Porsche x NCT 127 | 2 Baddies out now (inspo.)

 구미호뎐 | Tale of the Nine Tailed - Lost in Translation EP01

In which my sister and I sat down with a pint of mint chocolate chip and wrote down everything that occurred to us while watching the fan-subbed version of TotNT EP01. Contains mild spoilers. 

Prologue

We open with an excerpt from the Hyeonjoonggi (현중기・玄中記), which the internet informs me originated in China sometime between 265-317 CE. In Korea in particular, gumiho are typically thought of as being female, but this is an example of a classical text that says they can be either. From what director Kang Shin Hyo said at the TotNT press conference, the premise of TotNT began with the idea of challenging this base assumption by making the gumiho male and placing him in modern-day Seoul. I would translate the passage as follows:

When a fox becomes 100, it can become a beautiful woman, or become a man who has relations with women. A fox that lives for 1000 years communes with the heavens and becomes a cheon’ho (heavenly fox). Its gifts are like that of a powerful shamaness; it can perceive things more than 1000 leagues distant.”  

To my sense, the passage was introduced to show precedent for the existence of male gumiho in traditional folklore, as well as to illustrate that foxes over 1000 (cheon’ho) can be closer to deities than monsters.

On to the show. The year is 1999. I’m surprised the subs left ‘Fox Ridge’ untranslated as Yeou Gogae since it seems like it would be relevant information that the place where the accident takes place is somehow tied to foxes. 

When the imposter parents (who I believe are also foxes) chase little Ji Ah up into her room and her not-dad says, “You little brat!” (or at least, that’s what the subs we’re watching say), this is an example of what’s called ‘code switching.’ His phrasing is somewhat old-fashioned, which in this case helps to give the impression that he’s not human since it’s the cant of creatures in traditional fairytales. For anyone studying Korean, the line is, “요 년 봐라,” where ‘nyeon’ might mean anywhere from ‘girl’ to ‘wench’ or even ‘bitch.’  

Okay, I have to ask. Does no one else in Seoul drive on Fox Ridge? How did Ji Ah have time to go home, get attacked, and then be returned to the scene of the accident (I’m assuming by Yeon) before anyone came across it? 

Also, how did Yeon know where to take her? He tells grown Ji Ah that he just happened upon her after catching the scent of blood, but I get the sense there’s more to the story than that. I feel like this is part of a larger pattern wherein Yeon goes out of his way to rescue someone and then pretends as if he didn’t.

Episode 01 Title Card: What Happened on Fox Ridge

According to Yeon’s alarm, our current timeline begins on Saturday, August 29, 2020, and he has a wedding to attend. 2020 yet no COVID19? I guess this really is a fantasy drama. ;p

The BGM playing while Yeon gets ready is called ‘The Fox's Wedding Day,’ or, more literally, ‘day when a fox goes to be married’ (Yeou ga shijip ganeun nal) and it’s actually Yeon’s theme. I was expecting his theme to be the track entitled ‘Gumiho,’ but I guess not lol

The sun-shower. In both Japan and Korea, a sun-shower is known as ‘a fox’s wedding’ (kitsune no yome-iri/yeou ga shijip ganeun nal), so this is already cluing us in that the bride is a fox (I say ‘bride’ because both these phrasings typically apply to a bride marrying into her husband’s house. The phrasing is different for grooms, who ‘receive’ the bride). This is what Yeon means when he arrives at the wedding hall and says, “That’s because a fox is getting married today.”

It’s strange to me that the bride’s identity has completely dropped out of the subs. She’s Yeou Nui (literally ‘fox sister’), a folklore character of the Brothers Grim-style horror school of fairytales. Her thing is that she’s a gumiho who preys on families with only sons who desperately want a daughter. She insinuates herself into their lives, brings calamity down upon them, and finally, eats their livers. Like most fairytales, there are many permutations of her story, but many of them feature her saying she’s consumed 999 livers. I understand where - absent this context - some people might have seen Yeon as the bad guy here (spoiler: he’s not). 

The subtitle here for Yeon’s line says: “But you need to know that changing your identity isn’t as simple as you think.” What he literally says is:

Yeon: How did you go to ground so completely? You think that if you change your face and your identity, your blood-stained past will change too, right? But changing lives isn’t as simple* as changing subway lines. [*Note: ‘simple’ is in English]

This is the first real dialogue we get from Yeon, and one thing it’s doing very intentionally is showcasing just how much he’s adapted to modern life. It does this both with the content of what he says (talking about changing subway lines), as well as with the amount of English loan words he tosses around. So I personally would have kept the bit about the subway in if I had been translating. 

Yeou Nui’s line was translated as, “Please forgive me,” but it should more properly be, “Spare me,” or “Let me live.” Yeon is an enforcer, not a judge. (Also, ‘forgive’ is another word entirely).

Yeon’s line that’s subbed, “Listen, you fox. How could you dare dream of having a happy ending after eating so many livers?” is the result of what’s called diagonal translation, which is an unfortunate side-effect of subtitling conventions. What he literally says is:

Yeon: Yeou Nui, after eating the livers of countless adoptive parents and older brothers* how can you dream of a happy ending? 

[*Note: The word he uses for ‘brothers’ here is 오라비들, which is a semi-antiquated word, and again, the sort of language used in folktales] 

Yeon’s line, “Here’s a piece of advice” is more literally, “Here’s a bit of advice stemming from experience,” which is the first hint we get in-drama that he’s been in a similar position. 

Nam Ji Ah

We get our first introduction to adult Ji Ah as she narrates the script she’s editing for her TV program on her way to the wedding hall. When Jae Hwan worries about her changing the script without the writer’s permission (again lol), Ji Ah's response translated literally would be: 

Ji Ah: Then let’s go with this. PDs’ livers have to be swollen or coming out of their bodies. 

That’s a pretty disgusting image in English, so I don’t blame the subs for changing it to something more sensical and less graphic. But as a cultural note, in Korea and Japan, having a large liver means to be gutsy or brave. Ji Ah’s character description similarly describes her as, ‘a woman whose liver is [so large it’s] coming out of her body,’ meaning she’s about as gutsy as it gets. 

Okay, call me a cynic, but I loved Ji Ah’s line about not being able to digest wedding food due to the choking atmosphere of forced happiness pfft 

Jae Hwan saying, “Who knows? You may meet your destined partner at a place like this,” as Yeon walks by in the background = Jae Hwan unwittingly hitting the nail of the head #1

Lol Yeon acting like a bored kid held captive at a dinner party while the wedding takes place. Bless Lee Dong Wook because I’m sure it’s all ad libbed. I feel like this could be a game: spot the LDW ad lib. 

The Wedding Hall Incident

When Yeon returns to her dressing room after the wedding, Yeou Nui changes tactics from begging to putting her hackles up and challenging Yeon. Linguistically, that’s marked by her code switching to an archaic cant. Yeon, however, remains unfazed and responds with the most modern thing possible, completely undermining her bravado:

Yeou Nui: Oh former master of Baekdudaegan, what authority have you to condemn us?

Yeon: Get a hold of how she’s talking (rhetorical). Hey, if it wasn’t for you I would’ve been watching American TV shows while eating ice cream today!

Okay, I love the way Yeon materializes his sword. I thought he was (un-)transforming his umbrella at first, but he later does it with a plank of wood so I assume he can do this with pretty much anything?

On the topic of his sword, I posted a gif set not long ago referring to it as a sa’ingeom (사인검), literally ‘Four Tigers Sword’ (referring to the year, month, day, and hour of the tiger when such swords were supposedly forged). You’ll notice it doesn’t have a cross-guard since they’re traditionally ceremonial swords rather than actual weapons. The first sa’ingeom were made during the reign of King Taejo (1392-1398), but I assume they gave him one despite it being somewhat anachronistic because they’re also said to cut down evil spirits and ward against calamity. Mostly, though, it looks really cool and is very traditionally Korean. 

Not for anything, but I love this BGM track that’s playing during the wedding hall fight (‘The Uninvited’). This short action sequence was so great. I wish we could have seen more of Yeon hunting down supernatural baddies. Also more of those gumiho eyes. More gumiho everything in general. 

As he stabs her, Yeon’s line to Yeou Nui in the subs was rendered as, “Don’t do something stupid like falling in love in your next time.” I would have translated this as, “If you’re reborn, don’t do something so [useless] as falling in love.” Again, for anyone studying Korean, the phrase is ‘사랑 따위" (sarang ddaui). ‘Ddaui’ means ‘such a thing as,’ and it’s always used to disparage whatever proceeds it. There’s no good way to communicate that disparagement in English grammatically, so I opted for ‘useless’ in an approximation. 

The BGM that plays the first time Ji Ah spots Yeon leaving the wedding hall is called ‘White Pupils’ (or literally ‘white eyes’). The imagery typically associated with that is death, so I’m curious what inspired the track title. Maybe they mean ‘white eyes’ like the fortune teller since it’s used at fateful moments?

“Who knows? That may be the story you were destined to cover.” = Jae Hwan unwittingly hitting the nail on the head #2

“Were they mass hypnotized or something?” = Jae Hwan unwittingly hitting the nail of the head #3. Thank you, exposition fairy. ;)

Okay, when Ji Ah and Jae Hwan examine the scene, Ji Ah’s line is subbed, “I need to see what that woman of this love story looks like,” which is ungrammatical in addition to being wrong. What she actually says is:

Ji Ah: I need to see the face of that protagonist of the Romance of the Age. [And I believe the ‘protagonist’ she was referring to is actually Yeon ;) This is bordering on meta, seeing as he’s actually the protagonist of the epic romance that is TotNT] 

Kim Soo Oh

The BGM playing while Yeon sits in the park people-watching and then looks pensively at his hand is called, ‘Thread Rings.’ Between that, what LDW alluded to in his VLIVE, and some still cuts I saw of deleted scenes from EP16, I’m convinced there was something more to those rings that got cut due to time constraints. ㅠㅠ

Fun fact: This scene between Yeon and Soo Oh was the first scene of the drama that they filmed.

When Soo Oh asks Yeon what he’s doing there, the sub for Yeon’s response was, “Nothing other than waiting for someone.” That strikes me as off in tone as well as pacing. I would have translated it as, “Just.....waiting for someone.” (which is literally what he says).

When Soo Oh asks Yeon why he’s waiting, the sub says, “Because a fox can only love one person till death.” I don’t really have a problem with that translation, but what he literally says is, “Once a fox takes a mate they never forsake them. Until death.”

Sub: “How are you coping with that?” / “Not well.” > Literally: “Are you okay?” / “I’m not okay.” I actually like the sub here since it better conveys how precocious Soo Oh appears in this scene. He seems to alternate between precocious and adorably dim throughout the drama depending on who he’s with, though when he’s with Rang, it’s mostly the latter pfft

When Yeon turns down Soo Oh’s offer of friendship he says, “Your nose. I’m not big on men with runny noses. And human lifespans are too short to be friends with me.” Yeon's use of ‘men’ struck me as funny since I guess to someone over 1600 years old, an 8 year old and an 80 year old aren’t all that different. Also, Yeon giving serious life advice to an 8 year old is adorable. He talks to him like he’s an adult. 

The Afterlife Immigration Office

Between the BGM and the way the camera pans up the endless levels of shelving, did anyone else feel like Yeon entered Hogwarts for a sec? (not complaining) ;)

For the record, Yeon uses banmal with Taluipa and calls her halmeom (granny). In contrast, Hyeonuiong is pretty much the only character Yeon speaks to in jondaetmal and addresses respectfully as ‘elder’ (eoreushin). He speaks to Ji Ah’s parents politely as well, but it’s mainly because they’re her parents.

The text introducing Taluipa’s character wasn’t translated in the version we’re watching but it reads: ‘The god who rules over the River of Three Crossings (Samdocheon), the boundary between this world and the next.’ The hanja for her name (奪衣婆) refer to her traditional role, namely, removing the clothing of the dead for her husband to weigh on the Uiryeong’su (su = tree) to measure the weight of their sins. This is the same tree that the Uiryeong’geom (the wooden sword that appears in EP13), is allegedly carved from.

Lol Taluipa saying she has to keep up with the times but also using a computer that’s positively ancient (come to think of it, it’s probably from the 80s since that’s her favorite decade)

Again, I’m surprised that Yeou Nui’s character name dropped from the subs completely. The subs here just say, ‘the female fox.’

For Taluipa’s line, the subs say, “You’re to obey the order and capture who you’re sent after,” but that’s a loose approximation. More literally, it should be: “If the higher ups say to bring someone in, then you just have to bring them in.” I’m only mentioning it because the line implys that both Taluipa and Yeon report to someone higher up the chain of command. Otherwise they may be misconstrued as Taluipa’s orders. 

Yeon’s line, “My compulsory military service has gone on for 600 years. How could I not go crazy?” is hilarious when you consider that Korean men are required to complete 2 years of military service, and even that often feels like an eternity, so I think for any Korean, the idea of 600 years of it is just exceptionally cruel. The line is iconic enough to have been included in Yeon’s character profile.

I noticed this a while back, but ‘mountain god’ is being consistently translated as ‘mountain spirit.’ Technically, Yeon is (was?) a god, if a low ranking one in the grand scheme of things (the Korean word is ‘sanshin’ where ‘san’ = mountain and ‘shin’ = god). I understand the use of ‘spirit’ though, since he’s not a god as gods are typically thought of in western mythologies. 

Lol Yeon sticking his fingers in his ears (I would bet money this was also an ad lib)

Taluipa has a line that’s subbed, “Foxes never stay in debt.” More literally, it should be, “They say foxes repay eunhye no matter what.” You can find my explanation of eunhye here.

Wow, the subs really dropped the humour ball on Taluipa’s line here. First off, she says, ‘Right now’ in English. And while the sub says “Do you want your freedom back?” what she literally says is. “Do you want to be discharged?” (since Yeon had just likened his duties to military service).

On his way out, Yeon actually tells Taluipa, “Halmeom, you’re going to go to hell” (which is not the same as the underworld/afterlife as it said in the subs. Taluipa’s job is literally to ferry souls, so she goes to the afterlife all the time anyway). Also, when he says “I’ll pray for it everyday,” his phrasing is that of an elderly person pfft

As I mentioned, Yeon speaks formally to Hyeonuiong, who in return affectionately calls him Yeon-ie or Yeon-ah, which I find adorable.

Lol I’m not used to Ahn Gil Kang playing such a friendly character. Seeing him wheedle Taluipa with aegyo is hilarious. 

Code Red

Somewhat of a side note, I can’t help but wonder, is Shin Joo’s last name ‘Gu’ because he’s a gumiho, a la My Girlfriend is a Gumiho (2010)’s Gu Mi Ho-ssi?

I wish the subs had just left ‘Lee Yeon-nim’ as-is, instead of changing it to ‘Mr. Lee.' As a general rule, I’m in favor of preserving character forms of address when translating. 

Personally, I would have translated the name of Ji Ah’s TV program as: ‘In Search of Urban Legends’ rather than ‘Unveiling Urban Legends.’

I really like the dynamic between Ji Ah and writer Kim Sae Rom. “Should we fight?” / “Yeah, let’s fight~” How great is it that this drama doesn’t have a single catty, bitchy, stuck-up or otherwise obnoxious female character? 

For anyone keeping track, Shin Joo speaks to Yeon in jondaetmal while Yeon speaks to Shin Joo in banmal, underlining their master/retainer dynamic. 

Side note: There are actually multiple ‘types’ of jondaetmal: what I think of as ‘neutral polite’ (i.e. simply adding ‘yo’ to the end of all your sentences), the more formal polite (i.e. ending with ~[seu]mnida), that which elevates the subject, and that which lowers the speaker. The interplay of the four allows for varying degrees of politeness. The way Shin Joo speaks to Yeon is pretty much the highest degree. That doesn’t mean they aren’t close. Polite language can indicate distance but also level of regard irrespective of distance. This applies to Rang and Yoo Ri as well.

Again, Shin Joo calls Ji Ah ‘PD-nim’ but that became ‘that female director’ in the subs. PD-nim is a respectful (and non-gendered) form of address, and it’s perfectly suited to Shin Joo’s genial and deferential personality, so I wish the subs had just kept it. 

I read an episode recap where the recapper mentioned she wasn’t sure what Shin Joo’s deal was. At the time I was confused, but now I think I get it. In the subs, Shin Joo says, “When I’m a seasoned veteran? I’m now up to the point where I’m wondering if I’ve turned into an actual person.” What he actually says is:

 Shin Joo: No way~ How long have I been living in this (the human) world? Recently, I sometimes even have an existential crisis wondering, ‘Am I a person or a fox?’

[So he flat out says he’s a fox here, but that wasn’t reflected in the subs.] 

Fun fact: this was Hwang Hee’s first scene that he filmed with Lee Dong Wook, and the BGM as they exit is Shin Joo’s theme.

I love the way Lee Dong Wook played this scene where they pay their tab. That is all.

It’s only as Yeon and Shin Joo exit the restaurant that we see that the sign out front reads ‘The Snail Bride’ (Ureong Gakshi). This is another folktale in-joke, since the snail bride’s whole thing is that she cooks delicious meals for her human husband everyday. 

For the record, the Snail Bride (Bok Hye Ja) also uses honorific language towards Yeon and calls him ‘Lee Yeon-nim.’ I just assumed it was in deference to his ex-mountain god status, but it turns out she has a personal reason for holding him in high regard as well that we discover in the final episode.

As Yeon and Shin Joo walk away, Shin Joo’s line is subbed, “That show’s actually quite famous.” Since Korean doesn’t require a subject, the sentence is somewhat ambiguous, but I understood him to be referring to Ji Ah herself rather than the show since he says: “[Something is] really famous around the broadcast station.” 

Lee Rang

Lol Kim Beom. How are you 32 years old? 

I love how sharp and no-nonsense Ji Ah is. It’s so refreshing to not have to wait for the characters to catch up to what the audience already knows. 

Rang’s theme that plays as he transforms back into his suave self is so iconic. The music director (Hong Dae Sung) really is a genius. It’s funny when you think about how different Rang’s theme is from Yeon’s. 

Fun fact: Kim Beom shared in his Instagram LIVE that Rang ‘picking the wrong shoes’ was actually intentional. He was testing Ji Ah to see if she’d notice. 

Okay, Rang says here that he likes, “everything about her (Ji Ah) from head to toe,” (not in a romantic way but in a grudging respect/she’s fun to toy with kind of way) but what happened to that? Are we supposed to assume that he would have liked her if she hadn’t been the object of his brother’s affection? But he approached her knowing that’s who she was...? I don’t know. I do know I wish they’d had more scenes together. Their verbal sparring is great.

Side note: One Korean fan nickname for Rang and Yoo Ri that Kim Beom liked was ‘Hoket-dan,’ playing off the Korean for pokemon’s ‘Team Rocket’ (Roket-dan) and mashing it together with the ‘ho’ from ‘gumiho’ haha

Yeon’s obsession with mint chocolate ice cream is a hilarious counterpoint to his status as a cheon’ho and his ex-mountain god title. Point to the writer. In Japanese, this would probably be called ‘gap-moe’.

When Yeon tells the man behind the counter, “When I’m indebted to someone, I’m obligated to return the favor,” he’s once again talking about eunhye. As a fox, he’s supernaturally bound to repay good deeds done for him. As far as I’m aware, this is unique to the drama and not part of the traditional gumiho lore. 

Yeon eating ice cream like a happy kid XD Lol Lee Dong Wook, how are you 39?

Fun fact: Yeon’s line when he answers Rang’s call, “The number you have reached doesn’t exist, you punk” was an ad lib by Lee Dong Wook. The combination of the formal phrasing found in a typical voicemail recording followed by ‘you punk’ is particularly funny. It’s so witty I actually wouldn’t have known this was an ad lib if LDW hadn’t confessed as much himself. 

“Let’s meet.” / “I refuse.” /  “I’ll set your house on fire.” Hahaha What is with these brothers? Are they 1600+ and 600, or 16 and 6? Are the zeros silent??

Bus 1002

Ji Ah: “If possible, pick a different dream. I’ve been on the clock for 22 hours straight now.” I like Ji Ah so much. She’s unpretentious, intelligent, honest, driven, resourceful and witty. 

Lol As Ji Ah struggles with the old man, you can hear Yeon offscreen urging the driver to get moving. Only he calls him, ‘driver yangban.’ Yangban is originally a word for a nobleman, but much like the word ‘lady’ in English, what was once a term of respect is now...not. lol Also, I’m pretty sure this was another ad lib by Lee Dong Wook since it happens entirely in the background.

This scene with Ji Ah piggybacking the old man is so classic spooky-folktale. I love it. 

"You’re the only person I saw.” *Close up of the totem pole* They managed to make that whole sequence creepy despite nothing actually happening. Cool cool cool. 

So our old drunkard is revealed to be a Mokjangseung (mok = wood). Jangseung in general are totems that stand at crossroads and the entrances to villages. tvN published some backstory info explaining Ji Ah’s past with this particular Jangseung and why he elected to save her which I translated here.

Aaaand we’re back at Fox Ridge. I can’t believe I only just noticed this, but the episode title could refer equally to the accident in Ji Ah’s past and this bus accident in the present. 

Of course Rang staged the accident at the site of Ji Ah’s greatest trauma. Also, the fact that he knows that about her is telling. 

Appropriately, the BGM playing as Ji Ah arrives at the scene of the accident is ‘Fox Ridge’ (Yeou Gogae). Iconic.

Back over to Yeon. The first time I watched this I wondered where on earth he was heading in that downpour but it turns out he was in pursuit of Rang, who had given him the slip. 

Seeing Yeon limping injured through the rain ㅠㅠ  Also, while Yeon later tells Ji Ah he carries his umbrella everywhere because he hates his fur getting wet, he clearly isn’t bothered here, choosing to keep it sheathed on his back instead. I guess all bets are off when he’s in Gumiho Mode. 

Detective Baek and Ji Ah speak in banmal and he calls her ‘Nam Ji Ah,’ which I assume means they’ve been friends for a while. 

Wow, good for Ji Ah for having made note of the exact number of passengers in the midst of all that chaos. I certainly wouldn’t have. 

Hospital Encounter

So after Rang gave his brother the slip, Yeon realizes the next day that he’s at the hospital thanks to the news article Shin Joo reads out to him. Idk but I like that shot of the two of them heading out. There’s something vaguely Avengers about it. Which is maybe not surprising given that was another early influence for the show. 

I liked this conversation between Ji Ah and ‘Soo Young.’ We get to see Ji Ah’s own resolve and drive in the advice she offers: “Even so, I hope you’ll become strong. It’s way more fun to be a PD than a victim.” 

As with when he arrived at the wedding hall, the cinematography + BGM as Yeon approaches the hospital with his red umbrella is just A++ 

The BGM playing when Ji Ah spots Yeon approaching the hospital information desk isn’t on spotify or anywhere else that I’ve seen. It reminds me a bit of the ‘Tubular Bells’ theme from the Exorcist (a movie I actually haven’t even seen). If anyone knows what it is, I’d love to know. 

“My only talent is my face~” pffft  Also, decidedly untrue. 

When Ji Ah tells Yeon, “Yes, I’m scouting you, but not for that,” She literally says, “but not for that genre.”

And now the subs say ‘Fox Ridge.’ Okay, then. 

When Yeon says, “From the sound of it, it won’t be well made,” ‘well made’ is in English. Again, the peppering of English through Yeon’s speech makes him sound more modern.

When Yeon says, “Plus, I’m very devoted” his line is more literally, “Plus, contrary to how I look, I’m the devoted type.” Are you saying you look like a player? pfft

Yeon is such a big softie, so why does he keep threatening to kill people? Does he not realize they might take him seriously?

For this entire conversation (interrogation?), both Yeon and Ji Ah are switching back and forth between polite speech and banmal, almost on a sentence by sentence basis. On the whole, it gives the impression of a verbal sparring match.  

“It’s not as if this was a blind date. No thanks on a second one.” lol I do enjoy cheeky Yeon. 

Oh, I love that Ji Ah thinks on her feet. Using her leather bag to lift Yeon’s fingerprints was a smart move. Although, I’m not entirely convinced it would work that well in real life. 

The ‘grim reaper’s outfit’ exchange was a coordinated ad lib between Lee Dong Wook and Hwang Hee. I mean, of course it was lol Casting Lee Dong Wook is the gift that keeps on giving. 

Was that supposed to be Yoo Ri entering ‘Soo Young’s’ hospital room in those boots?

Minor detail, but ‘Soo Young’ calls Ji Ah ‘eonni’ meaning ‘older sister.’ It’s common convention in Korean to refer to people by familial ‘roles’ that fit their general age range even when you’re not actually related. I could digress, but I guess I just find it jarring when they have her addressing Ji Ah by name in the subs since Ji Ah is older and virtually a stranger. 

Okay, when ‘Soo Young’ hears that Ji Ah lives alone, the smile she gives is effectively creepy. 

The contrast between ‘Soo Young’s’ narration and the events of what actually happened on the bus that we see as viewers is great. Point to the director. 

Wow, Rang really just slaughtered a whole bus worth of innocent people without a thought. I feel like we all managed to forget that about him as the show progressed. Hats off to the writer and to Kim Beom’s compelling performance. I actually worried initially that Rang would remain a one-note character because that would have been such a waste of Kim Beom, who is a fantastic actor. I’m so glad that wasn’t the case. 

I love the subversion of viewer expectations when it turns out that Ji Ah knew all along that ‘Soo Young’ wasn’t who she claimed. This is something TotNT does repeatedly and well. We get both the dramatic tension of her being in danger and the satisfaction of her having had the upper hand all along. Point to the writer.

I’m pretty sure Ji Ah knocked that pitcher over with the express intent of using a shard from it as a weapon. Point for character consistency. Past or present, Ji Ah is apparently a ‘stab first, ask questions later’ kind of girl.

The Brothers

“Hey you! I clearly told you I didn’t want a second date?!” Haha Oh, Yeon. 

I saw comments from Korean fans about how Yeon burst into her house with his shoes on here, and now I can’t not think of them when I watch this scene: ‘Entering the house with your shoes on...in the Republic of Korea...Ha...’, ‘Even if you bust the whole house apart, you have to take your shoes off before entering...’ lol

I love Yeon’s line that’s subbed as, “As if, brother.” In Korean, it’s “Do you want to die, little brother?” The word he uses for ‘little brother’ is ‘아우야,’ which, while still used occasionally today, is an antiquated word Yeon might just as easily have called Rang 600 years ago. It’s also, in contrast to the first half of his sentence, quite an affectionate term of address. 

Rang’s line subbed as, “It’s a long story, but the family has a dirty past,” should more properly be: “It’s a long story, but you might say we come from a broken home.” Saying they have a dirty past makes it sound like they’re the mafia or something. Also, as a fun language note, the expression is literally ‘a bean-powder household.’ 

“Are you worried I’ll be sucked into the Underworld?” should be: “Are you worried I’ll go to hell?” Not sure where they got ‘sucked into.’ Rang just means when he dies. Also, I wish the subs would do a better job distinguishing between hell, the underworld, and the afterlife. They’re three different words. 

“It’s because you embarrass me, that’s why.” Lol at the way Yeon covers his eyes. That’s definitely another ad lib from Lee Dong Wook. 

When Rang calls time here, he actually calls Yeon ‘hyung.’ I suspect this wasn’t in the script but rather something that slipped out subconsciously on Kim Beom’s part, since the writer was clearly saving that word for when it would hurt us viewers the most. ㅠㅠ

Yeon’s line is subbed, “Old habits really do die hard,” but it should properly be: “You still haven’t fixed that habit?”

“If you don’t find it until the end of the next month, this woman will die.” This should actually be: “If you can’t find [that] by the next end of the month, your woman will die.” The subject is actually omitted so it’s unclear to what exactly Rang is referring, which is intentional. I also understand hearing ‘your woman’ (ni yeoja) as ‘this woman’ (i yeoja), but when they later flash back to this conversation they use a different take in which the line delivery is clearer and I’m confident it’s ‘your woman.’ This also explains Yeon’s confusion, since at this point he didn’t even know she’d been reborn. 

I Waited for You

For anyone wondering how Ji Ah got into Yeon’s apartment, apparently his house code is 0000 lol

From his expression as he discovers and then watches the video she secretly took of him, I feel like Yeon is impressed with Ji Ah in spite of himself and I’m 100% here for it. 

For the record, from this point forward, Yeon and Ji Ah use banmal with each other. Ji Ah has a tendency to speak to many of the supernaturals in banmal, which is honestly the opposite of what I would have opted for in her shoes. 

Yeon’s question of, “How did you come here?” could mean either, ‘What brings you here?’ or ‘How did you get [in] here?’ in Korean, and honestly they’re both valid haha

Minor note, but she actually says his Korean age is 36, which would be 35 by the typical reckoning...except he’s actually ~1636 so it’s a moot point, really. 

Ji Ah’s line, “Now I can proudly say that it’s fate,” translated more literally would be: “At this point, it really is fate and not coincidence.”

I feel like Ji Ah’s strategy of throwing herself off the balcony here is possibly the only thing she does in this entire show that strikes me as dumb. Like, I’m pretty sure if Yeon hadn’t been both benevolent and able to fly (and she had no guarantee that he was either), letting her just fall here would have been the easiest way for him to resolve the matter/the only thing he could have done. 

Yeon’s line, “Did you just test me?” is one of the rare instances in which he code switches to archaic speech. I guess using his gumiho powers put him in a Gumiho frame of mind. ;)

On the whole, I prefer the instrumental OST tracks to the lyrical ones, but ‘Blue Moon’ is just sooooo catchy. I wish they had continued using it more. 

And that concludes Episode 1. I’ve never posted anything like this before, but hopefully it was at least mildly interesting. Let me know what you think. 

Wonder Woman 1984 (2020) Review

Why specifically 1984? Why not 83 or 85? What is so significant about 1984? 83 had Ronald Reagan propose development of tech that would intercept enemy missiles, and the project was called “Star Wars”. In 85 there was an earthquake in Mexico that killed 9,000 and Coca Cola made a new Coke! Impressive stuff! What happened in 1984? *another quick Google check* Aids break out. Oh. Oh no.

Plot: Diana Prince lives quietly among mortals in the vibrant, sleek 1980s - an era of excess driven by the pursuit of having it all. Though she's come into her full powers, she maintains a low profile by curating ancient artefacts, and only performing heroic acts incognito. But soon, Diana will have to muster all of her strength, wisdom and courage as she finds herself squaring off against Maxwell Lord and the Cheetah, a villainess who possesses superhuman strength and agility.

After many delays due to COVID once again doing a COVID and messing things up, Warner Bros. finally released Wonder Woman 1984, due to concerns of audiences losing interest in the project. I remember enjoying the first Wonder Woman years ago, and though it didn’t reinvent the superhero genre, as an origin story is was watchable and there were a couple cool action set pieces, such as the notable trench sequence where Diana fights through No Man’s Land and literally all that’s missing is her screeching “GIRL POWER!” everytime she deflected a gun bullet! Anyway, nothing ground-breaking but a decent piece of entertainment. Now we have sequel set in the 80s that plans to go bigger, bolder, grander.....well, you know, the usual sequel stuff. And they have the Mandalorian himself along for the ride, because even Warner Bros. knows that this is the way.

Having watched the film I must say, it is disappointing. Though in reality is it really disappointing? Personally I had hardly any expectations anyway, so it’s not as if my hopes and dreams have been crunched and shattered and thrown into a pit of despair! Wow, that came off as if I am super in denial, which I am not, I promise, okay?? In all seriousness though, the movie is a mess. With a runtime of two and a half hours, the film is filled with pacing issues so much so that I can say I was bored 50% of the time. A lot of it doesn’t make sense, the editing is atrocious and also this baby is filled to the brim with plot holes! So. Many. Plot Holes. For example, right from the start, one of the opening scenes involves Wonder Woman stopping a robbery at a mall. The robbery in itself is botched up. "I'm not going back!" screams one of the criminals, so hey, I'm going to hold this kid over the railing and almost drop her so that I can go to jail for murder. Genius writing there. Anyway, so Diana swoops in, saves the kid obviously, then proceeds to destroy the cameras in the mall as if that will also magically erase the footage that has already been recorded as well as all the witnesses that have seen her show off her bongo-bongo power mojo. So she’s trying to hide her identity and existence a secret, and apparently has been doing so for years, yet all her heroic moments happen in the middle of the public’s eye, so there is no way that she could have stayed confidential all this time. Then again, Superman can put on a pair of cheap glasses and all of a sudden he’s this random fella named Clark Kent, so what do I know? My guess is that the human population in the DC world are stupid and aren’t capable of adding 2 plus 2! Right, onto the next plot hole. So throughout most of the film, it feels like the movie is set in autumn or something along those lines. One of the characters gives food to a homeless person and tells them to stay warm, and also many people passing by are wearing coats and furs. Suddenly at one point there is a firework display and Diana winks to the camera and says “oh look, it’s the Fourth of July!” I’m sorry, last time I checked that date is set in the summer. Why would I know this? Well maybe cause it happens to also be my birthday! Next! So Diana can fly in this movie. How? Or why? I don’t know! Because “GIRL POWER!” I guess? I don’t know, this new superpower comes out of nowhere, yet its not referred to at all in Justice League, which is set many years later. So yeah, sounds like director Patty Jenkins couldn’t give a single flying dollop of poop about continuity. Speaking of random decisions, Wonder Woman’s new golden armor serves absolutely no purpose at the end of the film. She decides to randomly use it one point for no particular reason, and in fact it slowed her down more than anything, after which it was all forgotten about. Look, I can go on forever, this movie is filled with disorganised and erratic plot decisions and it makes zero to no sense!

Visually this film is disappointing too. Taking into account that this is a big budget film from one of the biggest film studios, the special effects in this film are atrocious. The green screen is so obvious and the CGI sets are clearly fake. Diana spends a lot of the film doing jumps and then floating in a very peculiar way in the sky, and it looks laughably bad. Even the 80′s setting doesn’t feel quite right. Yes, the costumes are somewhat okay, but the atmosphere is off and it seems the director’s opinion of the 80s is that everyone needs to act like a caricature.

Gal Gadot as Wonder Woman is okay. Look, Gadot seems like a very lovely and earnest person in real life, and her face is indeed very likeable, but I still haven’t seen her give a good performance. It’s the typical pretty Hollywood face, and you can tell she’s trying her hardest, but I can never properly buy her as this female superhero pop culture icon. Chris Pine returns even though he died in the first one. Look, the way he’s brought back is a bit strange, however I did actually like seeing Pine in the movie, as he was one of the best parts of the first film, and he brings that same charm and charisma in this one, now with the added factor of being the fish out of water. And to be honest, his presence actually does provide the movie with some needed emotional heft, as it explores the ideas of having to get over someone you’ve lost and learning to accept it and move on. In terms of villains, there are two in this movie. Kristin Wiig as Cheetah feels very shoehorned in and is mainly there to have Diana fight someone at the end of the film. Kristen Wiig does her part, however the character is written really badly, and her development into becoming a villain comes off as rushed and cheap. On the other hand Pedro Pascal as Maxwell Lord is actually not bad. He’s not the typical superpowered baddie, he’s actually a normal human being, and even though, again, there are some inconsistencies with his character, Pascal brings enough swagger and panache to the role. And I’m sure he actually enjoyed playing a role where you can actually see his face.

As a whole, Wonder Woman 1984 is a mess. There are some good moments, but generally this is a very disjointed movie that doesn’t make sense and is extremely chaotic. Also, the entire thing is really boring. I’d say if you want more of an organised and wholesome movie, check out Disney Pixar’s new animation Soul! Or The Mandalorian with Pedro Pascal, as indeed... this is the way.

Overall score: 3/10

It's 2007 and somehow, miraculously, Supernatural survives yet another rocky (?) season of mediocre ratings to come back for a third season, or at least, half season, but that season starts out with a real bang! Like, just a real solid trio of an opener for season three. It reminds me of all the things I love about SPN and also it reminds us of all the things that frustrate the hell out of me on SPN. So where did we leave things off?

First up, there’s Dean, who sold his soul to the devil in order to bring Sam back from the dead. Sam, you’ll remember, was part of some overly complicated ponzi scheme to find the perfect vessel to open a door - yep, open a door - and lost to Aldous Hodge who just straight up murders Sam in the season finale. So Dean get’s Sammy back, but in exchange, he’s only got one year left before he permanently moves down south. Oh! And even though they got Sam back and Sam kills Aldous Hodge (RIP pal), they neglected to keep the door from opening. The door to Hell, that is, and now they’ve allowed a shiz ton of demons out to freely roam the earth. Way to go, boys, you lost again! They are two for two on these season finales guys!

OH but they DO kill the Yellow Eyed Demon, so that’s a plus, but not before he plants the most perfect seed of doubt in Dean’s mind - “How do you know what you brought back is all Sammy?” Like, ugh, UGH, ugh!!!! What a way to drive the knife in deeper! What a way to make the heart of this show slowly start to crumble! C’est Magnifique!! *chef's kissy fingers*

So with all that emotional baggage weighing us down, how do we start season 3? How else - with a threesome of course! And also some technicolor grading, it’s wild guys.

Oh boy guys, let’s talk about this opener for a hot sec. I got into it a little bit last season, but as much as I love Dean, you HAVE to admit that that boy is gross. Just like...he’s a little gross. I’m also old enough now to see exactly how many red flags he’s raising through the last 45 episodes. Like, sorry Little Me, but he is not boyfriend material. Not to mention that all this debauchery is 1,000% him distracting himself from the consequences of his own actions, but we’ll get into that later.

Meanwhile, Sam is doing something constructive and trying to figure out how to reverse the curse and save Dean’s soul. And here we have the culmination of two seasons worth of character development - faced with the imminent demise of Dean Samuel Winchester, Sam tries to step up and take care of his brother for once in his life; Dean parties like it’s 1999. There were two things I thought of during this episode - 1) isn’t this not unlike the sort of behavior you see in suicidal people who have finally decided to take their own life? Which is just, like, further held up by the fact that Dean’s big monologue at the end literally has the line “Truth is I’m tired, Sam. There’s a light at the end of the tunnel.” and like...dude, you are NOT ok! Why isn't??? ANYONE??? ADDRESSING THIS????? And 2) Dean is sharing a lot of similarities with the demons in this episode.

Because MEANwhile, there’s demons! So many demons! Specifically, the Seven Deadly Sins ones, but also, spoiler alert, Ruby, who is gettin’ reeeeealll into that ketchup.

All these baddies just really taking advantage of their time topside cuz Hell is, as they so artfully put it, it’s like Hell, so they’re just livin’ it up while they still can ~almost like foreshadowing or something~?!?!?

Real talk though, it being a real long time since I’ve watched this season, it’s these kinds of details that I’m impressed with this time around. There is so much character work that goes into this show and it’s something I definitely connected with the first time around, but not on conscious level. Now I can look at it through time and experience and articulate what I’m seeing, which makes this re-watch infinitely more enjoyable.

Episode 1 of this season continues what they started in season 2 and just keeps building out that Hunter Community. Like, there really is a whole Community out there that keeps in contact and works together and makes sure everyone’s up to date on the latest hot goss, and it all makes John Winchester come off like a real creepy splinter cell lone gunman type. And that in turn makes the Winchester sons look like total, unprofessional boneheads who managed to open a portal to Hell. “UGH Great Jorb Guys, but can we blame them? They’re John’s kids,” is a conversation between hunters that I am headcannoning, but also 100% support.

Honestly, I love the idea of the Winchesters being just these real, like, b-grade, Walmart Brand Hunters that other Hunters are just SO done with. We kind of see a little bit of that with Isaac and Tamara, but by the end of the episode, the Winchesters prove that they’re...better Hunters? I hope somewhere in the next 12 seasons I get an episode that is told from another Hunter’s POV who is legitimately better/more emotionally balanced than the Winchesters and the whole episode is them just, like, cleaning up a bunch of Winchester messes like, SONuvabitch, these two ASSholes. I think we see a fair amount of episodes from the POV of people who are less qualified than the Winchesters who end up being mentored by them, but I’d be stoked for them to run into just a group of people who hate them for totally legitimate, professional vs amature reasons.

Bobby does not count because Bobby signed up to be their Dad and so he agreed to take care of their messes when he took that job.

And then we get to “The Kids Are Alright” which showcases one of my fav changes for this season - BRIGHTLY! LIT! HIGH! SATURATION!!!! And of course, by fav, I mean, Most Hilarious.

I do walk a fine line on this one truth be told. Like, season 1 was definitely going for A Look. It’s super gritty and high contrasty and stylized. Now, I got what they were going for but I wasn’t always crazy about it, mostly because the quality on the DVD’s was terrible. Quick tip for everyone: in order to get 2+ hours worth of content on a DVD, you have to compress the final edit of the program to a pretty small bitrate. When we drop videos onto DVD’s at my work (it isn’t often, thank goodness), the discs themselves only hold, like, 2GB worth of content and that is NOT A LOT when it comes to video files. The more compressed a video file is, the less detail you’re gonna get in the visuals. Watching episodes on Netflix (where everything’s probably at a higher bitrate and therefore is a better quality visual), it’s not bad, but on my DVDs, the compression is so heavy that we get SUPER hot highlights and SUPER crunchy shadows - what a lot of people would called “crushed blacks” because you’ve lost all the detail in the shadows and you’re left with a grainy, noisy, black hole on the screen. Like I lost so much detail in the pilot episode guys, I could not make out this guy’s face.

A rough approximation of my DVD quality. Still recommend it over Netflix for the Accurate Soundtrack tho.

Season 2 SPN toned that Look down a lot, like, a lot a lot. Enough that you still got the general vibe they were going for but not enough that you couldn’t make out faces anymore. But through this whole process, the CW execs kept pushing for the show to look lighter, more colorful, less film noir more...well, CW. And in season 3 it finally happened!!!

I get what those execs were going for, but also, I feel like the colorists on these first few episodes just REALLY went wild out of spite. Lookit this shot from “Magnificent Seven” right before Envy causes some rando innocent bystander to beat a girl to death for her shoes -

GREEN GREEN GREEN GREEN!!!! I WONDER WHICH SIN THIS GUY IS????

Then in “The Kids Are Alright” the birthday party looks like everything is coated in day-glow neon.

The Winchester Bros look like they just got back from 3 weeks in Aruba - LOOK at the saturation levels in these skin tones! LOOK AT THEM!!

My screencap ability aside, only in SPN can a cemetery at night have brighter lighting than a diner in the middle of the afternoon.

This is definitely a thing I will be tracking the rest of the season because I have a distinct memory of a future episode where the brothers have been magically gifted completely different lives where they were never Hunters, they know nothing of Hunting, and they’re completely normal until the end when everything gets snapped back and the episode literally changes colors. V. Excited to see just how saturated this season stays through the end.

But maybe more importantly in “The Kids Are Alright” we learn that Dean does NOT, in fact, have a son. Not that he would be a good father...well...maybe? I mean, this Dean, this season 3, definitely-suicidal, completely-reckless, can’t-keep-it-together Dean, is not good Dad material. Later seasons Dean? Probably fine? Earlier seasons Dean might ALSO be fine? And if he’d found out that Ben was his legitimate kid, it could have made a WORLD of difference, who knows. I know he ultimately does become father-like to Ben and that gives me a lot of feelings. But this Dean is not in a good place to take care of anyone, including himself and really, someone ought to do something about that.

I gotta say, this is an actual bummer. I can’t remember if, in the later seasons, they do any clarifying on this or not, but I am legitimately bummed that Ben is not Dean’s kid and that as far as we know, Dean has no natural children floating around out there with surly attitudes and soft hearts. Dean’s motivation from Day 1 has always been family and despite what comments he may make in early seasons, Dean’s secret desire is to have the wife and the kids and the dog and the white picket fence. And honestly, we’re only 3 seasons in and I just want Dean to have nice things!!

And then guys, we come to “Bad Day at Black Rock,” and I just...WHAT a masterpiece. I had almost NO memory of ever watching this episode before and I don't understand why. What a glorious masterpiece this episode is. Let’s make a list -

More Hunters™, who should be really annoying but were actually kinda charming in a Marx Brothers kind of way

Gordon’s in jail, where he belongs, but also is masterminding a coup against the Winchesters which is A+ spooky stuff

Slapstick comedy that I didn’t know I was missing from my life

Bela F*cking Talbot

Guys, I think this is my fav episode so far purely because I felt, while watching it, that the last 10 years of my life were not in vain and that I had in fact grown as a human person. I remembered hating Bela Talbot. Like, I DID. NOT. LIKE. HER. To the point that I questioned if her British accent was even real. It is, her mother is from the UK and she lived there for a time, but like, honestly, the audacity of Little Me.

This time around? Oh she’s defs my new fav. Just everything about her is like, A+, Great Job, Why-Did-We-Cancel-Her??? Like, oh yeah, probably because somewhere in here they try to shoehorn a romantic side plot with Dean. I don’t actually mind rioting over shoehorned romance, but also, if they’d let this play out for a season or two and then got the two of them to bone? I’m on board. I’m 100% on board.

Maybe it’s just that she is unapologetically out for herself, maybe it’s the fact that she is definitely a match for the Winchesters in a non-murdery way, probably it is both of those things. She's smart, she’s crooked, she has impeccable taste, she’s honestly a helluva lot of fun and I am so excited to see more of her and so BUMMED that she will not make it past this season.

Despite the fact that I absolutely adore all three of these episodes, they also bring up the problem that I was starting to see in season 2 - WHO is this show about? Isn’t it supposed to be about the Brothers as a whole? But the majority of these first three lean pretty heavily on Dean’s emotional arc. Granted, it makes sense. I mean, of COURSE Dean’s demon deal is gonna be the BIG thing in a season where he is literally staring down the barrel, but knowing that there’s a side plot about Is Sam Evil?? seems like...something we should really explore more? I believe it comes up in season 4, or at least, Sam’s demon-blood powers become a bigger deal in season 4, but I would have enjoyed seeing Sam have a more active stake in this season. I can see planting some weird new ticks being planted for Alive-Again Sam that just get weirder and darker and then a mid-season finale or a run up episode to the end of the season where Dean (finally) decides he needs to stop his demon deal because he needs to stick around so he can keep Sam from going completely off the rails. As much as I love Dean 5ever, I do think the show works best when the emotional weight of the season is distributed equally is all. And to be fair to the writers this season, there could have been a bigger plan for something like that but they ran out of time - their season was cut by about a third due to the Writer’s Strike.

Still, all in all, a solid opening to the third season. I want to say that these episodes feel like Classic SPN, but then I remember that this is season three out of fifteen. These ARE Classic SPN. Mostly self contained with enough emotional drama to remind us of the overarching plot. Maybe a little heavy on the emotional drama, but Dean’s only got a year to live and the show’s only got 16 episodes to resolve that crisis, so it’s fine.

※ BORDERLANDS: CL4P-TP EDITION

Various lines that Claptrap bots have said through Borderlands 1, Pre-Sequel and 2. feel free to change pronouns if needed. May include nsfw material. ( BL3 version here )

"Wow! You're not dead?" "Hey, check me out everybody! I'm dancin', I'm dancin'!" "Unce! Unce! Unce! Unce! Ooo, oh check me out. Unce! Unce! Unce! Unce! Oh, come on get down." "Yoo-hoooooooooo!" "I am the best robot. Yeah, yeah, yeah, I am the best robot. Ooh, ooh, here we go!" "Hey! Over here! I'm over here!" "Still haven't found the Vault?" "I'm over here!” "Rrrrrgh...this isn't working!" "Unce! Unce! I think I lost the beat... but, Unce! Unce!" "Wanna hear a new dubstep song I wrote? Wub! Wub--"  "(name) asked me to tell you about a, uh, ‘little sumthin' sumthin'’ s/he needs done. You should ask him/her about it!" "Did you find the Vault yet?" "Sure is lonely around here." "Oh my God, I'm leaking! I think I'm leaking! Ahhhh, I'm leaking! There's oil everywhere!" "I can see through time..." "My servos... are seizing..." "I can see... the code." "I don't like this... this is making me nervous. Take a deep breath- I can't breathe! This is just a recording of someone breathing! It's not real! It's just making me more nervous!" "I'm detecting a motor unit malfunction... I can't move! I'm paralyzed with fear!" "Please don't shoot me, please don't shoot me, please don't shoot me!" "Turning off the optics... they can't see me..." "The traveler will protect me. The traveler will protect me." "Good as new, I think. Am I leaking?" "The box is awaiting your attention." "Please open the box." "Yeah? Well, hmph!" [ gives the finger ] "Good luck!" "There's more to learn!" "Let me teach you the ways of magic!” "Magic waits for no one, apprentice!" "Still working on that quest?" "Shouldn't you be murdering something about now?" "Hey! You're TALKING to me! And I didn't even have an exclamation point over my head! This is the BEST day of my life!" "Sooooo... how are things?" "Hey, best friend!" "Yessss, look into my eyes. You're getting sleepy. You're getting... zzzzzz... Zzzzzz..." "Success! My spell to make you want to hang out with me worked!" "Stay a while, and listen. Oh god, please -- PLEASE! -- stay a while." "Away with thee!" "Don't you worry, minion! Give me one good shot at that (name) dude and I'll take them right out! I... just got some stuff to do first." "We've really come a long way, haven't we, minion? And you're still just as loyal as ever! Who's a good minion? You are! Yes you are!" "Yessiree! This whole place would completely fall apart without old Claptrap keeping things humming along!" "As a robot, I'm completely immune to (name)’s gas attacks. But that hasn't stopped me from incessantly cowering!" "And I thought bandits were bad BEFORE they had nightmare plants growing out of them!" "You already saved Pandora? But... but I'M the hero of Pandora! It's on my business card! I ORDERED SO MANY OF THEM!" "Sanctuary's gone? But the bank! All my stuff! All my crucial information! YES! I'M OFF THE GRID, BABY! NO MORE CREDITORS! Seriously, I owe a lot of people a lot of money." " The Vault Map is gone! Forever! It will never be found. Never, ever, ever-- is what I'll say to everyone I know while I look for it. " “ I can do more than open doors, sir/ma’am! We CL4P-TP units can be programmed to do anything from open doors to ninja-sassinate highly important Janitor-y officials! ” “ I once started a revolution myself. There were lots of guns and a lot of dying. You'd think I would have gotten some better benefits out of the whole thing but no, demoted back to door-opening servitude! ” “ ---Remember what? Are... are you my father? ” “ Are you god? Am I dead? ” “ I'M DEAD I'M DEAD OHMYGOD I'M DEAD! ” “ Thanks for giving me a second chance, (name). I really appreciate it. ” " Hey everybody! Check out my package! " " Let's get this party started! " " Glitching weirdness is a term of endearment, right? " " This time it'll be awesome, I promise! " " Look out everybody! Things are about to get awesome! " " Eww, what flavor is red? " "Where'd all my bullets go?" " Bullets are dumb. " " I need tiny death pellets! " " RUN FOR YOUR LIIIIIVES! " " Oh, s/he's big...REALLY big! " " I am a tornado of death and bullets! " " Stop me before I kill again, except don't! " " There is no way this ends badly! " " This is why I was built! " " You call yourself a badass? " " Is it dead? Can- can I open my eyes now? " " I didn't panic! Nope, not me! " " Not so tough after all! " " I have gaskets tougher than you! " " That was me! I did that! " " Don't tell me that wasn't awesome! " " Wait, did I really do that? " " Aww! Now I want a snow cone. " " Freeze! I don't know why I said that. " " I can't feel my fingers! Gah! I don't have any fingers! " " Why do I even feel pain?! " " Why did they build me out of galvanized flesh?! " " That looks like it hurts! " " Oh, quit falling to pieces. " " Is that what people look like inside? " " Huh, robot's don't do that. " " Disgusting. I love it! " " It's about to get magical! " " You can't just program this level of excitement! " " Push this button, flip this dongle, voila! Help me! " " Square the I, carry the 1... YES! " " I have an IDEA! " " Round and around and around she goes! " " It's like a box of chocolates. " " If I had veins, they'd be popping out right now! " " Roses are red and/Violets are blue/Wait... how many syllables was that? " " Aww, I should've drawn tattoos on you! " " Tell me I'm the prettiest! " " Trouncy, flouncy... founcy... those aren't words. " " The robot is dead, long live the robot! " " Take these, gorgeous, you'll feel better! " " Some days, you just can't get rid of an obscure pop-culture reference. " " Oh darn, oh boy, oh crap, oh boy, oh darn. " " Do not look behind my curtain! " " I'm made of magic! " " Like those guys who made only one song ever. " " Everybody, dance time! Da-da-da-dun-daaa-da-da-da-dun-daaa! " " I brought you a present: EXPLOSIONS! " " Is this really canon? " " ... You're dead to me. " “ Nobody hurts my friends! " " Wubwubwub. Dubstep dubstep. Wubwubwubwub DROP! Dubstep! " " I'll stop talking when I'm dead! " " I'll die the way I lived: annoying! " " Come back here! I'll gnaw your legs off! " " This could've gone better! " " You look like something a skag barfed up! " " What's that smell? Oh wait, it's just you! " " Yo momma's so dumb, she couldn't think of a good ending for this 'yo momma' joke! " " You're one screw short of a screw! " " I bet your mom could do better! " " Good thing I don't have a soul! " " I'll never go back to the bad place! " " I have many regrets! " " Can I just say... yeehaw. " " You're the wub to my dub! " " So... does this make me your favorite? " " What are YOU doing down here? " " We're like those buddies in that one show! " " This is no time to be lazy! " " You can thank me later! " " You love me, right? " " You, me... keeping on... together? " " You versus me! Me versus you! Either way! " " Dance battle! Or, you know... regular battle. " " You wanna fight with me?! Put 'em up!.. Put 'em up? " " A million baddies, and you wanna hit me? Aww! " " I am so impressed with myself! " " Ha ha, this is in no way surprising! Ha ha! " " Don't bother with plastic surgery - there's NO fixing that! " " I am right behind you, Vault Hunting friend! " " I can do that too! ... Sorta... Except not. " " You jerks have NO idea what you're in for! " " I'm so glad I'm not one of those guys right now! " " YOU! ARE! SCARY! " " That is in no way disturbing. " " I did a challenge? I did a challenge! " " Glad I didn't mess that up. " " I feel... complete!.. That's weird. " " I actually did something right for once! " " Hmmm, the possibilities are an infinite recursion. " " Do any of these come with a new paint job? " " Which of these gives me my free will back? " " The moon is not enough! " " I'd do anything for a man/woman with a gun. " " At least I still have my teeth! " " Coffee? Black... like my soul. " " Crazy young whippersnappers...  " " I've finally got an electric personality! " " Wait, this isn't vegetable juice! " " Cool! Now we're both super-crazy-amazing! " " These are the best kind of cooties! " " Can I shoot something now? Or climb some stairs? SOMETHING exciting? " " Times like these, I really start to question the meaning of my existence. Then I get distra-hey! What's this? This looks cool! " " It would really stink if I couldn't control what I was thinking. Like, who wants to know that I'm thinking about cheese and lint, right? " " How does math work? Does this skin make me look fat? If a giraffe and a car had a baby, would it be called a caraffe? Life's big questions, man. " " Who needs memories when I can do all this cool stuff? Stuff that I currently am not doing! That's what I'd like to call a 'hint'. " " Does this mean I can start dancing? Pleeeeeeaaaaase? " " Ya know when there was that Vault monster scare? I had these friends, and boy times sure were scary! But, I didn't care because I had friends, and they were like... super-friends! And then they left me, but they saved the world and I was like 'I know those guys!' Even though they never came back after that I still knew they cared, because no one had ever been... nice to me before. ... What is this? My eye is like... leaking. " " It's really quiet... and lonely... (hums briefly) Also this 'stopped moving' thing makes me uncomfortable. It gives me time to stop and think... literally. I'VE STOPPED, AND I'M THINKING! IT HURTS ME! " " Oh. My. God. What if I'm like... a fish? And, if I'm not moving... I stop breathing? AND THEN I'LL DIE! HELP ME! HELP MEEEEE HEE HEE HEEE! HHHHHHHELP! " " Ahem, ahem. What's going on? Did I break something? " “ You hear me, (name)?! You killed my friends! You destroyed my product line! I am the last Claptrap in existence, AND I AM GOING TO TEABAG YOUR CORPSE! ” “ You think a door can stop me, (name)?! I was MADE to open doors! ” “ Dammit, (name) - how did you know stairs were my ONLY weakness?! Next to electrocution, and explosions, and gunfire, rust, corrosion, being kicked a lot, viruses, being called bad names, falling from great heights, drowning, adult onset diabetes, being looked at funny, heart attacks, exposure to oxygen, being turned down by women, and pet allergens! Your brilliance is matched only by your malevolence! ” “ I'm just gonna go ahead and cloak now. You can't hear me crying if I cloak! (sobbing) stairs, why did it have to be stairs? I'll never climb those stairs! ”

The Sons of Sam: A Descent into Darkness Review – Exhaustive Look Is Long Overdue

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Netflix‘s new docuseries The Sons of Sam: A Descent into Darkness aims to restructure a deeply ingrained story. New York City’s most notorious serial murderer wasn’t a serial murderer after all. If David Berkowitz was part of a team of street level satanic power brokers, the entire story is a false narrative.

The Sons of Sam: A Descent into Darkness is an impressive entry in the true crime documentary premiere run at Netflix. It focuses on the work of journalist Maury Terry, whose investigation into the Son of Sam case was criminally sidelined. Terry was convinced that convicted lone serial killer David Berkowitz was part of “a highly motivated and well-organized cult group whose various criminal enterprises included the .44 homicide.”

Terry’s 1987 book The Ultimate Evil: An Investigation of America’s Most Dangerous Satanic Cult, is a must read. But it got lost in the Satanic Panic, and Terry got sucked up into the world of the tabloid press. If Geraldo Rivera couldn’t survive The Geraldo Show with his journalistic reputation intact, how could Maury Terry? A wall of authority was built by a seeming Satanic cabal to shut out any idea the infamous murders could have been by anyone but a singular “Son of Sam.”

The “Son of Sam” spree captivated the world in the late 1970s. The chase for the killer was legendary, it made household names of investigators and district attorneys, careers and reputations were assured by it. All of New York City clung to its every detail. Berkowitz pled guilty to eight shootings in 1977, and the case was closed. Nobody else was charged with any crimes related to the shootings. The arrest and conviction of Berkowitz made people believe they were safe to go back out on the streets.

The documentary does a fantastic job showing how the police, press and the public all came together to create the lone gunman mythology. Berkowitz christened himself “The Son of Sam” in a letter designed to taunt police, and the documentary makes it seem like they never forgave him for it. He wrote to Jimmy Breslin, the recognizable “face” of The New York Daily News, name-dropping Beelzebub before promising to return. “Yours in murder, Mr. Monster,” he signed the letters, but the demonic names meant nothing more than lurid prose to the police.

The press fed the beast. The documentary vividly captures the mania which fell on New York City, as women cut or tied up their hair, because the roving gunman was targeting long-haired women, and stayed home anyway. Discos emptied. Neighbors followed neighbors. The documentary mirrors the rabid and rising hunt for the killer with Terry’s increasing obsession. The cops closed out the Summer of Sam by accident. A lucky coincidence linked a witness with a ticketed car. Berkowitz was arrested in front of his apartment complex on August 10, 1977.  

Filmmaker Joshua Zeman (Murder Mountain) expertly incorporates archival news footage, and damning snippets of conversations. Terry’s own words and case files are thoughtfully read by Paul Giamatti. The director had already found a Son of Sam connection with his 2009 documentary Cropsey, about missing kids on Staten Island, and had contact with the author during research. The Sons of Sam: A Descent into Darkness opens with the director receiving boxes of files, including interviews, and correspondences with Berkowitz from Terry’s personal investigation. Among them is a letter the journalist received from the convicted killer in 1981, postmarked Attica Correctional Facility. “I am guilty of these crimes,” Berkowitz wrote, “But I didn’t do it all.”

The documentary shows how, while some authorities hinted claims about ritual murders might be credible, a thin blue line forms behind the “my dog told me to do it” story to stifle the fear, rushing the case to a close. New York Mayor Abraham Beame was up for reelection and the story was fast-tracked, almost in advance. This speedy wrap-up never fooled Neysa and Jerry Moskowitz, the parents of the victim Stacy. Queens District Attorney John Santucci, whose jurisdiction included five of the Son of Sam attacks, was mocked by cops like Joe Coffey for even reading Terry’s book. Carl Denaro, a surviving victim, was so enraged he joined Terry’s investigative team. Though he would later have to remind the journalist he got shot in the head for the case.

Maury Terry is more relatable than the documentary seems to realize. Friends and colleagues bring up how he goes from a drinking buddy to a drinking baddie, but every personal revelation ultimately gets tied to his descent into obsession. Terry really is the ultimate representation of a New Yorker who lived through the Summer of Sam. He has good instincts, but he’s stuck at the wrong job. Who wants to write about the newest laser printer when his gut tells him there’s more to another story in his own neighborhood?

The press claimed Berkowitz got the name “Son of Sam” because he was acting on orders of his neighbor’s dog. He reportedly believed the dog was possessed by the soul of a 6,000-year-old man named Sam. In 1979, The New York Times reported Berkowitz made it up, but Terry, breaks the code which led to the codified .44 caliber myth. There is a real Sam, he’s got real kids, they got real problems and he’s along for the ride. Sam Carr and his sons lived in the house behind Berkowitz. The Carr family owned the Labrador retriever Berkowitz hailed as the high demon.

The high point of the series is the interview at the Sullivan Correctional Facility recorded for Inside Edition. The co-producer of the installment, Wayne Darwen, succinctly sums up the emotion by describing the meeting as Sherlock Holmes meeting Moriarty and Ahab harpooning the great whale. Berkowitz says it doesn’t matter how involved he was in the crimes, he should be imprisoned for the rest of his life just for being there.

The documentary excerpts Berkowitz’s story. He joined the cult in 1975, after meeting Michael Carr at a party on Barnes Avenue in the Bronx. Berkowitz says he “was intrigued by the occult,” which was presented in a harmless way, “just witchcraft and seances. I never dreamed I’d eventually become a murderer.” Berkowitz describes late-night meetings in the woods of Van Cortlandt Park in the Bronx, and Untermyer Park in his own backyard, which was Pine Street in Yonkers. This inspires the name of Terry’s investigative team, The Pine Street Irregulars. Another tip of the hat to Sherlock Holmes. The description matched the “Twenty-Two Disciples of Hell” taunts in letters to Jimmy Breslin.

The convicted killer also describes his initiation at Untermyer Park. “I recited a prayer to Lucifer and then pricked my finger to draw a little blood. I also gave information about my family.” He names John “Wheaties” Carr. This points back to the letters “Son of Sam” wrote to Breslin.

Berkowitz admits he was present at each of the eight murder scenes. But wasn’t the triggerman at all of them. In the book, Ultimate Evil, Berkowitz says one of three women in the group shot Carl Denaro. Berkowitz also said “a Yonkers police officer who belonged to the group.” On camera for Inside Edition, he admits to shooting Donna Lauria and her girlfriend Jody Valente. He says there were three other accomplices at the scene, two men “in a tan car,” and Michael Carr, whom Berkowitz claims is the shooter in the Queens disco shooting. He says John Carr killed Joanne Lomino and Donna DeMasi. Earlier in the documentary, Terry says he thinks John Carr looks more like a likeness in a police sketch than Berkowitz.

The documentary sets up the segment brilliantly. We believe we have seen Terry’s vindication. Berkowitz confirms and expands on every aspect of the story he has laid out. The highlights were broadcast nationally on Inside Edition. The documentary then puts Terry’s questions about Arlis Perry, a 19-year-old student who had been murdered at Stanford University on October 12, 1974 under a magnifying glass. Was Terry leading? His follow-up interview is sad to watch, almost as infuriating for the viewer as it must have been for everyone in the room at the time.

The documentary shows how Terry chased some dubious leads to bad conclusions, from desolate small towns to the heart of Hollywood. Roy Radin was a producer on the 1984 movie The Cotton Club. His body was found on Friday, May 13, 1983, at a deserted site in northern Los Angeles County. He had been shot in the head 13 times. After the police scoured the crime scene, Terry, along with private investigators, found a Bible in a tree near the murder scene, opened to a passage which can be interpreted as pointing to a Satanic connection.

Terry lumps too much satanic activity together. He sees satanic symbols everywhere. He sees codes in everything. He hits on the Process Church of the Final Judgement in the book The Family by Ed Sanders. Terry speculates the murders could be connected to Charles Manson, but the Process Church has always downplayed anything having to do with the man who killed the sixties. He published an article in their magazine, probably got high with them, but the Process Church had a history of suing anyone who suggests a connection. The four-part documentary series skirts this by avoiding some of the more problematic claims of Terry’s book, which also describes a mysterious figure called Manson 2, who was apparently being groomed for mystical mayhem.

The other story being told in The Sons of Sam: A Descent into Darkness is the rabbit hole Maury Terry gets lost in. The arc of someone ignoring family, relationships, health, and ultimately life. The theories never move into QAnon ridiculousness. Terry’s initial investigation is well-researched and investigated. The evidence strongly suggests Berkowitz did not act alone. The segments where Terry puts together all the pieces could have been longer, because so many esoteric clues fly by so fast, the audience doesn’t get the chance to luxuriate in the spidery webs which connect everything. It is fun to go down this rabbit hole and make all these connections. It fills a similar need to crossword puzzles. True crime obsession is a fascinating topic.

The focus of the series is as much Terry as it is the Son of Sam killings. Terry is also his ultimate victim, dying in 2015, and still yelling orders on who to call to follow up a lead. It is a cautionary tale about the dangers of true-crime obsession. Terry is a fascinating character. His obsessions with Satanism, snuff films, and cash are compulsively watchable. But the coincidences which frustrate him are as damnably indictable as they are effectively inadmissible. John Carr was killed in February of 1978 in a shooting in Minot, North Dakota. Michael Carr was killed in a suspicious traffic accident in October 1979. His car was apparently run off the road on the West Side Highway.

The intrepid journalist isn’t even the smartest guy in the room. It’s the serial killer. If Berkowitz acted alone, he’s got defenders fighting the police narrative, the press narrative and the public’s fear. If Berkowitz did act on orders, he’s managed to keep himself alive while even his superiors wound up dead. Ultimately, Maury Terry only has two goals. He wants the police to apologize, and he wants to make sure the victims knew who shot them. Berkowitz knew far in advance he’d never get either.

“Maury, the public will never, ever truly believe you, no matter how well your evidence is presented,” Berkowitz tells Terry at the end of their first meeting. No matter how much evidence Terry compiled, no one was prepared to take him seriously.

The Berkowitz case is responsible for creating the Son of Sam law, which says no criminal can profit from the publicity of their crimes. The state can take any money earned and donate it to the victim’s families. New York should have jumped on it, milking Berkowitz dry, and paying for an investigation. The Sons of Sam: A Descent into Darkness is compelling, exquisitely inconclusive, and long overdue.

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The Sons of Sam: A Descent into Darkness is available to stream on Netflix now. 

The post The Sons of Sam: A Descent into Darkness Review – Exhaustive Look Is Long Overdue appeared first on Den of Geek.

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So. Heres this old fic from uhhhhhhhhhhhhh I really don’t remember how long ago. Originally I had it split into 3 parts on the posts that inspired it- and it was my first attempt at writing anything along the lines of stuffing, but it kind of ended up more like he was already coming down with something. It was on my first attempt at a fic blog- way back when and it got deleted because I didnt know how sideblogs worked back then and goofed. Thought I lost everything, then I found an old disc with a whole whack of it on there.

At the moment I can only find 2 of the 3 posts of the art that inspired it here and here. I’ll link the missing post as soon as I find it.

so um, warnings for vomit, cussing, and over-eating-ish and mentions of drinking. and I also am not editing it because im super lazy so its in the same glory as it was when i posted it years ago (2012 apparently)

2,864 words, apparently.

“Come on people! When I say I want you all mobilized in fifteen I don’t mean in half a damn hour. I mean twenty minutes ago.” Fury fumed over the intercom from his station on scene. His voice bounced off the inside of the transport van and rung through each individual earpiece. “Rise and shine, ‘cause we are in a fucking war against some baddies if you haven’t all noticed. You are my agents and I am expecting you to do your damn jobs at my order.”

“Load of fucking shit,” the sniper agent to Clint’s left mumbled, “two a.m. wakeup call is horseshit. I just finished a mission and got back at ten last night.”

“Yeah, welcome to S.H.I.E.L.D brother, what did you think this was? Day camp?” Clint double checked his packet was still together. He’d read it once they got to their positions, it was too dark inside the van. He shook his head a bit when the other agent went back to fuming. Running on low sleep was nothing, sure the headaches and fuzziness were a pain in the ass sometimes but it’s not hard to get used to. You have to get used to it in this job. Same with messed up schedules on basically everything. They would get an hour tops to set up and get ready for a long haul on their stations.

What he managed to make sense of before climbing in the back of the vehicle through his sleep-fogged mind was that they needed to be ready for anything by three thirty, three forty five at the latest with the other crew up ahead of them set up. He rubbed his face trying to wake up more, must be all the time he’s spent on normal schedule lately, it was causing a real issue. He wasn’t looking forward to the no doubt shitty and militant type food they were all going to have for breakfast within the next hour either. He was getting soft on the new routine of near-normal sleep and actual tasteful food instead of vacuum packed crap made for boosting endurance.

He leaned back to try and get into the mindset for the day. It was going to be a very very long one. Someone mentioned they might be stuck out there until seven that night. By then they’d have relief agents come in to give them a break, but as Hawkeye, well he was probably expected to stay around. Most teams wouldn’t shelf their best shooter if they could help it. He’d probably get a nap in at some stationed area. Though the accidental nap he got on the way there wasn’t something he completely cursed even though he didn’t like the fact of it.

“Alright, come on move out you all got a lot to go over and not much time.” The voice crackling into his ear is what startled him awake, and the hatch of the van swinging open definitely helped make that happen faster. Keeping near silent, everyone filed out and headed into the building while Agent Hill took control of their transport and directed it to their station a little ways away hidden in a different building.

Everyone was handed a pack; filled with the shitty food and bottles of water for their posts, their weapons if they hadn’t brought any and extra ammo and pieces if they did, additional intel for their briefing packages according to pay grade, and some quick hushed instruction to where they were all to be.

Clint took his without a word and made his way to his post. Abandoned, or purposefully emptied, industrial building and the usual sort of interior. Too much moving about would give away his position on the metal catwalk. He had a few windows to observe through and a railing to his back. He dropped his pack as lightly and quietly as he could and set himself facing the railing to observe everyone being dispatched while he read over his briefing package.

Exact sort of thing he expected since they woke him up. Nothing too big, but big enough to require a lot of force if anything went bad. He was given another radio code with instructions to call the other Avengers if things turned too ugly. And it was going to be a long-ass day. No break in sight until afternoon if they were lucky. He ripped open the first package of… well. He opened the first nutritional packet and set to work on it mindlessly while he kept reading and rereading. This was coded, but memorizing it and burning it was always his procedure.

By the fourth read through he was nearly done the second pack. Best to eat as much as he could, as much as he hated it and was off-put by eating at such a strange time after the Avengers got together. Professional agent Clint Barton, code name Hawkeye, sharpest shooter as they came- but totally useless without a sugar rush to start him at this time of night, and hell to deal with if he crashes afterward. Carbs, protein, sugar. The three biggest and most annoying things to eat right now, low on time and rushing to compensate for his mental sluggishness at this hour.

He startled himself with a small belch and nearly dropped everything. He did a quick scan and everything seemed normal. Confused for a second longer as to the origin of the sound, he came to the realization when he hiccupped. Ah. Right. He was eating, and apparently at the speed he was reading if the blooming discomfort in his slightly distended abdomen was anything to go by. He took a swig of the only soda from his pack, no doubt put there as a favor from a very sneaky woman. He let it fizz up in his mouth before swallowing it.

New diet. That’s another thing he reminded himself to update S.H.I.E.L.D on before the next mission. He downed some more soda and let the carbonation work its way back out in a few more small burps. It was definitely a good feeling. He just had to work the rest of the air out before the mission started. No big deal.

“Relax Barton,” He shifted in his new ‘nest’, “nothing you haven’t had to do before. Good to know I can still get mission jitters, heh. Maybe this’ll be fun.” He wanted it to be. He definitely wasn’t expecting this call when he decided to turn in early last night. He tried to tell himself the slight trembling feeling, not that he’d let his hands shake at all if it could be helped, was from nerves. Big man in the world now, sure, but unexpected missions always had excitement to them. Sometimes it left you a little shaken in the best ways. Not that he was sure how good this sort of shaken felt yet, all he could say for certain was that it was strange.

He shrugged his shoulders and straightened out before packing away the left overs and digging out a lighter to burn the paper with. The wind howled a little outside, bringing to his mind the chill of the night.

--

An hour later had him leaning lazily at a windowsill; nothing happened yet that needed his attention or intervention. He kept flitting his eyes about in a restless sort of way, glancing about but never focusing too long and trying to keep that trembling, tingling feeling filling him up at bay. He thought back to the night before, and about being so tired.

“See anything?” Another agent’s voice crackled through his earpiece. He pressed down on his microphone button to reply.

“Not a damn thing,” he drawled, “Anything from your sights?”

“Nothing yet,”

He let up off the mic and sighed. He felt his body buzz again in a wave under his skin and couldn’t help but shake his shoulders trying to get it out. Part of his mind nagged at him with a reminder of feeling distinctly unwell last night.

Drinking. Stark roped us all into it. Thinks just because he has a miracle liver means we all do.

Though it was harder to remind himself of that when he had to shake his shoulders and head again to fight off a wave of fuzziness.

--

It wasn’t for another forty-five minutes, and three updates from Fury himself, until Barton had something to hold his attention. He was crouched low at his post and grabbed at the shirt over his stomach as another wave of pain and sudden nausea shot through him. Sure he’d started idly rubbing his stomach a little earlier; he was getting butterflies was all. Usually something happened by now when they got this many people out that fast. He was getting more nervous the entire time, who didn’t when it came to performance issues? He was still having trouble focusing on the vast nothingness happening today by the time the butterflies started. But now this was throwing him off.

“Any news yet? Getting real bored up here,” he clicked the mic off after and waited.

“Nothing. Should be another hour at most. Getting antsy there, a little flighty? Ha.”

“Ha. Leave the jokes to someone who can handle them, Keith.” He turned down the radio and double checked the microphone was off when he curled up tighter into himself and put his head against the sill as another wave of discomfort washed over him.

Eventually, he had to get back up and in proper position. He felt a bit better after some time elapsed and figured as long as he didn’t over do anything and stayed relatively well hydrated he’d be good enough. He turned the radio back up and opened his water bottle as he slid back into the favored hiding position he found where he could stand full height without being seen. Another hour tops and he’d have something in his sights…

Hawkeye swallowed hard and backed away from his post. This was getting a little ridiculous. He stepped back until the guard rail pressed into his back. He hazarded a quick glimpse over before having to go back to staring at part of the wall to calm his roiling stomach, but his eyes didn’t miss a thing. All S.H.I.E.L.D’s other snipers were still focused at their stations. No other agents or personnel were in the area. He figured it was safe enough to sit down for a little and wait this out. Again.

He dropped slowly and cautiously, trying not to upset anything further, and dropped his legs over the side. He pressed his forehead to the cool metal of the guard rail and tried to focus on breathing evenly. At least if it all went to hell, it would go right the hell off his platform. Damn, even some personal snark wasn’t helping anything.

He shut his eyes tight and willed himself not to moan out-loud. Getting seen and getting heard were two ways to royally fuck up in this job, and now were also two ways to grab unwanted attention and ridicule over his gastric distress. His snaked one arm around the bar running at chest level and pulled his head down to lean heavily on it, holding it for dear life if his whitened knuckles were anything to go by. Clint’s other hand rested lightly on his stomach, too nervous to even try and ease the nausea by rubbing or curling up this time. By how ragged his breathing sounded, even trying to call in now wouldn’t work. His jaw felt glued together anyway, he really didn’t trust opening his damn trap for anything. Static fizzled over his earpiece and some other agents gave short updates.

After a few minutes with no relief Clint resigned that he might just actually lose it here. He shoved the microphone back and double checked it was switched off. Still on the right channel so just in case they did need him it was easy to radio back, he couldn’t back out but like hell he could get up right now. His stomach lurched and gurgled, leaving him coughing a little into his hand to stifle the sound and hopefully to help keep everything down. He felt a rush of stifling heat and sweat beaded on his neck.

Did he mention this was going to be a long-ass night?

“Got someone moving.” Clint perked up as best he could in this situation. Not the best idea, he shuddered and folded forward a bit more. He groped blindly for the water bottle he had been taking sips from to help quell the nausea with until now. He popped it open with his teeth and waited for someone else to give up more information. Nobody would realize he wasn’t looking right now, they’d all be too busy searching their own areas and figuring he was either doing the same or trained on the target already.

“Can’t see them.” Clint groaned aloud, unable to help it. He took another sip from the bottle, but just ended up spitting it out.

“I swear I will never say anything bad about anyone ever again…” he started mumbling to himself disjointedly. Promising things to any deity he ever heard of, cursing them all out.

“It’s the Director. No worries, everyone,” Agent Hill came over the comms. “He and I are double checking parts of the perimeter. The targets shouldn’t be this far back at all.”

“Fuck. Fuck everything and the damn horse it rode in on,” he swallowed hard and tried to ignore the burning at the back of his throat.

“Confirmed. It is Director Fury and Agent Hill.”

Radio silence returned for another stretch of time. Felt like almost another hour. Clint spat down on to the floor below again. Finally giving in to the urge to wrap his arm tightly around his middle, he rocked himself slightly to see if it helped. It did for a small moment. He let out a shaky sigh and glanced back over at the windows where the sun was now creeping up through the clouds of dirt and grime on the glass. He considered moving back a bit and laying down before radioing in his distress, but not before he was sure it was something he could handle. After a few more intense seconds he decided that was the best plan of action.

After about four more seconds his stomach decided that was a stupid idea and he needed to keep his ass very still right the hell where it was. And less than a second after that, Barton was parting with a good portion of his stomach’s contents. There was no elegant or quiet and stealthy way to cover that. He retched. He shut his eyes and shook a little harder after the fact. Resting his head, defeated, on the railing again, he Clint tried to work up the strength and his voice well enough to call it in if someone wasn’t already beating him to it.

“Damnit Barton,” Fury’s voice vaulted up to where Hawkeye was slumped, “What the hell?!”

Clint opened his eyes slowly, he shook a little more in some vague form of terror that filtered through his sickened mind. He scooted back a bit, ignoring the wet dripping of his own vomit onto the floor below. He pulled the mic piece down and flicked it on.

“Sorry sir, Agent Hawkeye reporting,” his voice shook, wavered and cracked a little, but still carried over the radio and down from his nest, “I think I’m a little under the weather.”

“Well no fucking shit.” Agent Hill had retreated a number of steps from Fury and the mess surrounding him. She pulled her clipboard up and started flipping through pages while putting out a radio call for a med truck and a replacement. If he had felt any better, Clint would have laughed at the absurd sight, but unfortunately he was back to fighting to keep down what was left in his stomach. “If you’re gonna do that again I’d like some damn warning.”

All Hawkeye could manage for warning was a quick ‘move-aside’ hand motion before leaning through the gap in the rail again and vomiting once more. By now everyone in the building knew what was going on and were switching radio channels and trying to ignore the sounds of Clint losing it all over the cemented floor.

After a third bout of being sick, Clint was left dry-heaving and limp against the fever-warmed metal. Too shaky to even hold the water bottle that hadn’t left his side today, leaving it to fall below him too when he tried to grab it. Within minutes two medical technicians were helping him down from his nest. He felt so shaky and wrung out he didn’t even attempt to fight them over being taken out on a stretcher. He just laid on his side and curled in on himself as they pushed him past Hill and Fury, who was still cleaning himself up.

“Next time spare us the damn show and call it in before the firework finale, alright?”

“Got it.”

--

Hi! I'm really interested in reading comics/graphic novels about or featuring the Batkids, and you seem like you know about that kind of thing (or at least more than I do, although it's a low bar), so do you think you could give me some suggestions to get started with? Also, I've seen some DC stuff at the library with "Death of the Family" on it but some is Batman and some is Batgirl and I think I saw a Teen Titans one and are they all connected or something? I'm confused. Thanks!

Yes! I do know quite a bit about comicsin the BatFam area, I just unfortunately can’t recommend anythingthat came out in the last 2 years as I’ve not read it. But 1989-2015I can give LOTS of recommendations.

For the most part any title can be astandalone, but titles do unfortunately get wrapped up in companywide events at times. But if you read the GN rather than theindividual comics they try and keep events to their own combo storybooks and character titles to their own.

This is such a huge list that I’mputting it under the cut so you click to read it instead of everyonegetting spammed with a HUGE list of things…

Here is what I’d recommend:

-Jason Todd as Robin II (Later known asRed Hood): It seems as though the majority of Jason writers presentday neglected to actually read his original issues, because they basetheir knowledge and opinion of him on what readers in the 80’sTHOUGHT of him, and unfortunately at the time many people hatedJason. Much of the hate was for a Robin in general as at the timeplenty of people thought Bruce should be on his own. No Batgirl (seethe Killing Joke) and no Robin. So the hate was for the role ingeneral. And then you had Robin fans that hated him just because theydidn’t want anyone trying to replace Dick’s role even though Dick hadmoved on to Nightwing. Jason as Robin issues are Batman #408-428, andNew Teen Titans Vol2 #19-21, 24, 28-31. I’m sure there were issues ofDetective Comics, but I have no idea which. In recent years much ofthese issues are in GNs but some of the issues are not, so you mayhave to look those up individually to read online or buy them instores with older issues. These GN are- Batman: Second Chances(Batman Issues #402-403, 408-416, and Annual #11), Batman Ten NightsOf The Beast (Batman Issues #417-420), DC Comics Classics Library:Batman- A Death In The Family, Hard Cover (Batman Issues #426-429,440-442, New Teen Titans Vol2 #60-61). this edition of “A Death InThe Family” contains both the death of Jason and the introductionof Tim, which was a story focused around Jason. So it’s a 2-for-1deal. There’s also a GN called Batman: The Cult and Jason’s the Robinwith Bruce in that story as well though I’m not sure where to placethat in the chronology.

-Tim as Robin III (Later known as RedRobin): Tim had an excellent run as Robin. He had 3 mini-seriesbefore he had an entire run of his own that spanned 183 main issues,not counting team ups or annuals. All while also appearing in theother Batman, Nightwing, and Batgirl titles. Plenty of issues werecompany wide tie-in issues but the rest were all put into their ownGNs. Robin: A Hero Reborn (Batman #455-457, Robin Mini-series1 #1-5),Robin: Tragedy & Triumph (Detective Comics #618-621, RobinMini-series2 #1-4), Robin Mini-series3: Cry Of the Huntress #1-6 isnot in a GN that I know of, then the rest of his main run in FlyingSolo, Unmasked!, Fresh Blood, To Kill a Bird, Days of Fire andMadness, The Virtual Cell, Wanted, Teenage Wasteland, The BigLeagues, Violent Tendencies, and Search for a Hero.

Likewise…

-Dick as Nightwing in his solo title(Vol2): 153 issues not counting team ups or annuals. Like with Robinmany of these issues are tied in with company wide events, and therest are in their own GNs. I recommend the 2014-present editions asthey have a bit more in them, better paper/graphics, and are wayeasier to find, but they haven’t remade all of them yet. Nightwing:Blüdhaven, Nightwing: Rough Justice, Nightwing: False Starts,Nightwing: Love and Bullets, Nightwing: The Hunt For Oracle are thenew editions. Continuing from there the older editions are:Nightwing: Big Guns, Nightwing: On the Razor’s Edge, Nightwing: YearOne, Nightwing: Mobbed Up, Nightwing: Renegade, Nightwing: Brothersin Blood, Nightwing: Love and War, Nightwing: The Lost Year,Nightwing: Freefall.

-Batman Knightfall: One of the classicBatman stories, in which the main bad is the villain Bane, whoseriously injures Bruce. This story spans three GNs: Broken Bat, WhoRules The Night, and Knightsend

-Batman Cataclysm: Another classic. Amassive earthquake hits Gotham and decimates the city. This can befound in one GN, thought look for what I think is the 2012 edition ofthe book not the one one as they included a lot of previous cut storyin the newer edition.

-Batman No Man’s Land: FollowsCataclysm. Essentially Gotham is covered in rubble and a massiveterritory war breaks out between BatFam, GSPD, and several separategroups of Gotham’s baddies. It spans 4 super thick GNs in the 2012newer edition (don’t bother with the older editions) but also has areally enjoyable novelization if you would prefer to read it inwritten format!

-Batman Hush: Essentially Bruce vs Hushand sometimes Clayface, and a story that unintentionally set up JuddWinick to bring Jason back to life lol…one GN in more recenteditions but was previously 2 smaller GNs. I do not know if there isa difference but generally larger book versions have a bit extra inthem.

-Batman Under the Red Hood: Jasonreturns as the Red Hood, sending Bruce on an emotional rollercoaster, while Joker and Black Mask end up roped in. Lots of peopleinvolved. Like Hush this come in one or two book format. I have thesingle book format. This story was adapted into an animated movie,one that also takes a few moments from “A Death In The Family”,but the beginning part was highly modified to make it a stand alonefilm, so several key details are removed. I do recommend watching themovie, but after reading both “A Death In The Family” and thecomic version of “Under The Red Hood”, so you get the fullexperience.

-Batman War Crimes, War Drums, and WarGames (WG is three GNs long): this connects into both Robin and RedHood. This is unfortunately where Stephanie (Spoiler, brief Robin IV,Batgirl) “dies” and there’s a massive war against Black mask.It’s five GNs total.

I pretty much have to recommend anyBatman Titled GN that comes after that as it goes more into Hush,Damian comes in and there’s a lot of plot to cover there, Bruce“dies” and the mantle is picked up by Dick, and it was a heck ofride until the reboot happened.

Outside of main Batman titles aroundthat time I have to HIGHLY recommend the following:-Batmanand Robin: Basically Dick and Damian’s team-up book series. Itspanned three GN with Morrison, and one after him totaling four. Wealso got more Jason here, and his sorta Batgirl type sidekickSasha/Scarlet. Admittedly it was weird because Morrison thought itwould be fun to give Jason red hair (something the main version ofJason never had, but had in issues for another version of Jason thatwas scrapped before any issues I mentioned in this post) and bulk himup. But if you can gt around that the actual plot on the Jason endwasn’t too bad and had some gems. But the Dick and Damian interactionand banter is the treasure here.

-Batman Streets Of Gotham: Again moreof Dick and Damian as Batman and Robin. But here we get Thomas Elliot(Hush) who surgically had his face changed to look like Bruce, and hefill Bruce’s public role under very close watch. We also get Damian’slittle friend Colin Wilkes (Abuse) who ends up close to him. He turnsinto a giant bulky rage man good guy :)

-Red Robin: Tim’s new solo series thatstarted after Damian took up being Robin and Dick went from Nightwingto being Batman. It’s 4 GNs long and was amazing. I can’t stress thatenough. I still mourn it ending. You get Tim on his own, you get himgoing up against/working with/outsmarting/impressing Ra’s al Ghul.You get Prudence Wood, one of Ra’s assassins that ends up liking andworking with Tim. You get Tam Fox, and Stephanie, and Conner Kent.

-Batgirl Vol3 (Stephanie Brown asBatgirl): Stephanie came back from faking her death, took back upSpoiler, only for Tim to demand she stop being Spoiler. He shouldhave been more specific, and she DOES drop Spoiler but then becomesBatgirl with previous Batgirl’s (Casandra) blessing lol. Spanned 24issues in three GNs but they are hard to find. Obviously there isCasandra’s run as Batgirl but i’ve never actually read it so I findit wrong of me to suggest it before I have so it’s up to you if youwant to hunt those down as well. But Casandra’s run was 73 issuesVol-1 (7 GN) sand 6 issues Vol-2 (which is in a single GN)

-Teen Titans Vol3 (Tim, Conner, Bart,etc) spans twelve GNs and had its ups and downs, but if you’re a teamfan this is a good series to read.

-Catwoman: A few different runs, andsome stand alone books. They’re all good pre-reboot. Read them ifyou’re a Catwoman fan :)

Now as far as books NOT in the main runof pre-reboot comics I also REALLY need to recommend the following:

Batman Year One: Bruce’s first year asBatman. Also Gordon’s first year on the job. One GN. Awesome and alsoadapted into an animated movie.

-Robin Year One & Batgirl Year One:These come in separate books or both in one big book. The Robin inmention is Dick and the Batgirl is Barbara. Both are fantasticstories.

-Huntress Year One: Huntress’ originstory. This is the Huntress that is NOT Bruce’s daughter from anotherEarth, this is the Mob associated one that was also featured in theTV series Arrow.

Superboy / Robin World’s Finest Three:two tiny GNs that tell the story of Tim and Conner’s first meeting.They end up going against Metallo and Poison Ivy.

JLA: World Without Grown-ups: This is astory spanning again two tiny GNs. Where Tim (Robin), Conner(Superboy), and Bart (Impulse, later known as Kid Flash) team up whensuddenly all the adults are in one dimension and all the underagepeople are in another.

Red Hood: The Lost Days: the story ofwhat happened between Jason’s resurrection and when he came back toGotham in Under The Red Hood. It’s one GN.

There are also some alternate universe stories that came out pre-reboot called Elseworld’s stories. Here are some good ones:

Batman:Brotherhood of the Bat: Alternate Universe what-if type story. Thisstory is if Talia had joined Bruce in Gotham and abandoned her fatherRa’s and his ways. The story is centered around their son, TallantWayne. This was an AU created before Damian entered the comics andthus one of many stories where Bruce and Talia’s son had a differentname. Bruce is dead and Tallant has to face his grandfather. This wasone thin GN but did have a sequel…

Batman: League ofBatmen: takes place after the above and spans two GNs to finish thestory.

Thrillkiller Batgirl & Robin: 3 issue AU where Barbara and Dick are the first vigilantes in Gotham in the 1960′s and go up against a FEMALE Joker. Bruce is a legit Detective. Every bit of this story is PAINTED and it’s amazing. It is followed up by a sequel.

Thrillkiller ‘62: Takes place where the above left off. But now Bruce is Batman alongside ‘Batgirl’. I won’t spoil the events of the above to give goo detail here lol.

Superman: Speeding Bullets: AU where Baby Kal-El crashes into Earth, where he is discovered by Thomas and Martha Wayne. The couple decide to adopt Kal-El, and name him Bruce. Fuses the two characters together. Thomas and Martha still die. “Bruce” becomes a flying Batman and later Superman.Batman: The Dark Knight Returns: Pretty much the most popular and longest AU that DC did. Spans 1 thick GN or multiple tiny ones. Not the greatest of art/setup but still good. Think of this as an AU Future Fic taking place after Jason died and Bruce retired instead of Tim coming along. Then he comes out of retirement to be a total badass. I do NOT however recommend any of the sequels or prequels because they are just BAD. This was adapted into TWO animated films which I honestly think I recommend more than the GNs due to the art.Post Reboot we hit the New 52. It had its up and downs. Nothing BatFam was particularly terrible but very little was amazing. personally the first 4-6 volumes of GNs for any given series was worth a read but not necessarily a buy. I read all the BatFam titles and the only ones that were MEH for me were Catwoman and Teen Titans. Red Hood and the Outlaws wasn’t for everyone, but I personally enjoyed it other than some details like Jason suddenly having magic??? and Kori having some personality issues but I was glas she wasn’t ditzy if that makes sense, and I really loved her character design even if I wish she at least had a touch more clothing on (once she was in a space suit and it was amazing). Suicide Squad isn’t technically BatFam but it had Harley in it in the New 52 and it was amazing even if I hated her visual re-design. Talon was a branch off of a Batman story line, and a specific character got his own title that spanned 2 GNs and was enjoyable.

Past that any Gns involving Batman The Animated Series are great, so are the Young Justice GNs.

I also have a huge love for the Batman Beyond show and Comics, but after the reboot they messed that up too.

A Wound Too Deep? An Academic Essay on authorial ethics and BBC’s Sherlock (The edited version)

Being asked to use one of my readings to complicate another has been a trial for me. With these readings, I’ve had no great breakthrough like I did with the last set. I must consider, though, that John Duffy’s “Writing Involves Making Ethical Choices” has struck a chord to do with my non-academic real life at the moment, if only because I believe Steven Moffat and Mark Gatiss to have been unethical in their writing of BBC’s Sherlock. Duffy says a writer must ask themselves: “What kind of writer do I wish to be? What are my obligations to my readers? What effects will my words have upon others, upon my community?” I answer, as a fan, that whatever they wished, they were, in the end, deceitful writers; they did not fulfill their obligations to their viewers; and while the community that was created from fans coming together over their writing was a positive effect of said writing, their latest (possibly last) impact on said community was profoundly negative.

If one looks solely at the contents of Sherlock, it doesn’t appear deceitful. Up until series 4, it told a cohesive story that many people enjoyed! It was when you examined outside interviews or commentary that the relationship between Gatiss, Moffat, and their fans began to look deceitful. Many fans were growing confused by series three, except a small segment of their fandom that was reading the show through a queer lens - that the writers’ endgame was for John Watson and Sherlock Holmes to become explicitly romantically involved. These fans were told this wasn’t the case several times, but found it difficult to believe because of quotes like - “[W]e do our best to surprise you with a combination of lies and deceit. So we’re never going to tell you what we’re going to do.” (IGN, Jan 2014). So despite being told “I don’t think there is anything that suggests Sherlock is gay but if he was he wouldn’t fancy John [Watson]” by Steven Moffat (digitalspy.com), because the writers also frequently admitted they were lying to their audience, the audience took what they saw in the show and ignored what the writers said in “real life”, and when they heard in The Lying Detective (the second episode of series 4) that “romantic entanglement would complete [Sherlock] as a human being”, they were sure validation was coming. This was a show that had always seemed interested in separating man from legend, reminding everyone that the deer stalker was never mentioned outright in the original Holmes stories, just a flair by an illustrator that caught on like wildfire. The show had always tried its hardest to make Sherlock more human. Therefore, these niche fans were sure that despite the confusion they may have felt in the third or fourth season, the third episode of series 4 would end in a romantic arc, probably fighting against Moriarty, a prior big bad potentially brought back from the dead, or Sebastian Moran, who was Moriarty’s right-hand man in the books but who never showed up in the show. What they received instead was a secret psychopath sister, not even a hint of romance, and plot holes such as: an army doctor not recognizing human bones; John Watson chained to the bottom of a well but, despite still being chained, somehow managing to climb a rope to get out of the still-filling well; a well that was within sight of the Holmes’ house being used to drown a boy who was never found, except whose bones are still in the well, twenty or thirty years later, by the time the episode is set.

Gatiss and Moffat had a pretty playful rapport with their fans - everyone spent two years together waiting for series 2. The conclusion of series 2 spawned idea after idea after idea - there was a popular idea that Sherlock had jumped off to land in a laundry truck, or that somehow Moriarty’s corpse had been disguised as Sherlock and was what had fallen off the building. Fans were shocked and delighted to see both of these ideas pop up in the first episode of season 3, and that was when they began to wonder if the writers were aware of the fans’ social media presence, and therefore aware of what their fans believed their obligations were and what Moffat and Gatiss’ most dedicated demographic was - young, queer people. These young, queer fans believed that the writers’ obligations - as a gay man and a man who has several queer characters in his writing history (Jack Harkness, Madam Vastra, and Jenny, all from his time on Doctor Who), men who said that they were “correcting everyone else” (premiumhollywood.com) - were to “make television history” (This one comes from Amanda Abbington at a San Diego Comic Con) and make Holmes fandom history by explicitly pairing John and Sherlock together. The writers have teased endlessly at the idea (Sherlock’s brother, Sherlock’s landlady, and an old client of Sherlock’s - all people who have known Sherlock for an extended period - assume John and Sherlock are in a relationship within a day of each main character meeting the other; others don’t go that far but allude that our main characters do have feelings for each other - in A Scandal In Belgravia, Irene Adler - the baddie of the episode - remarks, after John has punched Sherlock, that “Somebody loves you. If I had to punch that face I’d avoid your nose and teeth, too.”) and therefore teased with fans’ expectations. Nothing has come of this teasing. It’s possible that something could happen, eventually - Benedict Cumberbatch, who plays Sherlock, is contracted for five seasons, if I recall correctly - but I and many other fans are worried the writers have left the show in a place they cannot pick back up from. Moriarty, the traditional Big Bad of Holmes stories, is gone. Mary, who left our hero clinically dead on the operating table until he restarted his heart from sheer force of will, has been killed. The secret psycho sister, Euros, is neutralized. Who else is there to fight? How do you create character development without an antagonist? I suppose the antagonist would not have to be a person, but in a show that has always had Big Bads before, I find man vs. self an unlikely fix. The most sensible way to fix it would be to have had all of series 4 or at least parts of it taking place in a character's head - not unprecedented, given The Abominable Bride turning out to be a bizarre drug trip for one of our characters - but why would they not have told us within the series that it was “fake”, when the average wait-time between seasons is two years?

Sometimes I’m not sure what I did with myself before I started watching Sherlock. I suppose I must have talked to people interested in Doctor Who or Harry Potter, but I did not roleplay or publish my writing as often as I have for Sherlock. The community I have discovered is fiercely intelligent, and beautifully, unabashedly queer. It’s a very open community, filled with every letter under the queer umbrella. Sherlock brought together these young, intelligent queer people; both who were already intense fans of Arthur Conan Doyle’s version of Sherlock, and those who only had a background cultural awareness. It was a beautiful community, and I cannot deny that in creating it, the writers did a good thing. So one would hope the writers were aware that their audience was not exclusive cisgendered and straight and neurotypical. That there were people in their audience who were transgender or gay or depressed/had Asperger’s/were otherwise neurodivergent, who find one thing they can trust and cling to it as a lifeline. It is risky and, perhaps, unreasonable to blame writers for an audience’s reaction, but I feel the writers should have noticed the dissonance between this series and their others before their fans began passing around suicide hotlines. If series 4 turns out to be all in a character’s head, there should have been a textual indication left before the fans were put on hold for years. If series 4 is not all in a character’s head, and is indeed all “real”, I feel that someone at some point in the editing process should have noticed that this series would be getting a Rotten Tomatoes audience score of 35%, as opposed to series 3’s 95%, series 2’s 98%, and the first series’ 98% (even the critics’ score drops from 100s or high 90s to a 63%). Alas, suicide lines were shared, and some of the loudest voices in the niche fan community have removed themselves, out of not being able to handle the hope of a “secret fourth episode”, or who feel awful for spreading “false hope”. It’s not only that they disappointed the fans with inconsistent writing, or that people didn’t see John and Sherlock confess their feelings, but that fans were sure they had found a bisexual man (John) and a gay, somehow neurodivergent man (Sherlock, and in the show, Asperger’s is offered off-handedly as an explanation for some of his behavior in The Hounds of Baskerville) who were finally going to have a happy ending. Instead, the only confirmed queer characters were antagonists or minor characters. Most notable are Irene Adler, who makes remarks suggesting Sherlock might be her ‘exception’ to her lesbian preferences and an antagonist in the single episode she shows up in; Jim Moriarty, who is introduced as a gay man trying to seduce Sherlock; Eurus, whose sexuality is introduced as she is talking about committing sexual assault and saying she wouldn’t have cared about the gender but no one could tell afterward whether her victim was a man or woman because she mutilated her victim so badly. So, yes, the writers created a wonderful, diverse, often divisive community, but failing to meet their viewers’ understanding of their obligations has left a lasting wound.

By Duffy’s definition of ethics and the philosophical questions he adapted to writing, Moffat and Gatiss have proved themselves to be unethical writers in the extreme. Just consider the dissonance between interviews in “real life” and writing on the show, not meeting their obligation of fixing what everyone else has done wrong and giving Sherlock Holmes a “romantic entanglement”, and hurting the community they created just before disappearing for at least another two years. Even if the writers return after those two years with a series 5 that fixes everything the fans were upset about - that plugs the plot holes, and has Sherlock and John talk about their feelings and perhaps even kiss - there will be some who are too wounded to return. Many who will stare, bewildered, from the sidelines, and wonder why there had to be gaslighting and the attacks on their queer reading before queer canon was handed to them on a silver platter.

Cornet, Roth. "Benedict Cumberbatch and Steven Moffat on Sherlock's Big Return for Season 3." IGN. IGN, 20 Jan. 2014. Web. 05 Feb. 2017.

Moffat, Steven, and Mark Gatiss. "The Lying Detective." Sherlock. BBC. 8 Jan. 2017. Television.

Posted by Will Harris (10/23/2010 @ 4:02 pm). "A Chat with Steven Moffat and Mark Gatiss (“Sherlock”)." A Chat with Steven Moffat and Mark Gatiss (“Sherlock”). N.p., n.d. Web. 05 Feb. 2017.

007: The World is not Enough Lets talk about a potential recipe for disaster. Upon dropping the ball with the disappointing Tomorrow never Dies, the first Bond Game post Goldeneye, EA, the new holder of the Bond license went back to the exact same developer, Black Ops Entertainment, to make The World is Not Enough. The Result: actually, Black Ops completely made up for their mistake with a surprisingly good First Person shooter. While the PS1 version isn't on par with the Eurocom developed Nintendo 64 version, it is a completely different game and a good one in it's own right. No dual analog controls here, but single analog controls similar to those found in Goldeneye. Definitely worth a look. Alien Resurrection This is one to play with the lights on. The tense atmosphere will keep you on your toes in this game. This hit near the end of the PS1's lifetime, and is a solid, but very challenging FPS. The enemies are numerous, check points far apart, and the ammo is in short supply. It's a tough, but satisfying experience. It also supports Dual analog control, and even the PS1 mouse for aiming. Alien Trilogy This being the older of the two Aliens games on the PS1 is less atmospheric than Resurrection, but still has a great atmosphere. If you're still a fan of Doom style games, then this should be right up your alley. Essentially this is Doom in the Aliens universe. Perhaps a bit of an over-simplification, but if you still love classic doom, then look into trilogy. Armorines: Project Swarm Even for it's time, Armorines was a pretty average First Person Shooter. I happen to own it on the PS1 and N64. The PS1 version allows for a modern dual analog setup with some tweeking to the control settings. It also seems to move a lot faster than the N64 version which feels slightly sluggish in comparison. The PS1 version looks much uglier, and literally slows down into a slideshow at times in two-player cooperative play. If you are collecting for the PS1, this is not a bad pickup, but if you have the choice between them, the Turok-Engine running N64 version is probably the better buy. Codename: Tenka Also known as lifeforce Tenka in Europe has the distinguished honor of being the first fully Polygonal First person Shooter on the PS1. It's gameplay is simple get the key and open the door with a few puzzles added here and there. Tenka won't thrill every gamer, but I've always found it's gameplay engaging, and kind of disorienting at the same time. This is definitely not one for people who are not into oldschool shooter design with pre-analog controllers, and it certainly won't be the best on the PS1 for those who are. It is still worth a look, and the soundtrack is rocking with the trademark Psygnosis electronic beats. There is also some melodramatic story elements in between the levels Delta Force: Urban Warfare The original PC Delta Force series was one of the earliest modern/tactical shooter series', but Urban warfare is more goldeneys than tactical shooter. Released in 2002, urban warfare is an objective based modern FPS. It's a little choppy, but it's still one of the best looking PS1 games ever released, and what's better, it's actually a fun game to play. There were some people who even made claims around the time the game was released that the graphics were PS2 quality. As stated, level setup is similar to Goldeneye, but with a more tactical feel. If I had to compare it, it feels more like a modern Medal of Honor than being more comparable to the arcadey feel of Goldeneye. The missions have a good variety to them, and this also supports dual analog control for more precise aiming. Disruptor And you thought that Resistance Fall of Man was Insomniac's first foray into the first person shooter genre. Disruptor adds it's own twist to the formula by adding psyonic attack abilities. The level designs, while not the greatest ever seen are still solid. The game still plays well considering the age, and the old-school design style. And lets not forget the epic Full Motion Video sequences that take place as...um...the reward for beating levels? Doom Custom Playstation Edition This Custom Playstation edition of Doom features levels from the original Doom, and Doom II. How many levels when compared to the PC versions? I really cannot say, as I am far from a Doom expert. This Playstation port, is less of a direct port of Doom, and would best described as Doom Remix as some changes have been made like adding color lighting, a new, moody, ambient soundtrack nixing the midi compositions of the PC version, and even adding some Doom II enemies into the original Doom. Duke Nukem: Total Meltdown This PS1 port moves so increasingly fast that I couldn't even keep the gameplay in sync with the Saturn and N64 versions in an old comparison video I made. As far as the levels and features, it's the closest port to the PC original. It also has an excellent remixed soundtrack. Visual glitches aside, this game moves fast, and still retains the great design and gameplay first seen in the PC version. It even supports the dual analogs, but not well, and has link-cable multiplyer. Final Doom I've have still yet to play much of this PS1 port, but it, apparently, doesn't have all the levels of the PC original. In fact, they actually threw in 13 levels from the The Master Levels of Doom 2, but it still retains the classic Doom gameplay in moody atmospheric environments (colored lighting) with the ambient music of the first PS1 port. If you appreciate the smooth Gameplay and moody-Doom atmosphere of the original, and Doom 64, this is a no-brainer. Kileak: The DNA Imperative This PS1 Launch game can best be described as an early experiment in 3Dgaming. I am not sure if I fully consider it a first person shooter as it has none of the established norms of the genre like competent level designs or fun gameplay. I guess I wouldn't say the game is horrible, just incredibly bland and uninspired, granted I haven't played very far into it, so maybe it gets much better later on. Looking back, as a launch game, I could actually imagine early PS1 adopters being memorized by this one, but it certainly has no aged well at all. Medal of Honor I really do no have to tell anyone about Medal of Honor, so instead I will tell you what I like about the original over later high production entries into the series. What I love about the atmosphere in this game is that is goes more into the mythos of World War II as opposed to being a large battle style game. It has more of an Indiana Jones or James Bond feel to it than a Saving Private Ryan feel. It dives deeper into the rich historical-based mythology of the War and has, in my opinion, a much richer and unique atmosphere than the recent lets-coppy-Call-of-Duty-which-first-copied-us entires in the series. The original was also the first Shooter to use the WWII setting in a historically accurate way. Wolfenstein had nazis in it, but Medal of Honor was the first to really use the historical setting in an atmospherecally right way. Medal of Honor: Underground I have owned Underground for years, but have still yet to play it further than the first mission. Underground follows the plight of a woman in the French resistance. This one also goes into the mythology of the War, and even seems to explore Nazi Occult Practices. Men in Black- The Series: Crashdown This one surprised me. I must have received it in a ebay game lot, because I don't fully remember how I acquired it. I decided to pop it in to play test it, just to see how bad this licensed game I had never heard of was only to find, surprisingly a competent fully 3D fist person shooter based off the Men in Black Cartoon. I thought I was pretty knowledgeable about the PS1's library, but I had never even heard of this game, and never even seen it covered in the magazines at the time either. I have only played about three levels into it, so I cannot comment on the overall quality, but from what I have played I enjoyed. Sometimes licensed games have some surprising quality to them. PO'ed Ever play a game that makes you ask “What the heck am I playing?” this 3DO to PlayStation port is one of those kinds of games. The zany concept of the protagonist being a being a chef on a space ship that has been overrun by aliens (Steven Segal style), is complemented by a odd cast of enemies and weapon set in what can also be described as experimental early 3D level designs. This is a strange one, but is certainly worth a look. It feels a little sluggish in the controls, but not to a game-ruining point. It also have a fun training mode where you decimate hordes of respawning baddies add infinium. Quake II For the longest time, the PS1 port of Quake II was green eggs and ham to me. I had no interest in playing it. I already owned it on the Nintendo 64, and later acquired the beastly PC version. I wasn't until I finally watched footage of the game in action on Youtube that I finally saw how impressive this game was. A fast paced, fully polygonal fist person shooter with an action focus, very little if any slowdown and even four player split-screen multiplayer. I was incredibly surprised and happily wrong about what has become my favorite First person shooter on the PS1. It's unfortunate release date pitting it against Medal of honor, Final Fantasy VIII and the Dreamcast launch sort of buried this one, however, in terms of fluidity, Quake II leaves all other PS1 shooters in the dust. Star Wars- Dark Forces The humble beginning to what eventually blossomed into the Jedi Knight franchise for Lucasarts, Dark Forces has you playing as Kyle Katarn a former Imperial stormtrooper who defected to the Rebellion. You blast your way through a multitude of Doom inspired levels and hordes of Imperial baddies. The game came under fire for it's blurry, and choppy visuals (those prone to motion sickness, you've been warned), but if you can look beyond that, you'll find a fun and rewarding adventure set in the Star Wars universe. Tom Clancy's Rainbow Six: Rogue Spear Obviously, if you have a PC that has been made within the last seventeen years, or earlier, you probably should download the vastly superior PC version of this game if you are looking for your Rainbow Six fix. That being said, the PS1 version of the game is, playable if not incredibly flawed. With the ease of getting your hands on the PC version nowadays, I can only suggest this to PS1 specific collectors, and nostalgic gamers if this was the version you used to own.