind (inasmuch as someone whose genes are spread wide through the whole genre can be left behind). Spade and the Continental Op, straightshooting tough guys who come out on top in the end, seem antiquated in the (post-)modern era. But Marlowe's goodness being out of sync with the world around him only seems more poignant the further you take him from his own time. Nowadays you can really only do Hammett as pastiche, but I sense that you could still play Chandler straight.

Eyes of Laura Mars The most De Palma movie I've seen not made by De Palma, complete with POV shots, paranormal hoodoo, and fixation with sex, death, and whether images of such are art or exploitation (or both). Laura Mars takes photographs of naked women in violent tableux, and has gotten quite famous doing so, but is it damaging to women? The movie has more than a superficial engagement with this topic, but only slightly more than superficial. Kept imagining a movie that is about 30% less serial killer story and 30% more art conversations. (But, then, I have an art degree and have never murdered anyone, so.) Like, museums are full of Biblical paintings full of nude women and slaughter, sometimes both at once, and they're called masterpieces. Most all of them were painted by men on commission from other men. Now Laura Mars makes similar images in modern trappings, and has models made of flesh and blood rather than paint, and it's scandalous? Why is it only controversial once women are getting paid for it? On the other hand, is this just the master's tools? Is she subverting or challenging the male gaze, or just profiting off of it? Or is a woman profiting off of it, itself, a subversion? Is it subversive enough to account for how it commodifies female bodies? These questions are pretty clearly relevant to the movie itself, and the movies in general, especially after the fall of the Hays Code when people were really unrestrained with the blood and boobies. And, heck, the lead is played by the star of Bonnie and Clyde! All this is to say: I wish the movie were as interested in these questions as I am. What's there is a mildly diverting B-picture. There's one great bit where Laura's seeing through the killer's eyes (that's the hook, she gets visions from the murderer's POV; no, this is never explained) and he's RIGHT BEHIND HER, so there's a chase where she charges across an empty room only able to see her own fleeing self from ten feet behind. That was pretty great! And her first kiss with the detective (because you could see a mile away that the detective and the woman he's supposed to protect are gonna fall in love) is immediately followed by the two freaking out about how nonsensical it is for them to fall in love with each other, because she's literally mourning multiple deaths and he's being wildly unprofessional, and then they go back to making out. That bit was great, too. The rest... enh.

The Onion Field What starts off as a seemingly not-that-noirish cops-vs-crooks procedural turns into an agonizingly protracted look at the legal system, with the ultimate argument that the very idea of the law ever resulting in justice is a lie. Hoo! I have to say, I'm impressed. There's a scene where a lawyer - whom I'm not sure is even named, he's like the seventh of thirteen we've met - literally quits the law over how long this court case about two guys shooting a cop has taken. He says the cop who was murdered has been forgotten, his partner has never gotten to move on because the case has lasted eight years, nothing has been accomplished, and they should let the two criminals walk and jail all the judges and lawyers instead. It's awesome! The script is loaded with digressions and unnecessary details, just the way I like it. Can't say I'm impressed with the execution. Nothing is wrong, exactly, but the performances all seem a tad melodramatic or a tad uninspired. Camerawork is, again, purely functional. It's no masterpiece. But that second half worked for me. (And it's Ted Danson's first movie! He did great.)

Body Heat (rw) Let's say up front that this is a handsomely-made movie. Probably the best looking thing on the list since Night Moves. Nothing I've seen better captures the swelter of an East Coast heatwave, or the lusty feeling of being too hot to bang and going at it regardless. Kathleen Turner sells the hell out of a femme fatale. There are a lot of good lines and good performances (Ted Danson is back and having the time of his life). I want to get all that out of the way, because this is a movie heavily modeled after Double Indemnity, and I wanted to discuss its merits before I get into why inviting that comparison doesn't help the movie out. In a lot of ways, it's the same rules as the Robert Mitchum Marlowe movies - do Double Indemnity but amp up the sex and violence. And, to a degree it works. (At least, the sex does, dunno that Double Indemnity was crying out for explosions.) But the plot is amped as well, and gets downright silly. Yeah, Mrs. Dietrichson seduces Walter Neff so he'll off her husband, but Neff clocks that pretty early and goes along with it anyway. Everything beyond that is two people keeping too big a secret and slowly turning on each other. But here? For the twists to work Matty has to be, from frame one, playing four-dimensional chess on the order of Senator Palpatine, and its about as plausible. (Exactly how did she know, after she rebuffed Ned, he would figure out her local bar and go looking for her at the exact hour she was there?) It's already kind of weird to be using the spider woman trope in 1981, but to make her MORE sexually conniving and mercenary than she was in the 40's is... not great. As lurid trash, it's pretty fun for a while, but some noir stuff can't just be updated, it needs to be subverted or it doesn't justify its existence.

Blow Out Brian De Palma has two categories of movie: he's got his mainstream, director-for-hire fare, where his voice is either reigned in or indulged in isolated sequences that don't always jive with the rest fo the film, and then there's his Brian De Palma movies. My mistake, it seems, is having seen several for-hires from throughout his career - The Untouchables (fine enough), Carlito's Way (ditto, but less), Mission: Impossible (enh) - but had only seen De Palma-ass movies from his late period (Femme Fatale and The Black Dahlia, both of which I think are garbage). All this to say: Blow Out was my first classic-era De Palma, and holy fucking shit dudes. This was (with caveats) my absolute and entire jam. I said I could enjoy good sleaze, and this is good friggin' sleaze. (Though far short of De Palma at his sleaziest, mercifully.) The splitscreens, the diopter shots, the canted angles, how does he make so many shlocky things work?! John Travolta's sound tech goes out to get fresh wind fx for the movie he's working on, and we get this wonderful sequence of visuals following sounds as he turns his attention and his microphone to various noises - a couple on a walk, a frog, an owl, a buzzing street lamp. Later, as he listens back to the footage, the same sequence plays again, but this time from his POV; we're seeing his memory as guided by the same sequence of sounds, now recreated with different shots, as he moves his pencil in the air mimicking the microphone. When he mixes and edits sounds, we hear the literal soundtrack of the movie we are watching get mixed and edited by the person on screen. And as he tries to unravel a murder mystery, he uses what's at hand: magnetic tape, flatbed editors, an animation camera to turn still photos from the crime scene into a film and sync it with the audio he recorded; it's forensics using only the tools of the editing room. As someone who's spent some time in college editing rooms, this is a hoot and a half. Loses a bit of steam as it goes on and the film nerd stuff gives way to a more traditional thriller, but rallies for a sound-tech-centered final setpiece, which steadily builds to such madcap heights you can feel the air thinning, before oddly cutting its own tension and then trying to build it back up again. It doesn't work as well the second time. But then, that shot right after the climax? Damn. Conflicted on how the movie treats the female lead. I get why feminist film theorists are so divided on De Palma. His stuff is full of things feminists (rightly) criticize, full of women getting naked when they're not getting stabbed, but he also clearly finds women fascinating and has them do empowered and unexpected things, and there are many feminist reads of his movies. Call it a mixed bag. But even when he's doing tropey shit, he explores the tropes in unexpected ways. Definitely the best movie so far that I hadn't already seen.

Cutter's Way (rw) Alex Cutter is pitched to us as an obnoxious-but-sympathetic son of a bitch, and, you know, two out of three ain't bad. Watched this during my 2020 neo-noir kick and considered skipping it this time because I really didn't enjoy it. Found it a little more compelling this go around, while being reminded of why my feelings were room temp before. Thematically, I'm onboard: it's about a guy, Cutter, getting it in his head that he's found a murderer and needs to bring him to justice, and his friend, Bone, who intermittently helps him because he feels bad that Cutter lost his arm, leg, and eye in Nam and he also feels guilty for being in love with Cutter's wife. The question of whether the guy they're trying to bring down actually did it is intentionally undefined, and arguably unimportant; they've got personal reasons to see this through. Postmodern and noirish, fixated with the inability to ever fully know the truth of anything, but starring people so broken by society that they're desperate for certainty. (Pretty obvious parallels to Vietnam.) Cutter's a drunk and kind of an asshole, but understandably so. Bone's shiftlessness is the other response to a lack of meaning in the world, to the point where making a decision, any decision, feels like character growth, even if it's maybe killing a guy whose guilt is entirely theoretical. So, yeah, I'm down with all of this! A- in outline form. It's just that Cutter is so uninterestingly unpleasant and no one else on screen is compelling enough to make up for it. His drunken windups are tedious and his sanctimonious speeches about what the war was like are, well, true and accurate but also obviously manipulative. It's two hours with two miserable people, and I think Cutter's constant chatter is supposed to be the comic relief but it's a little too accurate to drunken rambling, which isn't funny if you're not also drunk. He's just tedious, irritating, and periodically racist. Pass.

Blood Simple (rw) I'm pretty cool on the Coens - there are things I've liked, even loved, in every Coen film I've seen, but I always come away dissatisfied. For a while, I kept going to their movies because I was sure eventually I'd love one without qualification. No Country for Old Men came close, the first two acts being master classes in sustained tension. But then the third act is all about denying closure: the protagonist is murdered offscreen, the villain's motives are never explained, and it ends with an existentialist speech about the unfathomable cruelty of the world. And it just doesn't land for me. The archness of the Coen's dialogue, the fussiness of their set design, the kinda-intimate, kinda-awkward, kinda-funny closeness of the camera's singles, it cannot sell me on a devastating meditation about meaninglessness. It's only ever sold me on the Coens' own cleverness. And that archness, that distancing, has typified every one of their movies I've come close to loving. Which is a long-ass preamble to saying, holy heck, I was not prepared for their very first movie to be the one I'd been looking for! I watched it last year and it remains true on rewatch: Blood Simple works like gangbusters. It's kind of Double Indemnity (again) but played as a comedy of errors, minus the comedy: two people romantically involved feeling their trust unravel after a murder. And I think the first thing that works for me is that utter lack of comedy. It's loaded with the Coens' trademark ironies - mostly dramatic in this case - but it's all played straight. Unlike the usual lead/femme fatale relationship, where distrust brews as the movie goes on, the audience knows the two main characters can trust each other. There are no secret duplicitous motives waiting to be revealed. The audience also know why they don't trust each other. (And it's all communicated wordlessly, btw: a character enters a scene and we know, based on the information that character has, how it looks to them and what suspicions it would arouse, even as we know the truth of it). The second thing that works is, weirdly, that the characters aren't very interesting?! Ray and Abby have almost no characterization. Outside of a general likability, they are blank slates. This is a weakness in most films, but, given the agonizingly long, wordless sequences where they dispose of bodies or hide from gunfire, you're left thinking not "what will Ray/Abby do in this scenario," because Ray and Abby are relatively elemental and undefined, but "what would I do in this scenario?" Which creates an exquisite tension but also, weirdly, creates more empathy than I feel for the Coens' usual cast of personalities. It's supposed to work the other way around! Truly enjoyable throughout but absolutely wonderful in the suspenseful-as-hell climax. Good shit right here.

Body Double The thing about erotic thrillers is everything that matters is in the name. Is it thrilling? Is it erotic? Good; all else is secondary. De Palma set out to make the most lurid, voyeuristic, horny, violent, shocking, steamy movie he could come up with, and its success was not strictly dependent on the lead's acting ability or the verisimilitude of the plot. But what are we, the modern audience, to make of it once 37 years have passed and, by today's standards, the eroticism is quite tame and the twists are no longer shocking? Then we're left with a nonsensical riff on Vertigo, a specularization of women that is very hard to justify, and lead actor made of pulped wood. De Palma's obsessions don't cohere into anything more this time; the bits stolen from Hitchcock aren't repurposed to new ends, it really is just Hitch with more tits and less brains. (I mean, I still haven't seen Vertigo, but I feel 100% confident in that statement.) The diopter shots and rear-projections this time look cheap (literally so, apparently; this had 1/3 the budget of Blow Out). There are some mildly interesting setpieces, but nothing compared to Travolta's auditory reconstructions or car chase where he tries to tail a subway train from street level even if it means driving through a frickin parade like an inverted French Connection, goddamn Blow Out was a good movie! Anyway. Melanie Griffith seems to be having fun, at least. I guess I had a little as well, but it was, at best, diverting, and a real letdown.

The Hit Surprised by how much I enjoyed this one. Terrance Stamp flips on the mob and spends ten years living a life of ease in Spain, waiting for the day they find and kill him. Movie kicks off when they do find him, and what follows is a ramshackle road movie as John Hurt and a young Tim Roth attempt to drive him to Paris so they can shoot him in front of his old boss. Stamp is magnetic. He's spent a decade reading philosophy and seems utterly prepared for death, so he spends the trip humming, philosophizing, and being friendly with his captors when he's not winding them up. It remains unclear to the end whether the discord he sews between Roth and Hurt is part of some larger plan of escape or just for shits and giggles. There's also a decent amount of plot for a movie that's not terribly plot-driven - just about every part of the kidnapping has tiny hitches the kidnappers aren't prepared for, and each has film-long repercussions, drawing the cops closer and somehow sticking Laura del Sol in their backseat. The ongoing questions are when Stamp will die, whether del Sol will die, and whether Roth will be able to pull the trigger. In the end, it's actually a meditation on ethics and mortality, but in a quiet and often funny way. It's not going to go down as one of my new favs, but it was a nice way to spend a couple hours.

Trouble in Mind (dnrw) I fucking hated this movie. It's been many months since I watched it, do I remember what I hated most? Was it the bit where a couple of country bumpkins who've come to the city walk into a diner and Mr. Bumpkin clocks that the one Black guy in the back as obviously a criminal despite never having seen him before? Was it the part where Kris Kristofferson won't stop hounding Mrs. Bumpkin no matter how many times she demands to be left alone, and it's played as romantic because obviously he knows what she needs better than she does? Or is it the part where Mr. Bumpkin reluctantly takes a job from the Obvious Criminal (who is, in fact, a criminal, and the only named Black character in the movie if I remember correctly, draw your own conclusions) and, within a week, has become a full-blown hood, which is exemplified by a lot, like, a lot of queer-coding? The answer to all three questions is yes. It's also fucking boring. Even out-of-drag Divine's performance as the villain can't save it.

Manhunter 'sfine? I've still never seen Silence of the Lambs, nor any of the Hopkins Lecter movies, nor, indeed, any full episode of the show. So the unheimlich others get seeing Brian Cox play Hannibal didn't come into play. Cox does a good job with him, but he's barely there. Shame, cuz he's the most interesting part of the movie. Honestly, there's a lot of interesting stuff that's barely there. Will Graham being a guy who gets into the heads of serial killers is explored well enough, and Mann knows how to direct a police procedural such that it's both contemplative and propulsive. But all the other themes it points at? Will's fear that he understands murderers a little too well? Hannibal trying to nudge him towards becoming one? Whatever dance Hannibal and Tooth Fairy are doing? What Tooth Fairy's deal is, anyway? (Why does he wear fake teeth and bite things? Why is he fixated on the red dragon? Does the bit where he says "Francis is gone forever" mean he has DID?) None of it goes anywhere or amounts to anything. I mean, it's certainly more interesting with this stuff than without, but it has that feel of a book that's been pared of its interesting bits to fit the runtime (or, alternately, pulp that's been sloppily elevated). I still haven't made my mind up on Mann's cold, precise camera work, but at least it gives me something to look at. It's fine! This is fine.

Mona Lisa (rw) Gave this one another shot. Bob Hoskins is wonderful as a hood out of his depth in classy places, quick to anger but just as quick to let anger go (the opening sequence where he's screaming on his ex-wife's doorstep, hurling trash cans at her house, and one minute later thrilled to see his old car, is pretty nice). And Cathy Tyson's working girl is a subtler kind of fascinating, exuding a mixture of coldness and kindness. It's just... this is ultimately a story about how heartbreaking it is when the girl you like is gay, right? It's Weezer's Pink Triangle: The Movie. It's not homophobic, exactly - Simone isn't demonized for being a lesbian - but it's still, like, "man, this straight white guy's pain is so much more interesting than the Black queer sex worker's." And when he's yelling "you woulda done it!" at the end, I can't tell if we're supposed to agree with him. Seems pretty clear that she wouldn'ta done it, at least not without there being some reveal about her character that doesn't happen, but I don't think the ending works if we don't agree with him, so... I'm like 70% sure the movie does Simone dirty there. For the first half, their growing relationship feels genuine and natural, and, honestly, the story being about a real bond that unfortunately means different things to each party could work if it didn't end with a gun and a sock in the jaw. Shape feels jagged as well; what feels like the end of the second act or so turns out to be the climax. And some of the symbolism is... well, ok, Simone gives George money to buy more appropriate clothes for hanging out in high end hotels, and he gets a tan leather jacket and a Hawaiian shirt, and their first proper bonding moment is when she takes him out for actual clothes. For the rest of the movie he is rocking double-breasted suits (not sure I agree with the striped tie, but it was the eighties, whaddya gonna do?). Then, in the second half, she sends him off looking for her old streetwalker friend, and now he looks completely out of place in the strip clubs and bordellos. So far so good. But then they have this run-in where her old pimp pulls a knife and cuts George's arm, so, with his nice shirt torn and it not safe going home (I guess?) he starts wearing the Hawaiian shirt again. So around the time he's starting to realize he doesn't really belong in Simone's world or the lowlife world he came from anymore, he's running around with the classy double-breasted suit jacket over the garish Hawaiian shirt, and, yeah, bit on the nose guys. Anyway, it has good bits, I just feel like a movie that asks me to feel for the guy punching a gay, Black woman in the face needs to work harder to earn it. Bit of wasted talent.

The Bedroom Window Starts well. Man starts an affair with his boss' wife, their first night together she witnesses an attempted murder from his window, she worries going to the police will reveal the affair to her husband, so the man reports her testimony to the cops claiming he's the one who saw it. Young Isabelle Huppert is the perfect woman for a guy to risk his career on a crush over, and Young Steve Guttenberg is the perfect balance of affability and amorality. And it flows great - picks just the right media to res. So then he's talking to the cops, telling them what she told him, and they ask questions he forgot to ask her - was the perp's jacket a blazer or a windbreaker? - and he has to guess. Then he gets called into the police lineup, and one guy matches her description really well, but is it just because he's wearing his red hair the way she described it? He can't be sure, doesn't finger any of them. He finds out the cops were pretty certain about one of the guys, so he follows the one he thinks it was around, looking for more evidence, and another girl is attacked right outside a bar he knows the redhead was at. Now he's certain! But he shows the boss' wife the guy and she's not certain, and she reminds him they don't even know if the guy he followed is the same guy the police suspected! And as he feeds more evidence to the cops, he has to lie more, because he can't exactly say he was tailing the guy around the city. So, I'm all in now. Maybe it's because I'd so recently rewatched Night Moves and Cutter's Way, but this seems like another story about uncertainty. He's really certain about the guy because it fits narratively, and we, the audience, feel the same. But he's not actually a witness, he doesn't have actual evidence, he's fitting bits and pieces together like a conspiracy theorist. He's fixating on what he wants to be true. Sign me up! But then it turns out he's 100% correct about who the killer is but his lies are found out and now the cops think he's the killer and I realize, oh, no, this movie isn't nearly as smart as I thought it was. Egg on my face! What transpires for the remaining half of the runtime is goofy as hell, and someone with shlockier sensibilities could have made a meal of it, but Hanson, despite being a Corman protege, takes this silliness seriously in the all wrong ways. Next!

Homicide (rw? I think I saw most of this on TV one time) Homicide centers around the conflicted loyalties of a Jewish cop. It opens with the Jewish cop and his white gentile partner taking over a case with a Black perp from some Black FBI agents. The media is making a big thing about the racial implications of the mostly white cops chasing down a Black man in a Black neighborhood. And inside of 15 minutes the FBI agent is calling the lead a k*ke and the gentile cop is calling the FBI agent a f****t and there's all kinds of invective for Black people. The film is announcing its intentions out the gate: this movie is about race. But the issue here is David Mamet doesn't care about race as anything other than a dramatic device. He's the Ubisoft of filmmakers, having no coherent perspective on social issues but expecting accolades for even bringing them up. Mamet is Jewish (though lead actor Joe Mantegna definitely is not) but what is his position on the Jewish diaspora? The whole deal is Mantegna gets stuck with a petty homicide case instead of the big one they just pinched from the Feds, where a Jewish candy shop owner gets shot in what looks like a stickup. Her family tries to appeal to his Jewishness to get him to take the case seriously, and, after giving them the brush-off for a long time, finally starts following through out of guilt, finding bits and pieces of what may or may not be a conspiracy, with Zionist gun runners and underground neo-Nazis. But, again: all of these are just dramatic devices. Mantegna's Jewishness (those words will never not sound ridiculous together) has always been a liability for him as a cop (we are told, not shown), and taking the case seriously is a reclamation of identity. The Jews he finds community with sold tommyguns to revolutionaries during the founding of Israel. These Jews end up blackmailing him to get a document from the evidence room. So: what is the film's position on placing stock in one's Jewish identity? What is its position on Israel? What is its opinion on Palestine? Because all three come up! And the answer is: Mamet doesn't care. You can read it a lot of different ways. Someone with more context and more patience than me could probably deduce what the de facto message is, the way Chris Franklin deduced the de facto message of Far Cry V despite the game's efforts not to have one, but I'm not going to. Mantegna's attempt to reconnect with his Jewishness gets his partner killed, gets the guy he was supposed to bring in alive shot dead, gets him possibly permanent injuries, gets him on camera blowing up a store that's a front for white nationalists, and all for nothing because the "clues" he found (pretty much exclusively by coincidence) were unconnected nothings. The problem is either his Jewishness, or his lifelong failure to connect with his Jewishness until late in life. Mamet doesn't give a shit. (Like, Mamet canonically doesn't give a shit: he is on record saying social context is meaningless, characters only exist to serve the plot, and there are no deeper meanings in fiction.) Mamet's ping-pong dialogue is fun, as always, and there are some neat ideas and characters, but it's all in service of a big nothing that needed to be a something to work.

Swoon So much I could talk about, let's keep it to the most interesting bits. Hommes Fatales: a thing about classic noir that it was fascinated by the marginal but had to keep it in the margins. Liberated women, queer-coded killers, Black jazz players, broke thieves; they were the main event, they were what audiences wanted to see, they were what made the movies fun. But the ending always had to reassert straightlaced straight, white, middle-class male society as unshakeable. White supremacist capitalist patriarchy demanded, both ideologically and via the Hays Code, that anyone outside these norms be punished, reformed, or dead by the movie's end. The only way to make them the heroes was to play their deaths for tragedy. It is unsurprising that neo-noir would take the queer-coded villains and make them the protagonists. Implicature: This is the story of Leopold and Loeb, murderers famous for being queer, and what's interesting is how the queerness in the first half exists entirely outside of language. Like, it's kind of amazing for a movie from 1992 to be this gay - we watch Nathan and Dickie kiss, undress, masturbate, fuck; hell, they wear wedding rings when they're alone together. But it's never verbalized. Sex is referred to as "your reward" or "what you wanted" or "best time." Dickie says he's going to have "the girls over," and it turns out "the girls" are a bunch of drag queens, but this is never acknowledged. Nathan at one point lists off a bunch of famous men - Oscar Wild, E.M. Forster, Frederick the Great - but, though the commonality between them is obvious (they were all gay), it's left the the audience to recognize it. When their queerness is finally verbalized in the second half, it's first in the language of pathology - a psychiatrist describing their "perversions" and "misuse" of their "organs" before the court, which has to be cleared of women because it's so inappropriate - and then with slurs from the man who murders Dickie in jail (a murder which is written off with no investigation because the victim is a gay prisoner instead of a L&L's victim, a child of a wealthy family). I don't know if I'd have noticed this if I hadn't read Chip Delany describing his experience as a gay man in the 50's existing almost entirely outside of language, the only language at the time being that of heteronormativity. Murder as Love Story: L&L exchange sex as payment for the other commiting crimes; it's foreplay. Their statements to the police where they disagree over who's to blame is a lover's quarrel. Their sentencing is a marriage. Nathan performs his own funeral rites over Dickie's body after he dies on the operating table. They are, in their way, together til death did they part. This is the relationship they can have. That it does all this without romanticizing the murder itself or valorizing L&L as humans is frankly incredible.

Suture (rw) The pitch: at the funeral for his father, wealthy Vincent Towers meets his long lost half brother Clay Arlington. It is implied Clay is a child from out of wedlock, possibly an affair; no one knows Vincent has a half-brother but him and Clay. Vincent invites Clay out to his fancy-ass home in Arizona. Thing is, Vincent is suspected (correctly) by the police of having murdered his father, and, due to a striking family resemblence, he's brought Clay to his home to fake his own death. He finagles Clay into wearing his clothes and driving his car, and then blows the car up and flees the state, leaving the cops to think him dead. Thing is, Clay survives, but with amnesia. The doctors tell him he's Vincent, and he has no reason to disagree. Any discrepancy in the way he looks is dismissed as the result of reconstructive surgery after the explosion. So Clay Arlington resumes Vincent Towers' life, without knowing Clay Arlington even exists. The twist: Clay and Vincent are both white, but Vincent is played by Michael Harris, a white actor, and Clay is played by Dennis Haysbert, a Black actor. "Ian, if there's just the two of them, how do you know it's not Harris playing a Black character?" Glad you asked! It is most explicitly obvious during a scene where Vincent/Clay's surgeon-cum-girlfriend essentially bringing up phrenology to explain how Vincent/Clay couldn't possibly have murdered his father, describing straight hair, thin lips, and a Greco-Roman nose Haysbert very clearly doesn't have. But, let's be honest: we knew well beforehand that the rich-as-fuck asshole living in a huge, modern house and living it up in Arizona high society was white. Though Clay is, canonically, white, he lives an poor and underprivileged life common to Black men in America. Though the film's title officially refers to the many stitches holding Vincent/Clay's face together after the accident, "suture" is a film theory term, referring to the way a film audience gets wrapped up - sutured - in the world of the movie, choosing to forget the outside world and pretend the story is real. The usage is ironic, because the audience cannot be sutured in; we cannot, and are not expected to, suspend our disbelief that Clay is white. We are deliberately distanced. Consequently this is a movie to be thought about, not to to be felt. It has the shape of a Hitchcockian thriller but it can't evoke the emotions of one. You can see the scaffolding - "ah, yes, this is the part of a thriller where one man hides while another stalks him with a gun, clever." I feel ill-suited to comment on what the filmmakers are saying about race. I could venture a guess about the ending, where the psychiatrist, the only one who knows the truth about Clay, says he can never truly be happy living the lie of being Vincent Towers, while we see photographs of Clay/Vincent seemingly living an extremely happy life: society says white men simply belong at the top more than Black men do, but, if the roles could be reversed, the latter would slot in seamlessly. Maybe??? Of all the movies in this collection, this is the one I'd most want to read an essay on (followed by Swoon).

The Last Seduction (dnrw) No, no, no, I am not rewataching this piece of shit movie.

Brick (rw) Here's my weird contention: Brick is in color and in widescreen, but, besides that? There's nothing neo- about this noir. There's no swearing except "hell." (I always thought Tug said "goddamn" at one point but, no, he's calling The Pin "gothed-up.") There's a lot of discussion of sex, but always through implication, and the only deleted scene is the one that removed ambiguity about what Brendan and Laura get up to after kissing. There's nothing postmodern or subversive - yes, the hook is it's set in high school, but the big twist is that it takes this very seriously. It mines it for jokes, yes, but the drama is authentic. In fact, making the gumshoe a high school student, his jadedness an obvious front, still too young to be as hard as he tries to be, just makes the drama hit harder. Sam Spade if Sam Spade were allowed to cry. I've always found it an interesting counterpoint to The Good German, a movie that fastidiously mimics the aesthetics of classic noir - down to even using period-appropriate sound recording - but is wholly neo- in construction. Brick could get approved by the Hays Code. Its vibe, its plot about a detective playing a bunch of criminals against each other, even its slang ("bulls," "yegg," "flopped") are all taken directly from Hammett. It's not even stealing from noir, it's stealing from what noir stole from! It's a perfect curtain call for the collection: the final film is both the most contemporary and the most classic. It's also - but for the strong case you could make for Night Moves - the best movie on the list. It's even more appropriate for me, personally: this was where it all started for me and noir. I saw this in theaters when it came out and loved it. It was probably my favorite movie for some time. It gave me a taste for pulpy crime movies which I only, years later, realized were neo-noir. This is why I looked into Kiss Kiss, Bang Bang and In Bruges. I've seen it more times than any film on this list, by a factor of at least 3. It's why I will always adore Rian Johnson and Joseph Gordon-Levitt. It's the best-looking half-million-dollar movie I've ever seen. (Indie filmmakers, take fucking notes.) I even did a script analysis of this, and, yes, it follows the formula, but so tightly and with so much style. Did you notice that he says several of the sequence tensions out loud? ("I just want to find her." "Show of hands.") I notice new things each time I see it - this time it was how "brushing Brendan's hair out of his face" is Em's move, making him look more like he does in the flashback, and how Laura does the same to him as she's seducing him, in the moment when he misses Em the hardest. It isn't perfect. It's recreated noir so faithfully that the Innocent Girl dies, the Femme Fatale uses intimacy as a weapon, and none of the women ever appear in a scene together. 1940's gender politics maybe don't need to be revisited. They say be critical of the media you love, and it applies here most of all: it is a real criticism of something I love immensely.

#film noir #neo-noir #criterion channel

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faunusrights · 3 years

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what is going on with all the bias on robyn hill’s wiki page, anyway? - an aside

As someone who uses the RWBY wiki with some degree of frequency - often because I’m looking for art references, or Semblance and weapon names - I’m used to... some amount of bias in the articles for different characters? Like, let’s be real, it’s not a perfect wiki! Community-maintained stuff isn’t easy to all keep on the same track! But, generally, it gives the facts well enough and doesn’t do too bad a job keeping all the balls in the air when it comes to new information from all four corners of this franchise.

Well, until you open the article for Robyn Hill, and realise it’s an absolute disaster. Like, really; the impartial voice just plain doesn’t exist for her, and almost all of her wiki is written in such a way that she reads as being an absolutely insufferable, hostile, hard-to-like character. Even if you aren’t a fan of Robyn personally, you have to admit that if you hadn’t seen the show yourself, you might very well come away from her article presuming she’s a major antagonist of Volumes 7 and 8.

Like, for instance, let’s take a look at the first paragraph of her Personality section:

Robyn has a direct and confident personality, having no trouble being confrontational with Atlas personnel, including the Ace Operatives. Robyn also seems to suffer from overconfidence and arrogance, shown in her encounters with Ruby and celebrating her election victory before it was verified. She is aggressive and hostile in nature, quickly jumping to conflict without thinking through consequences. However, she is also shown to be reasonable when the situation calls for it.

And, for good measure, here’s another paragraph from the same section:

In "With Friends Like These" Robyn displayed a rather impulsive side of her personality, when upon hearing that James Ironwood's plan to abandon Mantle and arrest those against him, she started a fight between herself, Clover Ebi, and Qrow Branwen onboard a Manta with Tyrian Callows in custody. Despite the fact, there was no order or her arrest. Her brashness led to Tyrian breaking free and crashing the Manta as well as her becoming unconscious.

(Taken from Robyn’s RWBY Wiki page. Bolding is mine.)

In every instance here, all of the “negative” aspects of her personality take centre stage; she’s confrontational. She suffers from arrogance. She is aggressive and hostile. She started the fight. Her brashness led to the crash. All of this is only compounded when her positive traits trail behind as an afterthought; she’s direct and confrontational, overconfident and arrogant, aggressive and hostile, impulsive and jumps to conclusions... but hey! As least she’s reasonable when the situation calls for it.

The way that this information is presented to the reader is quite literally on par with how the wiki presents the personalities of the actual literal villains who appear throughout the show. Let’s take, for instance, the Personality section of Cinder Fall:

Cinder is ruthless and sadistic, as demonstrated when she delivers a killing blow to a clearly defeated Pyrrha Nikos in "End of the Beginning" and when she throws a spear at a defenseless Weiss Schnee in "The More the Merrier." She is relentlessly driven to gain power and determined to cross any line to obtain it. Cinder demonstrates a cunning that shows in her successful manipulation of events and people throughout the first three volumes. Cinder is also arrogant and egomaniacal, and as such, relishes in dominance and gloating, displaying shameless pleasure in the misery she has caused others.

Or, the Personality section of Raven Branwen:

Raven is cynical, patronizing, selfish and stubborn. She believed her act of "kindness" of saving Yang's life from Neopolitan was sufficient despite having left Yang at a very young age and refused to protect her daughter when in need after that.

Raven is also very prideful and hypocritical, refusing to acknowledge her faults and always trying to justify her actions both to others and to herself, often putting the blame on others for them even if she feels real guilt about them.

It makes sense that for an antagonist, the primary faults and flaws of their personalities will come first, as to better represent them as the villains to clarify to the reader who they are and why they act as they do in their storylines. However, the fact that Robyn arguably has an even more caustic write-up then Raven, despite not being an antagonist, goes to show the lengths this writer has gone to present her in a significantly more negative light than she ever appears in the show.

If this doesn’t seem convincing, let’s look at a more direct comparison; what does the wiki say about Ironwood? He’s present in the same seasons, and has now become more of an antagonist in the latter episodes; is the wiki quite as blunt about his flaws?

Ironwood is courteous to his allies, as shown by his first onscreen interaction with Ozpin and Glynda Goodwitch. He is also far-thinking and tactical, wondering about the future, as seen when he speaks to Ozpin about Qrow Branwen's message. He also has a jovial, friendly, humorous and proud public persona, which he uses as a spokesman for the weapon manufacturers of Atlas.

However, as courteous Ironwood may appear, he can also be incredibly blunt, often preferring the direct approach. When he feels necessary, Ironwood is not afraid to bring the full might of his military command to bear, which sparked disagreements with both Glynda and Ozpin. Nevertheless, Ironwood is extremely loyal to his comrades, and however questionable his methods may be, he seems to have genuinely good intentions behind them.

Uh, no.

Instead, when his flaws are mentioned (for example, being blunt), it’s written in a significantly less... abrasive manner. It’s referred to as the direct approach, versus Robyn who is described as confrontational. Even then, his flaws are folded in to his (alleged) positive traits; he is not afraid, extremely loyal, and has genuinely good intentions, despite the fact that the show has now proven that Ironwood’s flaws greatly outweigh these. It reveals how thoroughly all of Robyn’s actions are presented as the work of an arrogant troublemaker, whilst Ironwood’s actions are presented as the efforts of a man working towards some greater good.

Also, I’ll add that in both examples, I used the first two paragraphs of their Personality sections. These are both the first two things you read about these characters, yet look at how differently they’re summarised.

What is interesting, however, is that despite this bias being extremely self-evident, the comments on her page generally chime agreement, referring to her as “overconfident, arrogant, impulsive and hotheaded to the point of being unlikable”, and claiming that she’s “literally the worse character in the show next to cinder, blake and yang”[1]. Someone mentions that Robyn has earned quite the hatedom... but why?

Broadly, my experiences of Robyn Hill’s writing in the fandom has been through a queer lens, and the vast majority of writers who’ve covered her and the Happy Huntresses have been women, or queer, or trans, or all the above... basically, the people who are usually responsible for a vast majority of fanfiction, let’s be real. These writers love Robyn, and have explored and extrapolated on her character to marvellous degree. Yet, at no singular point have any of these flaws ever been written quite as strongly as the wiki implies they are, nor have I seen much evidence of them myself in the show. For instance, let’s take one of the more serious points in her Personality section; she started a fight between herself, Clover Ebi, and Qrow Branwen [...] her brashness led to Tyrian breaking free and crashing the Manta as well as her becoming unconscious.

When we watch this scene again, Robyn did initiate the fight... because she was rightfully aware that Clover would obey his orders, even if they were wrong. Despite everything that happened prior in the entirety of Volume 7, when given orders to bring Qrow in alongside RWBY, it was clear that Clover fully intended to follow it through, which Robyn knows from prior experience with the AceOps:

[image ID: two images of Clover, Robyn and Qrow in the dark-grey interior of the Manta ship. Robyn has her weapon aimed at Clover as he stands in front of Qrow. Clover is saying “Only Qrow is under arrest [...] please don’t make me arrest you too.”]

Her knowledge of the AceOps means that she reacted accordingly; trying to stop him from taking Qrow in and obeying Ironwood’s plan the only way she knows the AceOps respond to. Her reaction isn’t unwarranted. However, my point isn’t to argue that Robyn was right or wrong, but rather that regardless of who started the fight, the way the wiki explains this specific incident is that it’s solely Robyn’s fault that Tyrian escaped and crashed the Manta, but we know this isn’t the case. Robyn and Qrow both fought Clover, and it was Clover’s good luck (or Qrow’s bad luck, depending on how you view it) that allowed for Kingfisher to break Tyrian’s bonds. Her brashness is blamed for the outcome, but in reality, this outcome could have been avoided together if Clover had not chosen to follow his orders and bring in an innocent man. Also, she didn’t crash the Manta! That was all Tyrian! The intentional tying together of these two events as her fault, however, are a neat package of blame.

In these instances on the wiki, Robyn’s personality appears amplified, focusing specifically on her flaws and exaggerating them to the extremes that, as noted earlier, matches the language used to define the very villains of the series. Yet, the people who enjoy her and the Happy Huntresses often perceive those same flaws to a significantly lesser extent, or even see those flaws as actually being boons of her character; for instance, reading her alleged arrogance as passion. So, why such division?

Before, I mentioned her “negative” traits, and I put this into quote marks because traits don’t always align nicely into good and bad. All aspects of a person can vary on how positive they are based on context - even the show proves this, with protectiveness becoming paranoia (Ironwood) or loyalty becoming subservience (Winter). Even a character that is broadly composed of more unfavourable traits can have this contextual shift; Cinder’s stubbornness to her goals makes her a fast learner and a tenacious opponent.

Yet, why did the writer (or writers) choose to highlight almost every aspect of Robyn’s character as a bad thing? Why did they frame her decisions as such? I have a suspicion it’s to do with her character at large; she’s a bold socialist politician who believes in equality and fairness for all, who refuses to stand for incompetence and obedience towards evil causes. She’s outspoken in her views, and reacts strongly to those who threaten to overturn her work. Also, she’s a woman, in charge of a group of other women, at least one of whom is canonically trans. To those who agree with her in real life, Robyn appears as a great character! We admire her work ethic and we support her ends. To those who may not... well, it’s not hard to see how they might perceive her as more of a cocky, authority-defying upstart. Of course, the core text of RWBY doesn’t quite believe the latter; RWBY has always placed Robyn as the direct counter to authoritarianism, whether it be Jacques, Clover, or Ironwood, and even the article admits that she is a potent voice for the people of Mantle. Still, it’s clear that there’s plenty of people in a vocal minority who are deeply dissatisfied by Robyn, and aren’t afraid to make their stance on the matter exceedingly clear.

So, what does this all mean? Well, here’s what we can say for sure; Robyn’s article is, and has always been, stringently biased against her character, and often misconstrues her motives and decisions. This is maybe the more obvious part, but how should her article be worded to make this less so? Likely, I’d rephrase a lot of it to be less damaging to her character; she isn’t hostile, she holds people accountable. She isn’t quick to jump to conflict, she is familiar with how Atlas responds to anti-authority with violence. She isn’t arrogant, she believes in the power of the people as being the right thing to fight for. Even this makes it clearer that her character is about resisting the oppression inherent in Atlas, and is a much clearer outline of her personality as a whole. People may disagree with this phrasing and summary also, but given her character is based on Robin Hood, it’s also not far from the mark in terms of what she should represent.

TL;DR: Robyn’s wiki page is written with a deep bias against her character and what she represents, acts upon, and chooses to do in the show; I have no doubt that in canon, this sort of language would probably be used by Jacques himself as a smear campaign, haha. Whilst I can’t speak for the author and their motives, I have a distinct feeling that this article was written, or edited, by someone who is either:

not a fan of Robyn

not a fan of a new female character

not a fan of a new female character in a position of power

not a fan of a character with socialist/communist/antifa ideals

all of the above and then some???

Even though I’m not going to edit her wiki page (I’m very shy and I’ve never done it before), I think it’s worth analysing this if only as a reminder of the inherent biases of an author even when people are trying to present a character’s information impartially. This isn’t the first wiki I’ve seen misconstrue - or even make incorrect assumptions on - facts about a character, and it won’t be the last. In the meantime, though, I leave you with this fact:

Robyn Hill slaps huge nuts and I love her.

[1] I’m not naming the users who posted these things here, because it’s unnecessary. You can find them for yourself at the bottom of Robyn’s wiki, but there’s no need to respond; some people just don’t like Robyn, and that’s fine - I’m just explaining how bias leaks into wikis like water into a sponge. It happens!

#rwby #rwde #robyn hill #murphy's thoughts and vibes on this shit (again)#is this a new tag #i haven't really written this well and it was sort of off the cuff so sorry if there's mistake #*mistakes #LMAO #i just wanted to lay my Thoughts out #i swear if even one person msgs me like 'but robyn DOES suck' im banishing you to the Spray Cheese Hell Dimension #also im tagging as rwde but its not rwde against the show (FOR ONCE??) so

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vidavalor · 3 years

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Bucky flirting with Sam as part of the changing times theme in Ep 5...

This is on the long side. Contains brief mention of the show basically canonizing Bucky as a sexual assault survivor. It’s meta on Bucky and Sam’s identity themes and how the show is shifting into a theme of changing times with the latest episodes-- mostly about how Bucky’s journey is paralleling Sam’s, even while being a different kind of journey.

One of the more interesting subtle themes of Ep 5 is that while we have had a lot of emphasis in the earlier episodes on how much horror still exists in America-- and a very right, necessary emphasis-- as the show begins to pivot towards the part of Sam’s journey that involves him deciding to become Captain America, they are pivoting a bit to illustrate that as much as many things have, unfortunately, not changed the way they should have over time, a lot really has. (Also, the Sam-as-Captain-America thing isn’t meant to be a spoiler as I don’t really totally know if that’s the ending, it just seems um... really the only place this story is going...) They have been using Isaiah to illustrate this point for Sam quite a bit in Ep 5, especially. The core conflict comes from Isaiah believing that a self-respecting Black man wouldn’t want to fight for America after the horrors that have been done to Black people in its history, which is not something that Sam ultimately feels is true. He definitely feels the pain of Black history in America but he still believes *in* America and views it as his country and is accepting that everyone in it really has a role to play in making it live up to the ideals it espouses but has still yet to achieve. In deciding to appreciate Isaiah choosing to open up to him and share his story but respectfully disagree with him on what to do next-- and to have his ability to make this choice reinforced by Sarah supporting him by saying she knows he will choose to fight in the fights he believes in and she has his back-- Sam is choosing to become a symbol of something, even if he’s just a man, and he’s affirming to himself that it is okay for him to believe in this thing he believes in. It’s okay for him to believe in America and love America and what it stands for, even in all its extremely imperfect glory, because he can be the change he wants to see in the world. He knows there are many people who will support him in that and that it only happens if we make it happen and that America, in all its imperfection, has made a lot of positive change happen throughout its short history.

You know who else is enjoying similar truths in the same episode? Bucky.

Bucky arrives in Delacroix all “Hello, 21st Century! I’ve always wanted to flirt with a man in public! I will be over here, lifting heavy stuff and getting in the personal space of your next Captain America, Good People of Delacroix, Louisiana!” What’s so endearing about this is not even just that this is clearly the first time that Bucky has felt like he has some control over his own mind, after proving he can manage The Winter Soldier in him a bit in the last few episodes, but that he’s working towards this kind of peace in a time where he really no longer has to hide any part of himself. Long before The Winter Soldier, Bucky was so the guy with a girl on each arm and a guy in the dark of the back alley. He has never, in his entire century-plus of living, been able to really be who he is without fear. It’s not as if there is not any fear left for LGBTQIA people in the world because, sadly, of course there is but loving Sam would have gotten Bucky arrested twice over in the 1940s. Interracial marriage was illegal until the Loving Act of 1967-- and that was still just for heterosexual couples. Obviously, same-sex marriage wasn’t legalized in the U.S. until 2015. If Bucky had been caught with a man in his youth, let alone a Black man, they both would have been arrested. Even if they were let go (and Bucky would have been more likely to suffer less, on account of being white), their reputations and ability to work and serve in the military could have been impacted.

The show toys with this with Bucky’s interest in exploring it, even through the haze of a lot of severe trauma, back in Episode 1. While he’s mainly eating at the sushi bar because he’s befriended Yori on account of his amends project, he is living in a very modern existence by regularly conversing with these two. Consider that the show chose to make both of them Japanese, basically to illustrate that Bucky, in a sense, was always progressive for his time period. Bucky *could* have been the kind of WW2 soldier who forever saw people of the countries the Allies fought against as an enemy-- your grandfathers and great-grandfathers who never stopped hating the Japanese. But he’s not. He actually comes off as someone whose inability to fit the mode of the heterosexual white American guy in his own time period lent him a lot of empathy towards others and I might be wrong about this because I can’t quite recall at the moment but wasn’t he drafted, as opposed to enlisted? It’s doubtful he even really wanted to fight, although he’s always up for a fight against a bully and clearly hated the Nazis (but wanting to fight fascism makes you far from intolerant.) My point is that Bucky, back in Ep 1, is already experimenting with how living in the 21st century could be a positive thing for him in a life he might want to make for himself, if he can get through his trauma enough to do so.

He eats lunch on the regular with a man who is, in all likelihood, descended somewhere from at least one person who fought on the enemy side to Bucky in WW2. He regularly chats with Leah, who is completely unlike anyone he would have been able to talk to in the 1940s and seems almost designed to be *exactly* that intentionally-- she is a woman with a job that wasn’t like a nurse or a teacher or Peggy Carter lol. She tends bar, a job that was virtually exclusively male in the ‘40s. She has open visible tattoos and is probably putting herself through college-- something that women were just being able to attend, usually in female-only settings. She makes her own money and lives as a single woman, likely without the express intention on getting married and having a family relatively soon. (There’s nothing wrong with any of that. It’s more just that it would have been the exception, rather than the norm, in Bucky’s youth.) Atop that, she is Asian and works in a Japanese restaurant-- the ultimate business that would have suffered during the ‘40s as America didn’t exactly do right by its Japanese-Americans during the war and if Bucky, a white soldier, had been seen with a Japanese girl, it would have been bad for him but worse for her.

So the reason why Yori has noticed that Bucky always looks at Leah when they eat lunch is probably less about the attraction Yori assumed Bucky had for her and more that Leah is this personal fascination for Bucky-- a human being who is basically the total embodiment of everything that has changed in the world since Bucky was last freely a part of it. Yori assumes Bucky wants a date but Bucky really wants what he ultimately got out of it, which is more just to talk to her a bit.

They also play Battleship, which is kind of darkly funny. The game originated after WW1 and used to be played on paper. It soared into popularity in the 1930s and has never stopped being popular ever since-- so, in essence, the game they play is the one part of this that, like Bucky, has been in existence the whole time. It has taken on different forms, though. It became a plastic board game in the ‘60s and has been modernized a few times but it’s still here. (It’s also funny that Bucky is kind of losing the game with her, symbolizing that he’s not entirely figured out this whole modern world yet, even if he’s very interested by it.)

But the big thing is that Bucky is beginning to edge away from just observing this new world and trying to decide how he wants to participate in it. He’s basically decided that he might like to and while his heart is completely with Sam, he’s also afraid of himself and his ability to potentially destroy that one really strong wish he has to be with him, so he’s pushing him away by not answering his texts. He’s likely also, atop insecurity in himself, literally terrified at the idea of hurting Sam not just physically-- through some nightmare or some untapped Winter Soldier potential or failing to protect him-- but through the fact that he’s a guy from the 1940s who has literally never openly dated a man, had Black friends during the war but that was decades ago and is not really sure how to do this.

Forced into a date with Leah, he experiments with the modern world in a way because he’s here because sure, he likes her and all but he was more just interested in her world than her personally and he just didn’t want to disappoint either her or Yori, so he showed up. She seems fairly trustworthy (and he trusts no one but Sam and Yori, so that’s a start) but what he wants really is to say aloud to someone for the first time that he likes men. To see how that goes in this modern era. (Depending on how you take Bucky and Steve, he could have put this into words to Steve at one point, likely way back when, but it’s also possible that they both just knew and didn’t talk about it. Either way, you didn’t go around telling people you didn’t trust in the ‘40s and it’s doubtful that he’s ever just said it to anyone and for sure not on a regular basis.)

He even knows that this wouldn’t be a deal breaker for a woman, necessarily, in the modern era, which is probably blowing his mind a bit because you would have been hard-pressed to find a woman who would admit to someone she didn’t implicitly trust that back in the ‘40s and it wouldn’t have been so open and accepted. What he really wants in Leah is a new friend and she seems to sense that-- she likes this weird guy with the circulation problem that is nice enough to lunch with the old man at her restaurant, he seems okay enough, if broody and sad, so why not talk to him for a bit? She totally thinks he’s just a closet case (she’s not wrong lol) and won’t really be crushed by him rushing out of the date beyond like “too bad, he was pretty hot” but for Bucky, this is the likely the first time he’s ever casually chatted with another human being about his attempt at finding a guy he likes.

It’s actually really sweet in that he’s still sort of coding it a bit, if not that much. He’s still a bit nervous about this so he’s saying tiger pictures to reference men so he can say it without saying it. Leah gets it and just kind of rolls with it and probably has zero idea how big a deal it was for the century-old guy sitting at the bar.

He might have been intentionally dramatic a bit about how it was all “a lot” but he was also telling her the truth-- he did a little exploring online. Found some men. It looked like a lot of work to stroke all these egos. Bucky’s for the modern world but he’s kind of into more old-fashioned guys. He’s got a warm-hearted soldier kink. Family man kind of guys with generous spirits. He’s considering online stuff because he’s also a guy who has been through an absurd amount of trauma-- some of which the show will just come out and say involves sexual assault, off that Selby scene-- and he’s probably considering trying to get beyond some of it by just having sex with somebody. It’s not at all an uncommon response for people who have been raped to try to get beyond it by just having sex again and you know this is yet another level of anxiety for him when it comes to the idea of having another chance at life. He’s nervous around himself at this point and doesn’t fully trust himself, so he’s not sure how he can trust other people and the one guy he *does* trust and *does* want? Bucky has that whole ‘don’t want to burden him with my own issues’ thing happening. (That’s not a bad thing when it’s a situation of expecting your partner to be your therapist, which shouldn’t happen but Bucky would and should have expectations that someone he’d have as a romantic partner can be someone he can trust to care about him and be sensitive to how his past plays into his present needs, in and out of bed.) He’d trust Sam with this but he also wants to be like... he basically feels like he met the potential love of his life while trying to kill him and just got his mind back and the timing is all wrong. It’s a lot of ‘too broken for Sam’ self-narrative.

Whether or not Bucky actually went beyond scrolling and being astounded at the unattractive insecurity of tiger pictures or whether he hooked up a time or two, it’s clear he didn’t get what he needed out of it and he gave up on it, admitting to himself that he’s really basically a tired old romantic who wants love and trust and the whole dance of things and that kind of intimacy more than the back alley casualness of online dating. This is about as far as Bucky has gotten while trying to deal with his trauma while having a truly terrible therapist: he likes sushi now and would like to have his life’s first real chance at an open, mutual, loving, romantic relationship. He just didn’t know how to get himself there.

John Walker and the shield issues actually, ironically, gave him scenarios where he could, through actions that suited him better than those his therapist had assigned. He needed to learn not to not hurt anyone but how to manage it when he did. He needed to learn how to be a soldier that protects people again, not the Winter Soldier, and that he can control that part of himself. He needed the opportunity to show Sam that he really does care, he’s just a grieving mess of a man working through being so out of time and secretly scared that he might like this time better, might have a chance at being who he is for the first time, and he doesn’t know quite what to do with that. He lets Sam in enough that they can show one another that they understand each other’s traumas. He tosses himself out of a plane for Sam in the first episode to prove he’ll follow him anywhere, that he’s strong and will survive and come back, knowing about Riley not being alive when he hit that ground. Sam responds by seeing Bucky essentially frozen in a PTSD moment of the train car on the side of that truck and grabs him out of danger. They snark and bicker but the actions speak louder than the words-- there’s caring there and want and a sense that they’re a bit gone on the other.

Sam’s trust in Bucky-- even as Bucky is still learning how to trust himself with himself-- gives Bucky a confidence boost that he was missing when he pulled away from Sam out of fear of hurting him. The whole White Panther/White Wolf scene? Sam expected Bucky to grumble or blush, he was for sure flirting with him but didn’t expect quite that amount of flirt back. Without realizing it, he had hit on the exact part of Bucky’s identity that was giving him the biggest boost, that he understood the best at that time-- the White Wolf. The White Wolf is the freed Winter Soldier, a peaceful tender of goats, a wounded warrior beloved by a community who rescued him. He represents Bucky’s recent past into his present-- being able to work for the chance to shake loose the Winter Soldier and evolve into a different version of himself. He wanted to impress Sam with that-- he saw Sam’s flirting and parried back, which he didn’t always do, because he knew it would be impressive that the Wakandans had given him a (pretty sexy actually) nickname. He’s boosted by Sam still flirting, Sam still caring, still seeing something in him he’s working on seeing himself. He has some hope, even as they fight, because his attempts at getting closer to Sam are not being rejected wholesale and Sam keeps reaching out to him, often literally. After Madripoor and after Bucky going after and finding Zemo, he feels more ready. He’s more in control of himself. He thinks he has a path to getting beyond the worst of this stuff and he might not have worked out all the details yet or figured out what it looks like but he finally feels ready to try and since Sam hasn’t rejected him, he’s going to take Yori’s advice, just with the right person and stop waiting around, stop just looking and make a move.

In a way, Sam is introduced to 1940s Bucky for the first time in Delacroix-- this is the guy he saw glimpses of but was pretty deeply buried. He’s not reverted back to the Bucky of old as how could he, after all he’s been through? But this is the flirt, the natural charmer and he’s been set free for real for the first time, without worry or fear that he can’t live a life he wants and be the person he truly is without fear of rejection of who he loves, his family and the community at large. He likes this place that is the exact opposite of everything he’s suffered-- it’s so warm, he’ll never feel frozen again, physically or emotionally. The people here don’t care about his arm or who he loves, Sam’s family has Sam’s big, warm heart and Sam? Well, Bucky’s enjoying making him a little flustered. You like that stealthy White Wolf, Sam? Well, he’s got his eyes on you. ;)

Maybe the best part of this being the parallel to Sam’s decisions about how he wants to identify when it comes to him deciding to take up the shield is that it relates to a sense of freedom that is at the core of both of Sam and Bucky’s stories and is the whole point of Captain America and how it is supposed to symbolize a fight against fascism. Bucky has been told twice in the series that he’s “free” and each were, in a sense, a bit true. Ayo tells him this when he’s free from mind control and that is a major move forward for him-- life-altering-- but he’s not free from the trauma of it. Dr. Raynor tells Bucky that he’s free now and can build whatever life he wants but we see on Bucky’s face how those statements for him, in those early episodes in New York, really are conflicting ones-- he is free from mind control but still imprisoned in his trauma and that is what is keeping him from making the life he wants. Over the course of TFATWS, alongside Sam’s journey to decide how he wants to feel about America as a Black man and what he feels he owes to the country and the country owes to him, is the story of Bucky having to build his own identity as well. The Falcon and The Winter Soldier is ultimately what these guys were-- the identities they still have at the beginning of the show. They’re going to end it Sam and Bucky, Captain America and the White Wolf. Bucky’s real sense of freedom only came when he realized he could trust himself to decide how he wanted to live, when he proved that to himself and took control over it. He’s still not completely fine-- no one really is, ever-- but he has a path now. Sam and Bucky have different identity conflicts but ultimately, at the core, their struggles with them and with what their country has asked of them and with how they want to live and what they want for themselves, is very similar and the core of a lot of why they understand one another well.

It wouldn’t surprise me if we find out that Bucky stopped answering Sam’s texts when Sam suggested he come to Delacroix. Bucky knew about the boat when he got there, the same way that Sam knew about Bucky’s nightmares, so these two were talking a lot, they were friends on a verge of more but both knowing they each had too many struggles to overcome first and I think that Sam had to have been trying to reach out and accidentally went too far. It’s kind of like in the therapy session-- most of the time, Sam is amazing at dealing with people who have been through trauma but he sometimes falls off his game with Bucky. The whole “this is what you wanted, right?” in the therapy session is frustration, it’s pushing a little too hard, it’s snarking over feeling like Bucky rejected him romantically, even if Sam understands why and probably wasn’t convinced they were ready for it anyway. It’s possible that Sam thought inviting Bucky home with him would be good for him-- and the sun and the Wilsons would have been-- but, at the time, it just made Bucky panic, which is then also why Sam just rolls over the fact that Bucky hadn’t been returning his texts when they see one another again. Sam kept reaching out to check on him but accepted the non-response because he felt like he might have kind of pushed Bucky too fast. They both know they both have feelings for one another but are scared by how much the other has to get through to get to that point and feel ill-equipped to really help one another, often blunder in their attempts to (and other times, get it just right.)

So, yeah. There’s still no shortage of conflicts to be dealt with but alongside Sam finding his path to living his truth in this modern world has been Bucky’s arc from daring to whisper about tiger photos to showing up to show off his prowess with heavy stuff and tools to win over his boyfriend in front of his family and hometown. It’s not subtext. It’s literally Bucky’s identity-themed character arc, existing in parallel to Sam’s. Just because they aren’t giving it a ton of labels does not mean that it isn’t the intent of the story.

#sambucky #buckysam #bucky barnes #bucky #sam wilson #tfatws

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thenixkat · 3 years

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HCs and OCs for a fic

Toyomitsu family: Descended from one of the first giant mutants in Japan. Tend to have monster or animal related transformation quirks in addition to being huge. Own farmland and forested areas all over the Kansai region. The family founded the Devil’s Market yakuza group which has been extremely long-running and focused on buying and selling illicit goods, general goods, and general supplies and labor for larger people. A Toyomitsu has been either the boss or first lieutenant of the Devil’s Market for as long as it’s existed. They had to move out of their Osaka base when All For One set up shop, their current main base of operations is in Esuha city. The family also runs a franchise of butcher shops across most of Japan under the name of Oni Meats which carries a vast selection of animal protein from around the world. Nearly all members of the family have prey drives from their monstrous transformations.

Ma- Manami- (Quirk) Bugbear- transformation quirk. If the user is sufficiently fat then they can transform into a hybrid bear/reptile monster. Has great senses and night vision as well as enhanced strength. Can induce fear by staring someone directly in the eyes. -->Prefers not to be involved with the less legal dealings of the family and Devil’s Market. She’s more than capable of being as much of if not more a terrifying mob boss than her little brother. She just likes farming better. -->Generally doesn’t look people in the eyes unless she doesn’t like them b/c her terror-inducing power stays active regardless of her form. She prefers not to scare folks who don’t deserve it. -->Gets on very well with her sister-in-law, if she wasn’t married she’d steal her brother’s wife. -->Met her husband in a fighting ring. She eviscerated him with her claws and he broke one of her arms and several of her ribs. They started talking while getting patched up. -->Is about 7’10” and built like a well-padded brick house. -->Is the one who judges new recruits into the gang. Tends to have them do farm work for at least a month to get a bead on their personalities.

Pa- Noel ‘Blue Devil’ Diablo nee Toyomitsu- (Quirk) Energy absorption- emitter quirk. Can absorb, temporarily store, and redirect kinetic/thermal/electric energy. Too much energy kept in the body for too long causes reckless and impulsive behavior and hyperactivity. Devil- mutant quirk. Has devil-like horns and a tail. -->Used to be a nomad b4 settling down with his strong beautiful wife. Supported himself on his travels with fighting, gambling, handyman skills, and musical skills. -->Brings nothing to the table in his household other than his good looks, good nature, and knack for fixing things and a broad range of skills. -->Holding in excess energy makes him glow blue, especially his horns. -->Loves his family just so much. Is the goofy dad and great flirty husband. -->Loved to carry his kids until they got waaaay too big for him to pick up. Stands on a char to talk to his kids and wife on their level. B/c they are just so damn tall. -->Is 6 ft tall with a strong build with very little body fat b/c of a side effect of his quirk. He gets cold easily b/c of this and it bothers his joints.

Grandpa- Ryuji ‘The Dragon/ Dread Emperor of Giants’ - (Quirk) Dragon- transformation quirk. Can transform into an eastern dragon or humanoid eastern dragon with the severity of the transformation depending on percentage of body fat. Can also control the weather. -->Controlling the weather means that his farms never have a bad year. He does sell this service on the black market through the Devil’s Market. -->Wanted to be a hero when he was young and stopped when his mom got sent to jail for vigilantism and murder for stopping a serial killer from preying on women in the community -->Retired after a betrayal from some too ambitious underlings lead to a crippling knee injury. Still acts as a source of wisdom for the family and the gang. -->Is the go-to babysitter. -->Prefers to be in his transformed state and hates the anti-public quirk use laws with a passion. -->His full dragon form is as long as a bus and can fly. His humanoid dragon form/human form (sans antlers) is 8’5”

Grandma- Akane- (Quirk) None. -->An ex-mercenary who beat Ryuji in his prime AND in his full dragon form with nothing but some rope and her bare hands. -->Very good with guns and knives -->Takes advantage of the fact that as a plump quirkless woman she tends to get overlooked by people with powers to end fuckers. -->Was the one who got rid of the over-ambitious underlings who attempted a coup against her husband. -->Is about 5’10”, very chubby, wears glasses, and is rather soft-spoken. -->Is an icon to the quirkless members of the Devil’s Market and teaches them how to fight people with powers.

Uncle- Wani ‘The Butcher’- (Quirk) Crocodilian- transformation quirk. Similar to grandpa but crocodile instead of dragon. Has a great sense of smell and hearing as well as night vision. Is bulletproof at full strength. -->A strong proponent of community defense to the point where more people came to him about community issues than go to police or heroes. He gets problems handled permanently. -->Also heavily invested in technology and occult studies to see if there was a way to make life easier for people -->Also prefers to be in his transformed state -->Caught and ate 3 quirk diagnosing doctors in the area who were trafficking children into human experimentation. Managed to rescue most of the kids. -->Was arrested and sent to Tartarus for a string of killing corrupt cops and heroes fucking around in his neighborhood. His family often visits him. -->Fell for his wife when she bet him she could drink him under the table with the loser paying the tab. She won. -->Is about 8 ft tall and at least half as wide b4 going to jail. In prison he rapidly lost weight, the family is planning a jailbreak.

Auntie- Jay ‘Jaybird/Hummingbird’ Johnson nee Toyomitsu- (Quirk) Fast Twitch- emitter quirk. A speedster type. Can move and think at superhuman speeds for a few minutes at a time every hour. Has a very high metabolism and needs to consume large amounts of food in general. -->Was a villain before settling down. Still pulls off a robbery every now and then and has a fondness for gems. -->A Black American who came to Japan to hide from law enforcement after a heist gone wrong. -->Thinks that the way people throw the word villain around to just about any fucker committing any kind of crime while using a quirk really dilutes the word. Thinks that villains need fun costumes and proper themes and intent. -->Her sister-in-law was one of the first women she’s ever met who never criticized her eating habits and she would kill for the other woman. Ride or die friendship. -->Is constantly hungry due to her speedster metabolism and has to eat a lot. -->About 5’8” and leggy with plenty of visible muscle.

Sister- Onini ‘Oni/Gargoyle’- (Quirk) Gargoyle- transformation quirk. Can transform into a stone-skinned gargoyle with the severity of the transformation being dependant on amount of body fat. Heat Sink- emitter quirk. Can absorb, store, and release thermal energy. -->Tried to become a hero but was bullied out of school -->Named after one of her mom’s friends -->Considers cousin Kenji to be effectively one of her brothers -->Became a firefighter and uses her quirks on the job even tho it’s illegal. Not like the people she’s saving are gonna complain. -->Tends to flirt with strong women. -->Actually tends to stay partially transformed b/c she likes having a tail and passes herself off as a mutant -->If she gets too hungry and loses control she can become a heat vampire and freeze things to death while feeding on their body heat. -->Spends a lot of time helping out on the farm and her mother is most likely to pass ownership of the family land to her once she retires. -->The most likely person in her generation of the family to have biological kids. --->Keeps teasing Fatgum about when he’s gonna officially adopt his interns. -->Is about 7’5” and technically is too heavy to fly but she glides pretty well.

Cousin- Kenjiro ‘Kenji/Ken/Shuten’- (Quirk) Fast Oni- transformation quirk. Can transform into an oni with enhanced speed and strength. Transforming causes his metabolism to speed up and he burns fat to stay in oni form. Has a speedster metabolism in regular form, if he doesn’t eat a substantial meal every 5 hours he starts losing weight (fat and muscle) rapidly and is consequently always hungry. -->Would love to stay in his transformed form but can’t due to the timer. -->Is jealous of Taishiro’s height and metabolism so he makes fun of the way Tai’s face looks when he’s transformed. Also jealous of Onini’s ability to not be constantly hungry. -->Is constantly hungry from the day his quirk came in and had to take appetite suppressants during puberty to keep from losing his head and chowing down on anything and anyone in reach during his growth spurts. -->Has been mistaken for Fatgum more than once due to their similar-ish size and clothing choices. It frustrates him to no end b/c he’s way darker than Tai and prefers wearing blue or white. -->Has intentionally eaten people. Most notable example being him ending a war with a rival yakuza group by capturing, butchering, and cooking the rival leader and openly serving him for dinner at the peace treaty/gang merger. -->Strongly supports Fatgum as a hero and the two combine resources to help the community whether that is through funding housing for the homeless or getting a very good tailor the resources to make clothing for specific clientele or sending the other to deal with a situation appropriately. -->Brings a knife to a gunfight b/c he’s a superstrong speedster and a gun ain’t go do shit if you ain’t got no hands. -->Thinks Overhaul is a stupid asshole b/c it’s not that hard to get blood out of a kid or train a kid to be ok with it. -->Is about 7’10” and has heard every short joke under the sun from Tai

Fatgum-Taishiro ‘Tai’- (Quirk) Fat Absorption- Transformation quirk into an uncanny valley cartoony blob man that is as strong as the amount of body fat he has. Can absorb, neutralize, or release kinetic energy. Eyes glow in the dark like a cartoon when his quirk is active. Has a great sense of taste and is incapable of feeling sated/is always hungry. Also has an extremely efficient digestive system that breaks food down in seconds. Can also convert fat into muscle as well as generally having enhanced strength and speed while transformed. -->Was a late bloomer. His quirk didn’t start coming in till he was 8 and it took a while b4 he was fat enough for it to have notable effects. -->Preferred being in his skinnier form during middle and high school due to bullying and self-esteem issues that he didn’t work through until his early twenties. -->Started high school at 5’7” (170 cm) at 14 yrs old and was 8’2 (250 cm) when he graduated at 18 yrs old. Puberty was hell and pants were his enemy. -->Had a friend in hero support who took it as a personal challenge to make him clothing that he couldn’t destroy, that would grow and shrink with him, and that he couldn’t outgrow heightwise either. Ended up inventing ‘indestructible pants’ and making bank. -->Does not have canine teeth due to a mutation related to his quirk. Does have several rows of teeth that can replace themselves like a shark’s due to the same mutation. The fuckery of his mouth is only really noticeable if he’s ‘stretching’/pushing his transformation to its fullest extent or if someone’s feeling around inside of his mouth for whatever reason. -->Does not have a gag reflex -->Has been constantly hungry since his quirk emerged and like Kenji had to take appetite suppressants during his growth spurts to keep control of himself. An asshole classmate once replaced his appetite suppressants with appetite stimulants to see what happens. Several people ended up hospitalized, Taishiro still has nightmares about it and said asshole student actually managed to get expelled. Has a restraining order against said asshole classmate who fucked off to England to be a hero there. -->Is so glad he’s done growing. Went through clothes like water when he was a teen. -->Going several days without getting enough calories in tends to activate his prey drive and he really doesn’t like that b/c heroes shouldn’t murder or maul people. Figured out this aspect when he mauled a bully after his quirk just came in and later during a survival training exercise in hero school in which he ended up eating a live bear after several days of living on trail rations (scared his teammates for life with that one). -->A lot of aspects of his costume with the bright colors and friendly mannerisms is to reduce the intimidation factor/terrifying aspects of his appearance. He is aware that in his transformed state he’s a giant uncanny valley cartoony egg man monster that can fucking absorb people into his body. -->While transformed his limb, mouth, and eye proportions are extremely fluid and change nearly at will. If he wants to his face can be entirely mouth, which he knows is terrifying to other people. His arms and legs can rubber hose it though they aren’t as strong when he does that, does mean he can grab from angles that shouldn’t be possible. -->Was bullied as a kid for being ‘quirkless’ b4 his quirk manifested and then he was bullied for being fat. It did a number on his self-esteem as a teen leading him to prefer using his thinner form as his default. -->His thinner form was considered a heartthrob in school to his frustration. Didn’t mean he didn’t take advantage of the fact people found him hot to make money or flirt a free lunch off of someone. Was in a hot guy calendar made and distributed by one of his classmates. -->It absolutely gets on his nerves when people only find his skinny form attractive. -->After graduation, he lost muscle b/c that starter hero paycheck ain’t shit and the Hero Commission refused to let him write off food costs as business expenses. Had to save his food money for patrols leading to him losing weight. -->Participated in underground fighting rings to both make some money on the side and get better at using his quirk -->Has tried Trigger b4 and carries a small vial of the good version of it just in case he really needs it one day. (Listen, you ain’t finding shit trying to pat down fucking Fatgum) -->While transformed the absorbing things into him thing is automatic, put too much pressure on the flabbier parts of his body and you’ll just sink in. It takes effort to release things and took him a while to learn how to do this as a kid. Before he learned how to release things, he’d just turn off his quirk to get things out of him. -->Was blackmailed into working for the cops after getting caught during a raid of one of the fighting rings he was participating in. Decided to be a double agent and give away info on cases to the Devil’s Market to help them stay ahead of the cops. Also blew a decent chunk of the Osaka police force’s budget on his feeding since they wanted to use him. Ultimately this is what caused the police to break their partnership with him b/c he was too damn expensive to keep on the payroll. -->Once he became decently popular he and the Devil’s Market started funding a superhero trade school to get people who otherwise wouldn’t be able to get into hero schools for various reasons trained up and educated enough to get a hero license. -->As a hero he just doesn’t enforce the dumber laws like anti-public quirk use laws b/c who cares if people use their quirks if they aren’t hurting anyone. Also prefers not to label criminals as villains unless they’ve done some truly heinous shit b/c he knows that villains get harsher punishments in the justice system. Is also a strong proponent for rehabilitation for criminals. -->Once got caught in a scandal where he and a close friend and classmate managed to get a quirkless friend of theirs enrolled in their hero school with the help of a hacker. It took months for the school to catch on, during which said quirkless friend excelled in the hero classes. Fatgum and his friend nearly got expelled when caught. Later he helps that quirkless friend get a provisional hero license to become Japan’s first quirkless hero. -->From his family history, to his accent, to his size, to his ancestry Fatgum got torn apart by the media when he first started making waves. It took years but his image as a fun friendly beloved hero won out over ‘loose canon with criminal ties who’ll probably turn villain any day now’ -->Most of his sidekicks are folks he knew in his underground fighting days or rehabilitated criminals. Sidekicks and interns from actual hero schools are picked based on both potential as well as ‘how well can you bend the law/see in shades of grey instead of black and white?’. Essentially interning with Fatgum is a long process of unlearning propaganda and a practical application of morality on a case by case basis. -->Is aware of the hornier corners of his fandom and doesn’t know how to get them to understand that death via snusnu is not a way they want to go out (“How do you know this?” “...No comment.”) and telling them that they would def either die or require medical attention only makes them hornier. He finds it distressing and tries to avoid these people. -->Only found out that his name and birthday were puns when he was in middle school. He was not pleased. His parents had a blast since they were waiting for him to figure it out. -->When transformed his face, hands, feet, knees, and elbows are the most vulnerable parts of his body. Hence the leg armor (and occasionally arm armor). -->Due to his size, he’s got a few glaring blind spots, the main one being that he simply can’t see past his belly when looking down. He has tripped over short people b4 b/c of this. At least one of his friends from school would take advantage of this when he was in his larger form to sneak up on him.

#long post #nix meows #headcanons #my hero academia #fatgum #ocs #aus #probably repeated myself at least once #cannibalism #body horror #cause i know what i'm about

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a-square-minus-one · 3 years

Text

Honey 10

Thank you for those who have stuck to this progressing story. Here is the new chapter. You can find the whole story on AO3 and fanfic.

I killed him.

Raven wakes up long before the team realizes she has. She can’t even register the itchy hospital bed sheets on top of her; her limbs are glued to the cot. Her chest expands as she breathes but she’d struggle less breathing underwater.

Malchior was a disgusting being. Intent to create chaos wherever he went. His only goal was to wreak havoc because he could and because no one could stop him. His life’s work was figuring out ways he could outdo his last destructive feat. His eyes only twinkled when he was asserting his dominance over something.

And she had killed him.

Or at least, separated his consciousness from its physical manifestation.

Or can you even separate that?

She made his limbs stop working.

His mouth would no longer form incantations.

Where would his thoughts go?

Would he be able to sort them or even hear them?

Or were they just whispers on another plane of existence?

Nausea makes Raven sit abruptly, the IV tugging painfully in her arm. She feels more than tastes the vomit fly out of her mouth. Chunks of yellow bits propel out onto the floor next to her, right by Starfire’s purple boots. Starfire is quick to move Raven’s hair out of the way, despite the fact that doing so sinks her boots right into the undigested food. A few tears escape Raven’s eyes.

“Star…” she groans, making a feeble attempt to push Starfire out the way but the alien just shushes her and rubs her hand over Raven’s back. A green hand extends a plastic cup of water towards her.

“Small sips,” Gar reminds her. She takes the cup out of his hands and raises it to her lips. Raven stiffens when he moves closer, replacing Starfire’s hands with his own. She stares over the rim of the cup at his torso, feeling her eyebrows crinkling. He picks up the hair from her neck. She hears a snap and feels her hair moving left to right. Then he’s at a reasonable distance again. She places a hand on her warm, now bare, neck.

“You-” she clears her throat. “-you can tie a ponytail?”

“Can’t you?” Garfield asks, looking incredibly amused. She feels her face heat up as she places the water on the tray next to her and lays back on the cot. She looks to Star’s boots and then to her face.

“I’m so-”

“Shh I will be hearing none of that friend,” Starfire says, handing Raven a wipe. Raven wipes off one side of her lips. Her hand pauses when she gets to the other side.

“How many civilians?” Raven asks, her fingers trembling behind the tissue. Garfield immediately straightens out his relaxed shoulders. His jaw tightens. Starfire looks down to her feet. Raven turns to Cyborg.

“Two.”

Two fingers touch her lips as the contents of her stomach turn again. Her eyes well up as she swallows around the undigested food rising in her esophagus.

“Ages?” she asks in an almost imperceptible voice.

No one answers.

She clenches her fingers around the wipe and presses it to her forehead.

“Ages?” she pleads.

“54 and 65,” Cyborg says; his rage is like a hot iron in her side. Raven feels Starfire’s despair pelting her on the other side like an open waterfall. Garfield’s emotions are all sharp corners and metal bristles. She can’t even bear to approach the edges of it for fear that she’ll pop and everything will come pouring out of her. She sinks back into her cot trying to tighten her core under the pressure of all their emotions. She almost finds balance in the current until she senses something, like seaweed twisting on her toes when she’s swimming in the ocean.

“You’re not telling me something,” she says, eyeing Garfield who hasn’t looked her way since tying up her hair. She almost didn’t want to ask considering how tenuous her hold on herself is.

“There was a six year old boy,” Nightwing says, entering the room with arms crossed over his chest. He leans against the doorframe of the med bay. Raven lets out a long breath. She spends a lot of her life thinking about how she breathes. Breathing is the first step to meditation. Right now she wonders what it would be like to be trapped at the end of a long exhale.

“He-”

“Is in ICU,” Nightwing finishes. She brings knees to her chest and sinks her head into them, gripping the fitted sheet on the cot. Her throat is one fire.

“We have to visit the family,” she says, looking at her team members. Everyone pauses.

“We did,” Garfield says, scratching the back of his neck the way he does when he’s pensive or nervous. Raven squints her eyes. She lays her legs flat on the cot.

“I have to visit the families,” she says, shifting to get up. Garfield quickly puts his hands on her shins and she almost kicks him off in surprise.

“You can’t,” Garfield says.

“Why not?”

“The public doesn’t love us right now,” Nightwing says, moving from his position at the door.

Then she feels it, pressing against her. Fire, all around her, filling the gaps between her fingertips, licking up the back of her knees. She almost gasps at the intensity of it.

“You’re angry,” she says, quickly looking up at Nightwing. A few strands of her hair have escaped the ponytail Garfield made for her. Starfire steps forward.

“We all are,” she says. Raven doesn’t look her way, keeping her eyes locked on the immobile Nightwing. This is a different anger. Nightwing knows she knows; their bond hasn’t faded in the years since she went into his mind.

“Where’s Malchior, Raven? Nightwing asks, his index finger twitching against his bicep. The fire around her stops all together. Something cool, fragile, and thin settles over them like a layer of frost on water. Then Raven makes the mistake of looking down. A fireball hits her in the chest like a cannon, she tumbles backwards on the cot.

“Damnit Raven!” Nightwing says. She looks up at his face, now red underneath his mask.

“Yo dude, chill out. She just woke up,” Garfield says. Nightwing whips towards him, his index finger inches away from Garfield’s chest. Raven is ashamed that she feels immediate relief at Garfield’s expense.

“How about instead of worrying about Raven you explain to me where the hell all the animosity for me came from?” Nightwing says, leaning much too far into Garfield’s personal bubble. Garfield leans back and tilts his head.

“Dude, clearly that wasn’t me.”

“So what you’re saying is that you’re not you when you transform into other animals?” Nightwing poses this as a question but the fact that each word is coming out like hisses between his clenched teeth makes it seem like he has already decided his answer.

“You know this isn’t just one of my other animal forms and could you check your tone?” Garfield asks. Raven feels his irritation like pricks from a cactus. She wiggles her fingers.

“Everytime the Beast has been present, I have been targeted,” Nightwing’s tone is even when he says this but punctuated in a manner that suggests he has ruminated on this and has already come to his own conclusions. His words sound rehearsed.

“That’s just not true and either way I’ve shown you for years that I’ve been able to control my powers as much as everyone else on the team, if not better.”

“You weren’t able to two days ago.”

“We don’t fight magical dragons everyday,” Garfield bites out and Nightwing swivels towards Raven again.

“And apparently we never will again!” Spit flies out of Nightwing’s mouth as he leans over the end of Raven’s cot. She sits up straight even though Nightwing’s words land heavy like a punch to her stomach.

“Almost sounds like you’re going to miss him,” Raven hisses back. Nightwing’s face is so red that Raven is sure it will explode off of his body.

“How can you be so desensitized to the loss of a life?”

“Jesus Nightwing relax! It isn’t like she hunted this man down, which is more than I can say about you and Slade...every six months...like clockwork!”

“And yet he’s still alive.” The muscles on Nightwing’s neck are straining as he turns towards Garfield, bumping his chest a little. Any other man would have taken a step back and on any other occasion Garfield would too but right then, he doesn’t.

“Is that because you haven’t tried or because you’ve never gotten close enough,” Garfield says, jutting his own chest outwards so it bumps Nightwing’s.

“Much closer than you did when he turned Terra into stone.”

“Dude what in the actual fuck?” Garfield growls.

“That is quite enough!” Starfire yells, wedging herself between the pair. “You have both done the crossing of the line! Friend Raven is barely recovered!”

Neither man stands down, glaring at each other over Starfire’s shoulders. “Are you going to arrest me Richard?” Raven asks, chin tilted upwards. Nightwing turns away from Starfire and removes his hand from his utility belt.

“He will do no such thing-” Starfire starts.

“You’re not being fair,” he says. Raven tilts her chin higher and arches an eyebrow.

“If you are not going to arrest me then we have more important things to talk about right now than any morally ambiguous decisions I made that there is no way I can undo,” Raven mumbles. “Even if I really wanted to.”

Nightwing runs a hand through his hair then drops both of his hands on his hips. He’s looking her in the eyes. Anyone else wouldn’t be able to tell because of his mask but she knows he is. He’s trying to consolidate all his anger into a concentrated cube. She respects the effort. Garfield, who is hunched over like his spine is ready to break through the skin of his back, clearly does not.

“We have two of your brothers in custody. Lust and Gluttony. I will be handling interrogations. You can watch from another room. ”

Raven sucks in her bottom lip. She knows her brothers better than Nightwing but she’s on thin ice with him as is. She’d have to let him cool down a little before she can get anywhere near that room.

“If you’re going in alone, I need to heavily armor you.”

Nightwing shrugs stiffly. She nods.

Behind Nightwing, Garfield takes his exit; his anger is radiating off of him like an electric heater. Nightwing looks after him, his lips in a straight line but doesn’t try to stop him.

“How much of a dick was I?” Nightwing asks once Garfield has left the room.

“12/10 bro,” Cyborg says, rubbing his forehead. Nightwing cringes.

“I’m going to go talk to him,” Raven says, looking at Cyborg and then towards her IV. Cyborg looks hesitant at first but eventually sighs and does as he’s told.

...........................................................................

“This is very carnivalesque.” Raven says as she sits next to Garfield on the roof. Garfield raises an eyebrow at her “Usually you’re the one who comes to see me on the roof.”

“What?” Garfield asks.

“Nothing,” Raven says, looking down at her feet. She’s not as good as he is at this.

“You should be in the med bay for observations.”

“With all the healing it would be very hard to kill me,” she says. She feels a few fat drops of rain smack her cheek but Garfield doesn’t flinch so she stays put. Raven looks up at the thick clouds moving in the sky.

“Do you think you’ll die like the rest of us?” Garfield asks. Random. Raven hums. “I mean your father...sorry I know it’s a touchy subject-”

“No, go ahead,” Raven says, keeping her eyes on the sky. A warmth spreads in her chest like when she drinks hot tea. It’s been nice for her to see how delicate Garfield is with her boundaries in the last couple of years.

“Trigon is immortal. Does that make you immortal too?” he asks.

“I really hope not,” Raven mumbles immediately. “I’m not a god.”

Her mind immediately goes to Malchior’s lifeless body beneath her.

“Don’t lose any sleep over him,” Garfield says. Raven hums again. “Malchior. That’s who you’re thinking about, right?”

Raven looks away from the sky. Garfield’s lashes are dark and long. He’s green almost everywhere but around his pupils there is a rim of orange that she’s always been fascinated by.

“I took his life away,” she says, curling up her bare toes. “I-I’m afraid…”

“You don’t have to tell me,” Garfield interrupts softly. She feels the warmths curl through her insides again. She has to break eye contact.

“I don’t know if I made the right choice. It kind of feels...heavy? If that makes sense.”

“It makes sense.”

It grows quiet again.

“Nightwing was more angry at me than he was at you,” she says. Silence.

A few drops of water land on her thighs. She’s getting a little cold now. She had only come out in the oversized t-shirt she was wearing in the med bay. She thinks it’s Cyborg’s. It fits her like a dress.

“I think he might be right.”

Raven looks up at him, ready to protest. The protests die on her lips when she makes eye contact.

“I keep banking on the fact that I can control the Beast but it kind of sucks. He’s pulling at me all the time.”

“He doesn’t like Nightwing?”

“...He doesn’t like Nightwing’s power over me. Doesn’t like that he’s the one who calls the shots. Which is the complete opposite of me. Usually Nightwing and Cyborg are the ones measuring their dicks to see who gets to be boss.”

Raven snorts.

“Would it be so bad to let him out every once and a while? What else could he want?” Raven asks. Garfield presses his lips together. And his silence stretches like cheese. Just when she thinks it's about the tear, it stretches some more. For much longer than it should. She can’t pinpoint exactly what changes but she is suddenly hyper aware of how long she’s been looking into his eyes. She isn’t about to let on that she noticed the shift though because that would mean that it actually happened.

But maybe she should move?

Or look down?

Why isn’t he saying anything?

Did he lean forward?

Breathe Raven.

She inhales sharply.

There is a flash of lighting in her peripheral vision.

He doesn’t break eye contact.

“Can I see the scar The Beast left?” he finally whispers, keeping eye contact. Oh, that’s what he was thinking about.

She can’t think straight. What did I think he was thinking about? She pulls up her shirt without a second thought, looking down with him...

Then screams internally when she remembers she isn’t wearing any pants.

She freezes. Thunder rumbles.

He doesn’t say anything. She wonders if she’d hear him anyway over the long ‘AGHH!’ reverberating in her head.

She looks up at him; he hasn’t said anything about her lack of pants. Instead he’s staring intently at her side, eyebrows furrowed and bottom lip wedged between his teeth.

Breathe. The team has changed in front of each other before. No big deal.

She wishes she can get a clear read on his emotions but she can barely get a hold on hers.

Then he reaches out his fingertips and slowly runs over the ridges of the three bumpy stripes on her side.

This time she actually shrieks out loud, dropping her shirt immediately. A few rocks on the shore explode into a million little fragments. He pulls his hands away like he just accidentally touched a stove.

“Fuck, I’m so sorry! Jesus, I don’t know why I did that,” he squeals immediately, running a hand through his hair roughly.

Aghhhhhh

“No! It’s... um...fine.Your fingers were just cold.”

The skin around her scars is burning.

Aghhhh .

He shuts his eyes so tightly that she can see little wrinkles at the edges of them. It looks like he wants to turn into a mosquito and fly away. She stays quiet. He places a hand over his eyes.

“Listen...I...I’m sorry about that. The touching,” his voice squeaks. He clears his throat. “But also giving you the scar in the first place.”

He reluctantly moves his hands away and looks at her again.

“I’m serious. I don’t want to hurt Nightwing. I don’t want to ever hurt you,” Garfield says, his skin changing from brown to green as his blush fades.

Agggghhhhh.

She hums.

Not the right response.

He sucks his lips into his mouth, face getting incredibly brown just as it was resuming its original shade.

“I-” he starts.

She looks at him.

He looks at her.

He flies away.

#bbrae

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stillness-in-green · 3 years

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Ahistorical, Absurd, and Unsustainable (Part Four and Conclusion)

An Examination of the Mass Arrest of the Paranormal Liberation Front Introduction and Part One Part Two Part Three

PART FOUR: Thematic Problems

For all that portions of the Western fandom look at the MLA and see Evil Quirk Eugenicists and Hypocritical Ultra-Rich, they had legitimate complaints, and their goals, while overly radical if taken to their logical extremes—see Geten[51]—still offer a way to address a huge number of the problems this society faces. Locking them up and throwing away the key is shutting off one of the most prominent angles on addressing those issues. Consider:

The Problem of Heroics

Quirk-based prejudice is real, and a huge amount of it is based in the hero/villain dichotomy. This isn’t surprising; when you set up a group of people as “heroes,” it follows logically, linguistically, naturally that the people they fight must be villains. Villains are bad, are evil, are black-and-white figures with no motivation worth considering. Toss them in jail; who cares? They earned being in there with their Bad Actions. But that kind of thinking is insidious—it spreads.

If someone looks like a villain, if someone has a bad quirk, they may well be a Bad Seed. And if they aren’t, well, the responsibility is on them to rise above that prejudice, to become better than the people around them think they can be—but no one asks the people around them to maybe stop being so damn prejudicial all the time.

A horrifyingly stark example shows up in Chapter 310, in which a woman is being attacked by a group of three men for no reason save that they think she looks like a villain, so they assume she must be a villain. Her obvious villain trait? She’s a heteromorph—unusually tall, with a vulpine face. That’s it. She’s not dressed in a threatening or antisocial style; she’s not aggressive or angry. She’s just a heteromorph who didn’t go to a shelter right away because she thought things would calm down if she waited it out.

Love Midoriya following this up with, “I bet they were just scared too.” Way to chase an aggression with a micro-aggression there, hero. (Chapter 310)

Of course, tensions are running high right now, higher than would ever be the case under normal circumstances, but even in “normal circumstances,” this uncomfortable bias persists. Consider Class 1-A’s Shoji: Shoji wears a mask because he's a gentle soul who doesn’t want to scare small children, but maybe instead, people should be teaching their kids not to judge by appearances? Then maybe their kids wouldn’t grow up to be the kinds of people who attack others for looking a little scary and not going to sufficient pains to hide it?

As far as bad quirks go, meanwhile, Shinsou is the classic example on the hero side. He was told by classmates, laughingly, that he had a good quirk for a villain; he carries himself at all times like he’s got something to prove. I suspect the only reason he’s at U.A. and not running with the League of Villains is a supportive home life,[52] but either way, people are all too ready to apply a villain label to him based on an ability that was nothing but genetic lottery, and that’s because the existence of heroes defines itself by the existence of villains.

Of course, the otherization of villains and people-who-kind-of-seem-like-they-might-be-villains is only part of the problem. The other and frankly larger issue is the effect that limiting quirk use to heroes-only has on the cultural mindset—heroes, villains, and civilians alike.

Japan in real life fosters a sense of community support so profound that children as young as four can be sent on small errands[53] around the neighborhood, safe in the knowledge that if they need help, they will be able to get that help. It’s far more common for young children to walk or take public transit to school than it is in the U.S. Another example is the country’s enthusiastic embrace of publicly available AED machines, complete with easy-to-understand printed and audio instructions about how to use them on people suffering heart attacks, a movement that has saved the lives of many who might not have otherwise survived long enough for an ambulance to arrive.

In My Hero Academia’s Japan, though?

You wind up with people who don't even particularly want to become heroes enrolling in hero schools anyway because it's the only way they can imagine contributing to society. Uraraka and Gran Torino are obvious examples—Uraraka becoming a hero less because she felt a calling to and more because it seemed like the best way to ameliorate her family’s hardscrabble lot in life; Torino getting a hero license not because he cared about being a hero at all, but because he was in on the One For All situation and needed to be able to use his quirk freely to help fight that secret war.

An even more telling case is that of the main character himself. Midoriya desperately wanted to “save” people, and from all the evidence we have in the early manga, as far as he was concerned, the only way for him to do that was to become a hero. He never even considered e.g. signing up for any volunteer programs around his neighborhood or joining the police. It’s like he never even considered the possibility of helping people via other channels.

And this is a consistent issue! People who don't think that they can become heroes train themselves (and are trained by society) into believing that they are powerless, that it isn’t their responsibility to help when they see trouble, leading to things like Shimura Tenko's “long walk,” where countless people look at a child of five, bloody and alone, and then make the conscious decision to look away, because “a hero will help.”

Hell, it even spills over onto actual heroes, who in the first chapter stand around like chumps waiting for “someone with a better quirk” to come and do something about the sludge villain, because they don’t have the perfect quirk to solve the problem themselves, so they don’t even try.

Of course, even if they did try, it might not be welcomed. Consider cases where people wanted to do good, like Gentle Criminal or Vigilantes' Koichi, but had their road to heroism blocked—this led them to villainy or vigilantism, which in turn can lead to arrest and possible prison time, with all the attendant stigma.

Restricting quirk use to heroes-only has impacts beyond just how it distorts people’s desire to help, too. Evidence in the manga suggests that some people feel a stronger biological drive to use their quirks than others. What options do those people have, then, if their quirks—or their personalities—don’t seem naturally cut out for heroism?

In Tamaki Amajiki’s flashback in Chapter 140, a teacher tells his class, “People make fine use of their quirks at any number of jobs. Being a hero’s not the only option. How will you be useful to society in the future? That’s what we’re here to explore in quirk training.” This is the scene in the manga that most explicitly tells us that other avenues for quirk use exist, but we’re never once shown what those avenues might be. At best, this suggests that those avenues are drastically limited (e.g. only available to those whose quirks are deemed “useful to society”) and/or poorly explained to people in-universe—else why would Uraraka have chosen heroism despite her lack of interest in it if she could have just gotten some kind of job license for her quirk? At worst, it’s an example of Horikoshi throwing in a line that contradicts the surrounding canon. Either way, we’re left with people who feel a strong drive to use their quirks being pressured into heroism or straying into villainy for lack of other acceptable outlets.

All of these issues could be mitigated by less draconian restrictions on quirks—which Destro's followers are the only characters in the manga we've actively seen pushing for, rather than just heard about second-hand—and by not using an ideologically charged word like “heroes” to describe a glorified independent police force. Allowing people to freely use their quirks[54] means fewer people being pushed into a heroics job they're unsuited for, means fewer people being pushed into villainy, means a more rounded view on how quirks can be used, leading to less quirk-based prejudice and less—well, let’s talk some about false dichotomies.

All For Nothing, Nothing For All

Shigaraki stands as a fundamental accusation of the way the hero/civilian dynamic exacerbates the Bystander Effect, making people think of themselves as powerless, while at the same time putting untenable pressure on heroes to be perfect victory machines who don't experience pain or doubt or weakness. He further attests that this dynamic pushes out people who don't fit either category—victim or hero—making them villains. This is one of the fundamental thematic conflicts of the series—is one hero enough? Are heroes themselves enough? What are heroes, what do they fight, and what should they be fighting? Who deserves to be “saved” and what does it mean, anyway, to “save” someone? What happens to the people who aren’t saved? How will the world grapple with the consequences, the resentment, that stem from that failure?

In his work Underground, written to grapple with and criticize the way Japanese media covered the sarin gas attacks, author Murakami Haruki talked about the response to the incident being to call the members of Aum Shinrikyo evil, insane, diseased, other. They were spoken of as a monstrous fringe that could not have been predicted, about which nothing could have been done, rather than examined as bright, well-educated young people who by all accounts ought to have had good futures ahead of them but instead spiraled down into a doomsday cult. Murakami asserted that, because the Japanese public was unwilling to ask how and why that happened, was unwilling to self-examine, the country was locking itself into a repeating cycle. Memorably, he wrote, “Most Japanese seem ready to pack up the whole incident in a trunk labeled THINGS OVER AND DONE WITH,” to describe this resolute incuriosity, the strong aversion to looking into the face of evil and trying to find the humanity within it.

In this post and its follow-up, tumblr user @robotlesbianjavert discusses the problems that stem from that exact tendency as portrayed in My Hero Academia. She says, “Only making decisions that benefit the greater good is not the real solution that the narrative is rooting for. Not so long as it fails to recognize and address the needs of the victims that still come of it.” Hero Society will never stop creating its own villains so long as, every time it fails people, it does nothing but shrug and write off the victims as unavoidable, inevitable sacrifices for the greater good.

I would also like to highlight her point—which I hope she one day posts her own full essay on—about the way All For One and One For All serve as two extreme poles of equally unsustainable visions for society. This dynamic is all over the manga.

There are the characters of AFO and his younger brother themselves, each forever locked in battle to prove the correctness of his own way of thinking, and forever talking past the other even when they’re face to face.

There’s the contrast of heroes, giving their all to help strangers even when it hurts the people they love, with villains, giving their all to help the people they love even when it hurts strangers.

The flaws in the One For All model can be seen in the multilayered ravages it inflicted on All Might physically, emotionally, and socially. Thus, one for all is not always ideal.

The strengths of the All For One model can be seen in a team of heroes and police combining their efforts and will to help one single person—Eri. Nighteye even highlights this with his speech about everyone’s efforts coalescing into Midoriya and helping him to “twist fate.” Thus, all for one is not always about selfishness.

Once you start looking for it, this duality shows up everywhere, and I think—I hope—it’s an angle Horikoshi is conscious of. The obvious solution is that the extremes of this society are all undesirable—that total selflessness and total selfishness are equally unsustainable, and both are, ultimately, damaging. A more holistic approach is needed, yet if a holistic approach is what the manga ultimately proves to be seeking, it makes the mass arrest of the PLF particularly problematic, if it’s allowed to stand unchallenged. You cannot just choose not to see 115,000 dissatisfied people—some way or another, you have to reckon with them, and if you don’t do it in a way that actually helps them address whatever their core problem is, you’re just setting yourself up for more of the same further down the line.

The MLA believed that they were fighting for a just cause, for freedom, for the future. They absolutely had issues—Geten’s words indicate that much—but they were issues that would have been much better addressed by actually challenging them openly, rather than suppressing them. If they couldn’t get society to agree right away that the use of one’s quirk should be as unregulated as the use of one’s hands, maybe they would have accepted a tiered license approach to quirk use as a good starting compromise. If they wanted totally unhindered quirk use, such that people could murder with impunity? Well, that would never have gotten past the House of Representatives, but maybe a bill declaring that crimes committed by quirks should be treated no differently than crimes committed via any other means would have. A weeklong debate on the Diet floor would have stood a much greater chance of e.g. addressing the needs of the quirkless than the MLA alone would have bothered with.

The MLA didn’t get to have that kind of debate. Instead, they ran headfirst into Shigaraki Tomura, who made them far more dangerous. And yet… For all that Shigaraki twisted them, he didn’t change them so much that Re-Destro couldn’t still see the light of his ideals within them. Furthermore, even though the PLF didn’t win the battle we call the War Arc, it may be that they’re well on their way to winning the actual war.

“The Seeds Are Already Sown”

So what did the PLF actually want? Well, we have a few sources on that—Shigaraki’s desire to destroy “everything,” the cloned Re-Destro’s vision of liberation through “order without order,” and so forth. But a very instructive place to look is Hawks’ doomsaying in Chapter 258. While the PLF is a bit too scattered or imprisoned to appreciate it, a shocking number of the things Hawks laid out for the audience have actually come about, even if they didn’t happen exactly as the PLF planned. Consider:

Bring down the status quo by annihilating all heroes. Heroes—a number of whom died the day of the raid—are retiring in mass numbers. As the manga describes it, they are “being put through a sieve.” They certainly haven’t all been annihilated, but the ones remaining are having to do the work with little in the way of thanks or glory—the false heroes Stain spoke of have left the table.

They plan to attack all major cities at once throughout the nation. Gigantomachia stampeded over more than twenty cities in the space of less than an hour. A bunch of them were surely not major cities, but all the same, it was a rampage that caught the heroes almost completely off-guard (because they were all tied up arresting the PLF and didn’t think Machia would be an issue), leading to massive collateral damage and unspeakable loss of life.

With society brought to a lawless standstill… Thanks to AFO’s prison breaks, a bunch of villains are now out there raising hell to their hearts’ content, and there aren’t enough heroes around to always respond in a timely fashion. They’re having to open up schools as shelter zones, evacuating entire cities, which the common people respond to predictably poorly, leading to groups of people who were not previously villainous deciding to take the law into their own hands.

…Re-Destro and the Hearts & Minds Party will storm the political world. In Chapter 297, the less openly fascist guard worries that the remaining factions of the HMP[55] will still be stirring up trouble on the political front, especially given the enormous wave of brand-new complaints about human rights violations that he doubtlessly figured were incoming.

They will distribute weapons and extol the virtues of self-defense, calling it true freedom. Whether Detnerat picked up the pace of its black-market support goods sales, bankrolled Giran doing the same, or some other groups—yakuza, perhaps—stepped up, we already know that there are weapons and support goods circulating throughout society, and that people are using them for self-defense.

These people will throw the world into chaos and enthrone Shigaraki atop the rubble. The second coming of All For One. Far more so than anyone in the PLF would have wanted, this one has come horribly true with the AFO vestige’s possession of Shigaraki.[56]

While it is perhaps karmic that the PLF is in no position to enjoy the fruits of their villainous efforts, it’s striking how much of what they wanted has come about anyway. And how much of this can really be undone or wound back? Complete societal breakdown isn’t the kind of genie you can easily rebottle, and this, I think, is particularly illustrated by the civilians Yo and Tatami encounter in Chapter 307.

I’d like to wind this essay down by zooming in on that encounter somewhat.

The group of people the Ketsubutsu pair encounter in 307 are not nice, but neither are they violent. Having, like so many others, lost faith in heroes to protect them, they want only to protect their hometown and for heroes to leave them be. They’ve fended off a few small-time villain attacks and are bluntly uninterested in cooperating with condescending heroes (an impression Yo is not helping to mitigate) who have done nothing but disappoint them.

The spokesman in particular feels to me like someone who’s suffered a significant personal loss. The shadow over his eyes here is telling. (Chapter 307)

When Muscular shows up, they are 100% ready to put their lives where their mouths are. They are all in the process of charging outside, first to stop their town from suffering more damage, then to back up a hero kid they just got done telling to buzz off. And you know? It’s possible—probable, even!—that Muscular would have murdered every last one of them, and them charging in to fight him would have led to a horrific tragedy, one more to stack atop the pile.

And yet, while the narrative doesn’t allow them to actually assist,[57] neither does it entirely rebuke them, in the end. When all is said and done, the civilians agree to hear Tatami and Yo out, and they help Tatami get Yo inside for medical attention. The leader is a little abashed, but he doesn’t bow his head and admit to being wrong; his group doesn’t meekly submit to being herded to shelter. And that’s because the narrative is—wisely—unwilling to say that they’re wrong.

After all, how could it?

Midoriya Izuku and the jaded civilian's instincts. (Chapters 1 and 307)

For a last comparison, remember that in the first chapter, Midoriya Izuku—quirkless, untrained Midoriya Izuku—dove into a fight he had no way of winning, no way of even affecting. All he was doing was endangering himself and making the sludge villain even harder to target. Still, All Might and the narrative alike praised him for his action, because it was driven by a “desire to save.” In Chapter 307, a group of undertrained civilians witnesses a high school boy being attacked by the highest tier of villain their society knows, a Tartarus escapee, a gleeful and unrepentant serial killer with a devastatingly powerful quirk. Their response is to gather up their weapons and numbers and dive in to try and help. Regardless of the weakness of their quirks, regardless of their lack of training, regardless of the danger to their lives, their instinct is the same as Midoriya’s was back then—“the desire to save.”

How could the narrative possibly tell us that they're wrong?

And if they aren’t wrong, this group of people who are so very close to the vision the PLF had for the world after their revolution, the narrative simply cannot expect to retain the slightest hint of credibility if it tries to tell us that the PLF are worth nothing more than an authorial handwave and the slamming of a cell door.

Conclusion

What we are seeing in the manga now is a society that is fumbling towards a new way. It isn’t perfect; it has a lot of wrinkles to iron out. Yet in some ways, if this is a society that has gone back in time, it is also a society that has a chance to chart a different path forward than it did before, a more inclusive path, a more balanced one. Heroes can still exist in the same way that surgeons and emergency responders exist, but that doesn't mean people throw their first aid kits in the garbage.

People protest that untrained civilians using their quirks leads to collateral damage, and that's true. The same would be true, however, if a nation that relied solely on public transit suddenly faced the total breakdown of that system and found that, if they wanted to get anywhere farther than walking distance, they had to get behind the wheel of a car and drive there themselves with no previous experience handling a motor vehicle. With some basic training, or perhaps a test and associated license that is as ubiquitous as a driver's license, how much of the collateral damage caused by civilians fighting might be reduced? How might people feel more empowered to act when necessary?

I very much want to see that future in the manga. It will feel terribly bitter, however, if the people who always believed in that future the most don’t get to see it themselves.

Bit characters are bit characters, I know. Terrorists in fiction don’t typically get to walk away scot-free. But numbers aren’t just numbers, even in fiction, even when they’re villains. If all Horikoshi wanted was a sufficiently large, scary threat to throw his heroes up against, he should have stuck with mindless Noumu or maniacal robots. He didn’t. He chose to make that threat human. He cannot now choose to dehumanize the threat, just because those humans are no longer convenient to his story.

Or at least, he can’t make me look at his doing so as anything other than appalling—ahistorical, absurd, and unsustainable.

Come back next time for sources and further reading.

-----------------------------------------------------

[51] And yes, as always, I do think that Geten-whose-name-means-Apocrypha is a radical, not a reliable barometer for the MLA norm.

[52] Contrasting Toga, the standard-bearer for bad quirks on the villain side.

[53] We don’t know if that practice—so widespread it became the subject of a long-running TV program—survived the Advent and raised crime rate, but if it didn’t, that only further suggests that kids wandering the streets unattended are probably in need of assistance.

[54] Within the same bounds other freedoms exist, e.g. they’re not unduly burdening others.

[55] Small political parties in Japan merge and fragment all the time, particularly in times of crisis, so it’s not surprising that the HMP has some sub-groups. I am somewhat surprised that these factions themselves weren’t dissolved as well, given the heavy-handedness on display everywhere else. This is about the only thing that suggests that the arrests might not be as totally over-the-top as is otherwise implied, though really, if that’s the case, it just brings us back to the problem of all the people who probably slipped the net if the HPSC did opt to undercompensate.

[56] Another enormous thematic issue I have with tossing away the PLF like this is that it renders Shigaraki and the League’s hard-fought victories in My Villain Academia all but meaningless—worse than meaningless, since settling into the villa instead of staying on the run or bunking up with Ujiko wound up losing them Twice—but that’s more a problem with the writing of Shigaraki’s arc than the themes of the series as a whole. Certainly, fumbling Shigaraki’s arc will have a nigh-incomparable impact on the themes of the series as a whole, but there’s time to salvage his situation yet, so I’m crossing my fingers and reserving judgement on that for now.

[57] It should have.

#bnha analysis #bnha meta #paranormal liberation front #meta liberation army #boku no hero academia #my hero academia #bnha #bnha spoilers #my writing #plf arrests #stillness has salt

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groovybaybee · 4 years

Text

Empty Beach (4.5k)

Three hours. It only took three hours for the tan line on my ring finger to be brought up. Three measly hours I had spent in the country, travelling to the house and unpacking, before his name was mentioned. Despite choosing a later flight in a desperate attempt to spend as little time with my distant relatives as possible, the question was inevitable.

“No Ethan this year?” my sweet but intrusive grandmother had asked the second grace had been uttered.

It took less than two seconds for the question to be answered by my mother.

“They split up, ma,” she said with a passive aggressive smile as she passed me some vegetables.

“That’s a pity… such a nice young man,” my grandmother pressed, leaning forward in her seat.

“Very nice,” I muttered under my breath, knowing fully well that my side of the story would never be accepted.

“Anyone else on the scene?” asked my uncle as he bounced a fussy toddler on his knee. “Want to get yourself settled soon, pop out a couple of these sweet things.” He added when I shook my head.

I watched as the child grabbed wildly at anything in his reach, knocking a bread roll on to the floor. My eyes followed my uncle as he reached down to scoop up the discarded food, quickly blowing at it before settling it back on his plate.

“Mhm,” I hummed before dropping my gaze to my plate, pushing the food around miserably.

The rest of the meal followed a similar pattern. Questions were asked. Digs unsubtly disguised as jokes were made at my expense. I offered half-hearted noises of agreement when reminded that my biological clock is ticking, and no man wants an old spinster for a wife.

Family has a way of making you feel terrible about yourself. They can highlight all your perceived failures and mock them to your face, delighting in their ‘progress’ comparative to yours.

Ethan used to make these visits more bearable. Having someone accompany me to these yearly holidays helped to calm the fire in my stomach, the urge to argue with my family’s traditional ideals. For a while, I convinced myself Ethan’s presence soothed my wild nature outside these trips as well, encouraging me to be practical and always plan ahead.

He was sensible and I was sensible when I was around him. So, when he asked me to marry him at this exact villa one year ago, I did the sensible thing and accepted.

My family were ecstatic, finally marrying me off and watching me become the person they expected me to become. First would be the wedding, then children, then grandchildren. I would be a wife, most likely staying home to raise our children and resenting every moment of allowing myself to be stifled like that.

Ethan and I made sense in almost every way. We just lacked that… something. Some people describe it as a spark, others a fire. Whatever it is, it never existed between us. We both knew that, so it did not shock me to see the relief in his eyes when I returned his ring.

No one could understand how we ended a four-year relationship over seemingly nothing, especially not my family members.

“Have you been trying to work things out with Ethan? I’m sure if you just talked you could resolve whatever you’re going through.” My mother urged as we cleared the table.

The scoff that left my lips was unintentional but impossible to retain.

“I’m trying to help fix your mistakes.” She snapped, clattering plates as she piled them forcefully.

“Not everything I do is a mistake.” I countered softly, exhausted from my flight and from the years of having this conversation.

“Of course not, but don’t your father and I deserve grandchildren? Have we not earned that after—”

I refused to let her finish her sentence, quickly announcing that I was going for a walk.

Blood boiled in my veins as I trudged through cobbled streets. The stomp of my sandals against the ground sounded ridiculous and only infuriated me further as I stormed aimlessly through familiar backstreets until the sound of softly crashing waves called me closer.

It was after sunset, most of the beach empty save for a few teenagers gathered around a small fire. The anger in me had subsided by the time I reached the sand, gently toeing off my shoes and carrying them with me as I walked the width of the beach.

Waves brushed my toes as I inhaled and exhaled deeply, grateful for the gentle evening breeze that seemed to soothe the burn inside my throat. I spent a few moments, still, allowing the water to cleanse my soul and pull away the negativity of the night with each receding wave.

Planting myself in the sand, I stretched out my legs to their full extent, flexing and relaxing my bare feet until the tiny grains felt coarse on my skin.

I sat for a long while, reminding myself that only I knew what was best for me. Not my family, who I purposely only interacted with a couple of times per year. They barely knew me; they most definitely did not know what I needed.

The urge to settle down at a young age and start a family as quickly as possible in order to continue the cycle had never appealed to me. Even as a child I craved excitement and adventure; something no amount of familial intervention could knock out of me.

A late-night trip to the beach like this one would be considered reckless. I could only imagine the passive-aggressive nightmare I would return to. Silent gawks and glares would surround me until I felt claustrophobic.

My desire for freedom and spontaneity most certainly was the product of a recessive gene, one only shared by my great aunt, Delilah. She stopped attending all family get-togethers when I was still a child. The memory of her pulling me back during a family walk to skip stones with her would stay with me forever.

“They won’t be around you forever,” she had told me as she bounced a rock four times across the placid lake. “One day you’ll have your own life. You’ll make your own choices and you’ll make them for yourself, won’t you honey?”

I hadn’t really understood what she meant but I nodded anyway. I idolised her. The fire I recognised in myself, I saw in her. She was the only one who understood me, which is why it hurt all the more when I had to face family gatherings alone.

It was only when I was an adult that her leaving made sense. Delilah was in her late sixties when she finally came out to her family. That evening, after we returned from the lake, I was sent to bed while my family had a ‘grown-up’ discussion. The next morning, she was gone, and no one would tell me why.

She sent presents on birthdays and Christmas, postcards from each new place she visited, always reminding me to be true to myself and do what I wanted. Now she was free, she felt alive.

I drew her name in the damp sand with my index finger, mine beneath it, and made a silent promise to keep the fire alive for the both of us.

What would DeeDee do right now? I had wondered.

An immediate grin had spread across my face when I heard her voice in my head, telling me: “I don’t know, something stupid like skinny-dipping.”

I knew that if she were around, she would tell the story of how she skinny-dipped at boarding school with the headmistress’ daughter. I could almost feel the warmth of her laughter as I sat on the sand.

Envying her liberation, I glanced around the beach to gage the possibility of being nude without being arrested for public indecency.

The teenagers had left while I was reminiscing, their fire extinguished. The beach appeared empty. No one would see. Even if it was just for a moment, it felt something that I needed to experience.

Head and heart fixed on the idea, I quickly stripped my body of the pale blue sundress. Taking a swift but deep breath, I pulled down my underwear and tossed them into the pile. A small giggle fell from my lips as my body adjusted to the new temperature. A warm gust of wind blew past me, almost as if encouragingly pushing me towards the water.

I ran without looking back until my knees splashed water around my body and the ocean became too deep and slowed me down. I stood, waist deep, under the sky. It was a clear night, save for a few light clouds which glided past in the breeze.

My eyes fell closed as I breathed in the moment, desperate to savour each salty kiss and gentle caress of the water. Everyone had disappeared. Each nag and dig had vanished from memory. This was peace.

It was peace, until the gentle crashing of waves was interrupted by a sigh.

Instantly, I crouched in the water, eager for ever the slightest touch of modesty as I turned to locate the source of the sound.

About ten metres away, waves lapping around his ribs, stood a man with his eyes closed and head thrown back as if bathing in the moonlight.

In a desperate attempt to go unseen, I squatted low. My chin just above the water, I attempted to side-step away in order to keep an eye on him and prevent any awkwardness.

I was almost crab-walking away when he finally noticed me, a misplaced footstep caused me to be plunged underneath the lukewarm tide.

“Whoa, you alright?” I heard him ask when I surfaced, spluttering and spitting so much water that I did not notice him mirror my stance, also crouched.

“Fine.” I coughed, clearly not fine but thankful that he did not press it.

The two of us stood in silence as I caught my breath, running my hands over my head to scrape back the tangling mess of hair, already wondering how I would explain this when I returned to my family.

“Nice night isn’t it?” he asked after the silence started to become thick with tension.

“Yeah, not bad,” I replied, pausing for a moment to smirk at the ridiculousness of the situation.

“Know any constellations?” he had asked, turning his head back up to the sky.

“Not really,” I answered.

It was at this moment that I was given the chance to appreciate him. His head bobbed just above the water, darkened wet hair plastered itself to his head, some parts curling out in defiance. An angular jaw tilted to the stars, catching their light and softening his features. The stranger glowed and glistened as awe-filled eyes watched the twinkling wonders above us.

“You?” I questioned.

“Just the ones everyone knows… Orion’s belt, Cassiopeia…” he commented, and I copied his stance, gazing up to the night sky.

An overwhelming swell of gratitude washed across me as I stood beneath the glittering expanse. I pictured the stars looking down at us as we did to them, marvelling at their distance. Everything felt so insignificant in the most calming way. It did not matter what my family thought of me, or even the unknown man beside me (once I felt safe that he was not about to murder me and leave my lifeless body to float out with the tide). All that mattered is that in that moment, cuddled by gentle waves and illuminated by starlight, I felt alive.

“When I was a kid, I thought that night-time was like a knitted blanket and stars were the little gaps you get,” he spoke.

Not able to help myself, I turned to him with a grin at his admission. It felt like such an impossible confession to make to a stranger that I had to meet his gaze, eyes already trained on me by the time mine found his.

“Sorry, bit mental to tell a stranger.” He laughed.

“What’s your name?” I asked, sensing his discomfort from oversharing. “Then we aren’t strangers anymore.”

I learnt his name was Harry. I told him mine and we discuss childhood beliefs as if we had known each other longer than a few minutes. Mentioning my unshakable faith that lightening was just a huge camera flashing seemed to relax him. There was a sweetness to the look he gave me as I spoke. A gentle stare that paired with an equally easy smile. Lips quirked with each word I uttered, until I soon wore a matching grin.

Only when I was able to notice the deep-set dimples in his cheeks did I realise we had migrated closer to one another. By the sea or our own volition, we were only a few feet apart. He was breath-taking up close, warm but dark eyes glinted emerald and a light dusting of freckles across his nose were a testament to a day in the sun.

It was then that I began to panic. The realisation that the possibility to slip away without him seeing my nude body was quickly diminishing the more I spoke to him. But I didn’t want to stop.

“I don’t believe you.” I laughed heartily.

“It’s true! I can call my mum and she’ll tell you. My sister convinced me whenever I blinked everyone turned into a frog.” He spoke fondly, a warmth spreading across his features as he reminisced.

“Can I ask you something that’s going to sound a bit mad?” I asked once calm was restored between us. One last-ditch effort to keep some dignity intact.

“Sure.” Harry had answered with a light, throaty chuckle.

“Do you think you could wait here for a few minutes and then come meet me on the beach? I’m getting kind of cold, but I think you’re interesting.” I explained the best I could.

“Okay.” He smiled.

Almost unbelievably, he continued to follow my instructions when I had him face away from the beach and promise not to look back. He seemed respectful when I made a half-hearted comment about wanting privacy as I towelled off, so I made my way out of the water with confidence that he would not peek. Even if he did, all he would have seen was two cheeks speeding away.

As quickly as possible, I wiped off as much excess water as I could before pulling on sandy clothing. Almost instantly, a wave of regret passed over me as grains of sand covered a variety of patches of skin. However, when I saw Harry stepping towards me, equally sodden and sandy, the feeling washed away as promptly as it had arrived.

“So how come you’re out here alone?” I asked curiously as we sat.

“Doing a bit of solo travelling, kind of figuring out who I am by myself.” He answered. I felt there was more to his story that he was holding back but I did not push. “How about you?”

“Similar thing kind of... just needed a break.” I explained. I imagine he sensed the same caginess from me as I did him, but, again, we did not dive deeper.

“What’s the plan for your trip? Where you headed next?” I asked nosily, fascinated by him in all honesty.

“No real plan.” He told happily.

Again, he took my breath away. Here was someone with no plans, no aims, no pressures. He was freely living his life. The carefree and spontaneous nature of his attitude threw me off, and I sat staring at him, wondering how I could capture that feeling and keep it with me.

“What?” he asked with a smirk as I gazed at him admiringly.

“Nothing, you’re… you’re just not like a lot of people I know.”

“Shall I take that as a compliment?”

“Definitely.” I told him with a nod.

Finally, I managed to prise my gaze from him and look out to the swelling ocean, but I felt his eyes on me still. My face began to heat up as I felt his lingering looks, tracing over my features. Breath caught in my throat as my chest rose and fell heavily.

“Harry,” I uttered, voice barely above a whisper as I turned to face him.

“Mm?” he hummed, eyes softly locked on my lips.

We didn’t say anything else, there was no room for words as our bodies gravitated towards one another until our lips touched. His were salty and a little chapped from the ocean, I imagine mine were too, but they left soft, buttery kisses that left my chest aching for more. From the first moment our lips pressed, I felt addicted to them. Each kiss was another hit, more intoxicating than the last.

He held me to him. Fingertips grazed the slope of my jaw. Lips sweeter than treacle, we sank together. Soon, our bodies laid as one on the sand, water occasionally lapping at our toes as the tide rolled closer.

We kept ourselves warm despite the dropping temperature, bodies moving against one another symbiotically. Gradually, hands worked their way under clothing, cold and warm meeting in a blissful collision. A cocktail of excitement and caution filled my stomach. Each matched breath and heavy sigh sent a fizz through my bloodstream, soon drunk on his movements. Desire and trepidation battled throughout my being; a tug of war unevenly stacked against sensibility.

When a large hand reached my breast, a light gasp tumbled from my lips. His actions stoked a fire within me that even the rising tide could not extinguish. Harry moved slowly, thoughtfully, as his touch spread around me, seeming to savour every single inch. My body arched into his when his lips pulled at the soft flesh of my neck, sucking gently but enough to have my hips rolling involuntarily. Desperately seeking some form of stimulation, they jolted harshly against his. The smirk I felt pressed against my skin only encouraged the burning within me. I was in dire need for something free and a little wild, and there he was.

“I don’t want to assume anything…” I began, my breathy voice barely above a whisper as his lips travelled down my collarbones and to my chest, “But do you have protection?”

“In my bag.” He replied with a nod to his large, bulging backpack.

For a moment, we lay still, his chin on my chest as bright eyes and a matching smile looked up at me. There was a shared sense of relief at the realisation that we both wanted the same thing and wanted the best possible outcome for each other. There was mischief in our eyes, a touch of recklessness, but mainly care.

Lips returned to my skin, puckering along each peak and valley of my covered torso until his mouth reached the hem of my dress. Lifting his eyes questioningly to meet mine, he waited patiently until I gave a soft nod. Eagerly, hands slip beneath the fabric, gliding up the outside of my thighs to reach my hips. He grabbed at the flesh there, greedily kneading it as kisses worked their way up the inside of my legs.

“Harry…” I breathed out hopelessly.

His lips crooked into a smile, but he continued to take his time, seeming to enjoy the way my body fought to lay flat against the sand.

Special attention was given to each and every part of my body, his lips taking their time in dragging their way upwards until, finally, they met the ache between my thighs. His tongue licked tentatively to begin with, before the sight of my body writhing beneath him instilled a new wave of confidence. Soft licks evolved into wet, open-mouthed kisses. Before too long, his mouth moved keenly in delicate swirls as fingertips dug gently but firmly into my hips. Harry held me in place as I desperately sought more from him. Back arched and toes dug helplessly into the sand, his hair tangled through my fingers.

His eyes were on me the whole time, confidently working me close to orgasm without even a shred of doubt in his performance. Not that there needed to be, his mouth moved beautifully against me, switching between soft licks, gentle sucking, and passionate lapping. I felt his jaw moving up and down as his face pressed into me, nose and mouth gliding up and down the length of my pussy, sure to leave no area neglected. My eyes met and disconnected with his constantly, battling to watch and remember every detail of being with him while struggling to keep my eyes open at all.

“Think you can come for me?” he groaned; lips so close they sent vibrations across my flesh.

I was already a quaking mess from his actions, but his words, his desire to give me pleasure, all became too much. My fingers wound through his hair as he pulled me closer, working faster and sloppier. Messy, wonderful circles swirled around my clit as a hand reached up the length of my body. The top of my dress was pulled down, breasts exposed and sensitive in the night air. Gentle fingertips juxtaposed the passion between my legs as they caressed and rolled the freed flesh.

Overcome with sensation, my hips shuddered against him. Stomach contracting as my toes buried themselves in the sand and fingers grasped his hair, desperate to cling to the world in any way possible. My body fought this urge, convulsing and shivering as his actions became less intense, tongue moving softer against me as he pulled me through my orgasm.

Once I had stopped shaking, Harry crawled back up my body to lay beside me. He pressed a soft kiss to my forehead before propping himself up on his elbow to observe me.

My breathing levelled out and muscles relaxed before I was able to open my eyes again. When I did, I noticed the way the moonlight reflected on his face, showering him with luminescent majesty. He looked ethereal as he watched over me.

“All good?” he asked softly, the slightest touch of nervousness present in his voice.

In response, I nodded my head to his backpack. I watched as an inescapable grin slipped on to his lips before he rolled over to dig through his bag.

As he searched, my hands began to explore his body. Slowly, they felt the tension of his shoulders, a firm chest, prominent abdominal muscles covered in a layer of soft flesh. The other hand ghosted across the meatiness of his thighs, urgently fighting the desire to dig my fingers in. It continued up to his hipbone, the bottom of his shirt pushed up slightly, revealing tattoos I had not had chance to see yet. I wondered if he would let me count them sometime as he turned back to face me, condom in hand.

His gaze softened as it fell on me, flickering for a second to my breasts before returning to my face. Our lips reconnected, the same warmth spreading across them and down into my chest and stomach, already hooked on the feeling.

“You’re sure, right?” I asked him when my hand reached the waistband of his shorts.

“Positive. You?”

My answer came in the form of a nod before I slipped a hand through his hair and pulled his lips back to mine.

Our hands worked clumsily together to unbutton his shorts, soft giggles shared as our fingers tangled. I pulled myself on top of him as he rolled the condom down the length of his cock. His eyes watched me hungrily as I positioned myself above him, gathering the excess fabric of my skirt in my hand before sinking slowly on to him. A gasp left my mouth involuntarily as my body accommodated his size. When the backs of my thighs met the tops of his, I paused, my hips grinding of their own volition. Rocking back and forth caused him to hit the most delicious spots, my muscles clenching around him until he was bucking his hips slightly, starting the cycle anew.

I rose from my position before returning, just as slowly and deliberately. The moans my movements elicited where otherworldly. The melting of our bodies into one another was intense, seeming to fit and move together as if that was their design. Soon, our hips rolled and met quicker, the sensation unlike anything I had ever felt. After a moment, Harry sat up, one arm around my waist and the other behind him to steady us. Lips clung to my chest, pressing kisses along my sternum before encircling my nipple and sucking softly. My hips began to move up and down at the new sensation, causing Harry to pull his head back, watching with lust-filled eyes as my breasts bounced before his eyes.

A low growl of a moan escaped Harry’s lips as both arms wrapped around my waist tightly. I was lifted and placed gently on my back on the sand before I could even register what was happening. This new position allowed so much more freedom for him, his hips instantly snapping against mine. Each thrust shook my whole body, sand certainly tangling in my hair. There would be no excusing this when I returned to the villa, but I could not have cared less. All I could think about was the feeling between my legs as Harry grabbed me by the waist and collided our hips over and over. He had pulled his shirt up, holding the bottom between his teeth to prevent it from interfering. His eyes bore into mine, watching with a small smirk as I crumbled into a moaning mess beneath him when he slipped a hand down to rub gentle circles against my clit. Still sensitive from before, the added stimulation had me writhing under him.

I became increasingly thankful for the sound of the waves, just loud enough to cover the obscenities that spilled from my lips as I was brought to my second orgasm. The sensation of my muscles tightening around him proved too much, as he stilled not soon after, a beautifully gruff rendition of my name tumbling from his lips.

After a moment of gentle thrusts, he pulled out and returned to his position beside me, grabbing a towel from his bag and laying it across us like a blanket. His arm lifted, calling me closer until my head rest on his chest. We laid for a while, regaining our breaths and waiting for our heartbeats to slow.

“I think that one is Ursa Major.” Harry spoke softly, his voice a little gravellier than before.

I looked up to the stars to seek the constellation he pointed out, quickly realised I was not that interested.

“I don’t really care about stars.” I confessed, looking up at him with a slightly exhausted grin.

“Me neither,” he replied, bottom lip tugged slightly into his mouth as he smirked at me mischievously. “Just wanted to keep talking to you really.”

Thankful that the night would cover the heat rising in my cheeks, I told him, “I think I quite enjoy talking to you.”

“Maybe we should run away together.” He joked, a look of fear flickering through his eyes as he realised how intense that could sound, quickly melted away by my breathy laugh.

“Where do you want to go first?”

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