People really think theyre doing something when they bring up that Jason was ginger in pre-crisis like yeah he was he was also a circus preformer but post crisis changed Jasons background to him being a street rat and his hair was changed to be naturally black so unless you also want to tell me that current Canon Jason was also secretly raised in the circus I don't want anyone telling me it makes sense that he's secretly ginger

I'M DONE WITH THE LIES AND DECEIT JASON TODD DOESN'T HAVE RED HAIR

Or at least he doesn't have red hair in current canon or most of the continuity and y'all should get with it.

We've all seen it, there's a post about Jason and someone comments on the post and brings up how when Jason first appeared as robin he had red hair and he had to dye it black to be robin.

This is not true in current canon and only had a brief window of existence in the comics so lets dig into the different hair colors we've seen on Jason, they are as follows:

Blonde (Pre-Crisis, before 1985)

Black (post 1985, like 23-24 years of Post Crisis?? a long time)

Red (~2 years of Post Crisis 2009-2011)

Black (New 52, 2011-2016)

Black (Rebirth, 2016 onward, current canon)

Dropping detailed receipts below and god some of these panels are wacky:

Pre-Crisis/ Golden Age - BLONDE HAIR

First appearance of Jason Todd was a little blonde circus boy like a Great Value recolored version of Dick Grayson and if I have to live with that knowledge then we all do.

A lot of people claim this version of Jason also had red hair and for anyone who wants to say this blatantly yellow hair isn’t blonde compare it to Vicki Vale’s actual red hair which is orange:

Vicki Vale (orange)

Jason Todd (its fucking yellow)

The assertion that Jason dyed his hair to be robin are not entirely false in this version, in Batman (1940) #366 Jay did dye his hair black so he could pass as Dick cause he wasn't officially robin yet but wanted to help Batman. Dying his hair made him look so much like Dick it actually did trick Batman and the Joker which is weird since Jason's like a child and Dick is like legally an adult at point but whatever. Either way it wasn’t Batman making him dye it, in fact Bruce was unhappy about it.

Blonde Jason is obviously no longer canon and hasn't been since.

Post Crisis/ Batman New Adventures - BLACK HAIR

Jason was first shown with black hair when he stole a tire off the Batmobile. This iteration of Jason's introduction is the one we all know today and is considered by most to be Jason's *real* debut.

This comic run is no longer canon but is often used as the backbone for new canon content.

Post Crisis 2009 to 2011 - RED HAIR

OK, here is where all the red hair lore comes in. During Dick's Batman run with Damian as Robin the writer (fuck you, Grant Morrison) decided to introduce this shit:

This made not only made no fucking sense in Post-Crisis continuity, but also Jason look stupid as fuck.

For some reason people have snatched this panel and held on to it with all their might. Which like - I mean, the idea of Bruce making a kid dye their hair to be robin is super fucking funny but like, c'mon dude. There are so many real reasons to judge Bruce already lmao.

Jason kept having red hair until the New 52. Its no longer canon.

New 52 - BLACK HAIR

Giving you guys all caste Jay for this shot cause I still simp for that storyline, he deserves the magic fire swords fr.

He's back to black hair and we're almost to current canon.

DC Rebirth (current canon) - BLACK HAIR

We made it to current canon and his hair is still natural black bby. LETS GO.

Also, the writers' failure to understand, every crime Jason committed had a motive. Attack other criminals? Holy warrior destined to purify the world of evil. Attack Bruce? Joker's still alive. (Oh, Jason, it's much worse than that.) Attack Tim? A parody of what he once was. He wasn't just a "bad boy". He was dangerously insane.

Hi, Anon! Yup, there seems to be a lot of things that writers have gotten confused about Jason Todd/Red Hood and the biggest one is his motivations to kill certain criminals.

Let’s be honest, Judd Winick set a golden path for the upcoming Red Hood writers. But each and every writer that used Red Hood in their stories completely missed the point of Jason’s character. All of them. It’s so incredibly wild to me that every other writer read UtRH and came up with whichever version of Jason they came up with.

Let’s list the writers that completely missed the point.

Geoff Johns in Teen Titans vol.3 #29.

Geoff Johns was one of the first to completely mischaracterize Jason, why on earth would Jason go to the Titans Tower to beat up Tim? This is not me saying that Jason would never do that because Jason thinks of Tim as his brother or a friend or the person that he can trust the most from the Bat-Clan (can you believe Lobdell tried to sell us that one?), this is me saying that Jason wouldn’t have done that because he couldn’t have given less of a fuck about Tim’s existence.

When Jason found out that Bruce had another Robin he wasn’t bothered by his “replacement” he was mad at Bruce for having another child playing hero after he lost his life as a fifteen-year-old. Jason didn’t even think of Tim as his replacement as fandom likes to make us believe, Jason called Tim “pretender”. And that was that, but to go from minimal recognition to go out of his way to beat him up at Titans Tower is a massive mischaracterization.

Paul Dini in Countdown (to Final Crisis).

Paul Dini in Countdown did absolutely nothing with Jason, I am sorry but that’s all he did. Him writing Jason was like watching a dog trying to catch their own tail. He started with a pretty basic take on UtRH Jason, then he added a bit of Jason being an annoying man with Donna, then we had the jealousy arc because apparently, Jason had the hots for Donna but she didn’t want anything to do with him and he was all angsty when she paid attention to Kyle instead of him, and then, later on, he had that whole Red Robin bullshit (I am sorry about this, but I absolutely hated that, it was so dumb, I am so glad it didn’t last long because it was just too bad), and after all that mix of just not interesting stuff he went right back to the Jason that he had at the very start. It was a waste of time, but I guess that he had to be there because he was an anomaly and all that. I just think that was DC’s first try at making Jason Todd/Red Hood something more than just a street-level vigilante and they failed miserably.

Tony S. Daniel in Batman: Battle for the Cowl.

Even though the first two did make mistakes with Jason’s characterizations, this man was the first to just throw UtRH out of the window and make up his very own version of Jason Todd. And his version was horrendous, that Jason had no problem with attempting to kill children and innocent people, he also really wanted to be Batman because Gotham needed a Batman and he wanted to be the person to wear the Cowl and he was looking for a Robin for himself.

I know, the whole concept is the perfect opposite of what Jason Todd and Red Hood were in UtRH. Every aspect of BftC Jason is based on nothing.

Jason wanting to be Batman because Gotham needed Batman is just the beginning of what’s wrong in this book. Jason became the Red Hood (in part) because he believed that Batman and his ways weren’t what Gotham needed so he made a better version of Batman with Red Hood (according to him) because Red Hood did what Batman refused to do. Another thing that is just wrong is Jason wanting, Damian, Tim or Dick to be his Robin, there is just so much wrong with this, first of all, Jason wanted Batman to stop having Robin because child soldiers ran the risk of dying at a very young age and that’s exactly how he saw the whole thing because that was what had happened to him. Second, if Jason was mad at Bruce for getting another Robin why would he now want one of his own to team up with his Batman? Damian was a child, Tim was someone that apparently Jason hated (because Jason beating Tim was mentioned in this event), and then Jason actually asked Dick Grayson, Nightwing, to be his Robin? Listen, there is no way that was Jason, nothing about him makes sense, even taking into account that Jason had beaten Tim already in this event Jason actually tried to kill both Tim and Damian (it might have been just one of them but yeah, it still doesn’t make sense).

I just don’t think that Tony S. Daniel knew who Jason Todd was, maybe he got confused but the thing is, his “villainous” and deranged version of Jason Todd allowed a villainous and deranged version of Red Hood to happen with the next writer that I will be talking about.

Grant Morrison in Batman and Robin vol.1 #3-6.

This was the birth of the villainous, deranged and bloodthirsty Red Hood. There is absolutely no trace of UtRH Jason here, not even if we are looking at the opposite of things like we could do with Daniel’s Jason. Grant Morrison wanted Dick and Damian to have a villain to match their Batman and Robin and they decided to give us a red-haired-pill-headed-red hood. Everything from Morrison’s characterization of Jason is crazy, from the red hair (hello pre-crisis) to the awful Joker’s Red Hood looking suit, everything was just weird.

I still don’t believe that was Jason, to be honest, I would rather think that version of Jason was actually a rouge Skrull that came all the way from the Marvel Universe and lost his way in Gotham City. Maybe when he made the jump between universes, he got too much information and got confused and took the form of the wonkiest Jason Todd he could come up with.

This Jason was absolutely deranged, he knew exactly what he was doing and he didn’t care if innocents died. This Jason was the one that got locked up in Arkham. This is the Jason that Dick put in Arkham for Jason and everybody else’s safety.

Dick putting that Jason in Arkham wasn’t a bad thing or something that anyone can use to shit on Dick Grayson (not on this house). This Arkham was reformed and that Jason knew that if he stayed in that new Arkham he would stay away from trouble, but here is the thing, that Jason loved trouble, so he took all the tests to prove he wasn’t insane and asked to be transferred to Blackgate (where all the Red Hood’s enemies were). That Jason didn’t ask to be sent to Blackgate because the Joker was a cell away from his in Arkham, he did it so he could go on a killing spree in Blackgate (which he did when he got there).

Skrull Jason was just bloodthirsty and nothing like UtRH Jason, he had no motive other than just killing for fun or whatever. He didn’t want to protect Gotham and he couldn’t have cared less about the drug trade in Gotham. In Batman and Robin vol.1. Jason Todd was unrecognizable. And luckily, we never saw him again.

Scott Lobdell in Everything that he ever wrote about Red Hood.

This one is pretty self-explanatory. Lobdell was the king of overpowering Jason, he was the one that drove Red Hood farther and farther away from his street-level vigilante status. He continuously added more to him, he was a big deal because he was meant to take down Ra’s al Ghul, he was a big deal because he was the only human to train in the All-Castle and learned to summon the All-Blades.

This Red Hood’s morals and ideals were kind of gone, there just wasn’t any kind of interest in Jason to get rid of drugs or try to control its trade in Gotham, he just had no interest in street-level threats, everything was extraordinary in both New 52 and Rebirth. If he wasn’t in space he was in some mystical land. His friends and allies became even more and more powerful, his level of power was completely off compared to the others. His personality was ever-changing and quite honestly you could barely see the Jason that he once was.

This Jason also was very inconsistent in the way that he felt towards people (obviously because Lobdell is a shitty writer), he wanted to follow Batman’s rules and was shown as someone that still had fond memories of his life with Bruce before he died but was also willing to let those memories go, to move on? Maybe? I don’t know. But he changed his mind about Bruce and following his rules or not for a very long time. Jason was also a little bitch about Dick, and he was a little bitch because he (Lobdell) never gave the reader or anyone a concrete reason as to why he hated him so much and then in Rebirth he decided that Dick wasn’t that bad. Also, Jason went from “Willis Todd, abusive husband and father that deserved to die” to “Willis Todd abusive husband and father but he sent me letters when he was in prison and Penguin had him killed so now, I really want to avenge him”. Yeah, I don’t really know why that happened and like most of Lobdell’s arcs and stuff it was never really completed or well thought out.

Lobdell’s Jason characterization was a mess for ten years and that’s the prime reason why Jason is a character with no solid background, story or future.

James Tynion IV in Red Hood and the Outlaws.

Tynion’s Jason Todd was a hero, he was like a mini Tom King Batman. Everything he did was right and there was just no way that you could bamboozle him. This Jason was able to hold to Blades that drained his soul as well as hosting the Untitled in his body (that were able to drain his soul too) and on top of all that he completed his journey of the Chosen One by making those ancient martial arts moves that he learned before he was Robin even though Talia hadn’t been able to master it yet.

Scott Snyder, Tim Seeley in Batman Eternal and Batman and Robin Eternal.

A mess, this was pure New 52 levels of bullshit and they all just wanted to push the “Batfamily” and while Dick was gone, they were trying to make Jason fill the void that Dick left in Batman events. It didn’t work at all and all they did was mess around with Jason’s characterization more.

Geoff Johns in Three Jokers.

I have talked enough about Johns’ takes on Jason Todd and Red Hood, but let me tell you something real quick, if a writer thinks that the best they can do with a character is make them give up their morals/ideals for an unrequited love interest, then they can keep that idea for themselves. Geoff Johns wrote a book that was absolutely not needed and then proceeded to butcher every characterization that he could, Three Jokers was three issues long and he managed to add more trauma to Jason’s torture, push the narrative of Jason being at fault for his own murder and make Jason’s motivations to be the Red Hood weak enough to make him want to give up his work for a woman that he barely knows (and doesn’t like him at all).

Joshua Williamson in Future State: Red Hood and Robin #5.

Now, with Williamson I have issues only when he writes Jason, not because his stories are bad, don’t get me wrong, I would have completely enjoyed FS: Red Hood if it weren’t for the completely unnecessary Rose/Jason side plot he had going on. Jason was clearly working undercover for some people that he hated working with. He had to arrest or kill “masks” (vigilantes, just like he “used” to be) for the Magistrate.

His ideas were pretty solid, Jason did the job but he never killed the masks and actively didn’t trust the Magistrate but he was working there to tear them apart from within, and that’s amazing if Williamson had given us Jason Todd/Red Hood working undercover to dismantle an organization I would have been really happy.

But that’s not all he gave us, even if I just forget about his failed attempt at giving Jason a relationship, I can still see that Williamson is the kind of writer that wants (or is just following DC) to make the “Batfamily” happen no matter how dumb and out of place it looks in comics’ canon. So, I am a little bit weary, any writer that leans too much towards making Jason and Bruce work together and become a family makes me want to scream, but I do understand that is just me, many people want those two to be buddy-buddy, I, personally, would love to see Jason kick Bruce in the balls and tell him to lose his number.

Chip Zdarsky in Urban Legends: Cheer.

Ah, yes, I remember the days in which I thought that this could have been something good. Well, I was utterly wrong and I suffered all the way through this mini. I feel like now I can safely say that Zdarsky only wanted to write a Batman book but DC told him, “Hey you can write Batman but it has to be within a Red Hood story, but don’t worry, you don’t have to know much about the Hood guy, just come up with something and write Batman around that”.

I know that’s what happened because I read that story and all we got from it was horrible characterizations for pre-Robin Jason, Robin Jason, Jason Todd and Red Hood. I don’t know how he did it but yes, he managed to mess it all up.

From Jason not really wanting to be Robin and acting recklessly every step of the way, to secret desires of a perfect family with Bruce and so many other people that he couldn’t care about, Urban Legends: Cheer is the perfect book to avoid at all costs if you believe that the concept of “Batfamily” is the biggest lie, DC is trying to profit off this time around.

Zdarsky also nerfed Jason in ways that I thought DC only wanted to nerf Dick Grayson. But I was able to see that I was wrong. Zdarsky’s run also pushed some of the most disastrous narratives that DC really wants readers to believe like: Robin Jason wasn’t good at his job, he was too reckless and ultimately his death was his own fault. Yay! I want to cry!

I will give Zdarsky two points for at the very least showing that Red Hood wants to protect children and that he has a huge issue with how the drug trade is controlled and abused in Gotham City, it had been a while since we had seen that aspect of Jason’s Red Hood make an appearance.

-

It’s just too many writers completely missing the point of Red Hood’s character or simply writers agreeing to destroy Jason’s uniqueness in the DC Universe so DC (as the publisher) can further push the abomination that is the “Batfamily” in comics’ canon.

I do agree with you Anon when you say that Jason isn’t just a “bad boy” but I also don’t think that we can call UtRH Jason “dangerously insane”. Personally, I will only use that last description for BftC and Batman and Robin Jason, those two were dangerously insane indeed.

UtRH Jason was very meticulous in who he wanted dead and who got to live. He entered Gotham’s most dangerous world and he had to make a big entrance, he invited the eight most prosperous street dealers to a meeting, showed up with the decapitated heads of each of their right-hand men and an AK-47 and said:

“I am offering you a deal. I will be running the drug trade from now on. You will go about your business as usual. You will kick up forty percent to me. That is a much better deal than the Black Mask will give you. In return, you will have total protection from both the Black Mask and Batman. The catch? You stay away from kids and schoolyards. No dealing to children, got it? If you do, you’re dead.”

This was Red Hood! Red Hood wanted to control the drug trade in Gotham because he knew that Gotham is far too corrupt and filled with drug lords for him to just want to eradicate drugs from Gotham. If he had tried that he would have been a dumbass, but he wasn’t. He didn’t want to start a gang war and get innocent people killed because of it, he wanted to set the rules of his new Empire and he had to start with the street-level drug dealers, from there he grew until he became a major pain in Black Mask’s ass.

We went from Jason wanting to control the drug trade and take over Gotham’s underworld so people like Black mask couldn’t have people work for him (or being dependent on him) when they were still in high school or were in a vulnerable position, to Jason fighting a war for a mystic land because he was their “Chosen One”. DC really wanted to do something grand (yet boring) with Jason instead of sticking to a street-level vigilante that could have become a Drug Lord to control the drug trade of a city that is so filled with crime and corruption that it can’t be saved by anyone.

Batman doesn’t eradicate crime, he “controls” it, puts a blank it over it, lets it nap up until it wakes up once more to make more mess.

Red Hood had other plans, certain criminals didn’t get to nap, or, better said, they would get to nap forever.

So, no. I wouldn’t call that “dangerously insane”, I will call that “vigilante that believes himself judge, jury and executioner” of a city that is drowning in crime and corruption.

Anyway, I hope you have a really nice week Anon and thank you so much for sending me this ask!

Can we all agree Grant Morrison fucked up (in many ways, frankly having Talia and Nyssa be all ara-ara is the worst, but today I'm focusing on) ignoring the Joker's death? Jason gets the revenge he wants, he can still hate Bruce, and we still have the younger brothers fighting over the oldest's affection. You want Jason and Tim to fight? "Why did you do it for this usurper and not me?"

I think Grant Morrison is really overrated, at least in Bat-Family stuff, they made Talia an abusive rapist, did stuff often just for the sake of shock, everything’s so dang edgy it feels like the crust off of someone’s shoe after running through a broken down hell hole town where everyone smells like the place never heard of the shower, and has so little anything of actual brilliance in it that I’m confused why everything thinks they’re so great.

I think they were just in the right place in the right time as far as people’s tastes going edgier and they looked at them like a king, because their stuff does not freaking hold up. And no one gives them much crap for it. Like they made Talia a damn rapist abuser. Like sure, you’ll see people complain about it, but it’s so hardly attached to them in a meaningful that it’s mind boggling. Just because they have lots of fanboys.

As far as Jason goes--I feel like they were trying to continue the Under the Red Hood thing, but thought “NO, NO, EDGIER. RIGHTFULLY DARK, EDGY ISN’T GOOD ENOUGH, NEED TO MAKE HIM HAVE MORE REASONS TO BE ANGRY, MAKE HIM BALDING AND GINGER, WHILE GETTING THE ORIGIN OF THE “GRAY STREAK” WRONG. INSUFFERABLY DARK AND EDGY IS THE HIT NOW”.

Cause the whole bitterness thing gives me that idea, but they just didn’t know why it worked and I imagine didn’t care because they just wanted to do their own thing to obviously not well received results.

Jason and Tim’s feud never worked for me anyway. Just crap Geoff Johns did in Teen Titans probably cause editorial said “work it in there” and out came that. But it didn’t make a lot of sense to me.

I don’t think Tim would like Jason as the Red Hood, he uses guns which he’s against, and plus he has an especially bad reaction to Bat-Family using them. Just look at him when he thought Bruce actually murdered people. He broke down crying.

But I just find the idea that Jason would attack a kid much smaller than him over being his replacement to be really really stretching it for the sake of shock value. Jason was portrayed as a calm, collected, one step ahead of the game guy, except of course when it came to directly having to deal with his traumatizing death and resurrection, dealing with the fact that Batman didn’t do anything.

However the whole deal seems to be about Batman letting the Joker go almost like he forgot about him more than anything to do with Tim as his own person. He’d blame Bruce and hate him for it than he would Tim.

Jason doesn’t hurt innocents, and he only went after Bruce because it was so emotionally charged that he came so determined to do something about it.

Tim and Jason wouldn’t be very brotherly, Tim probably would never want to be around him. But the whole feud crap was just too janky for me to really buy into it. Jason did not read like the same character even remotely. Jason’s unnervingly calm retorts towards Black Mask, and suave confidence around Batman does not allow Jason wearing a Robin costume under his biker outfit and beating the snot out of Tim while having mad rantings to fit in with it.

That’s just garbage edgy early 00s crap to me.

I love Jason but I feel like he hasn’t been written well since his resurrection. They either try to make him a villain, or they make him some boring-ass-typical anti-hero with a smart mouth, and try to shove him in with the Bat-Family despite the lack of direct sense, losing any pathos their relationship had to replace with fluff that sometimes contradicts a lot and doesn’t add up. 

Jason needs a good writer and a freaking break from being put into places he doesn’t belong in. So much potential still to use, and they waste it.

Hey there @vvithteeth! So, this isn’t EXACTLY what you asked for the readlist to focus on, but I think it’s worth checking out all the same for a general sense of Emma’s history leading up to her current character!

 EVIL 80s EMMA She’s not good reference for who Emma is NOW, but a good look at what she used to be, and what she’s overcome. I think looking at Emma when she was at her worst, helps one appreciate her at her best. If you see what she had to rise above in herself, you understand the self that she’s fighting back, you have a better appreciation for the kinds of things she’s tempted towards---and the kinds of things she no longer does.  X-Men (1st series) #129-131 is her introduction, as she tries to recruit Kitty Pryde to her school before Xavier does. One of the most chilling moments, for me personally, is when she threatens to destroy Storm’s mind so that she will be “human only in physical form” And then Jean drops a house on her, which is why she’s not involved in the Dark Phoenix saga, as she was still recovering.  Emma continues trying to get Kitty and other kids into her clutches in  Uncanny X-Men (1st series) #180 and  New Mutants (1st series) #15-17, but in New Mutants (1st series) #38-40 she finally manages it by exploiting their current fucked-up state and having her student Empath use his powers to manipulate Magneto.  But when the kids decide to return to Xavier’s school, Emma allows them to do so without a fight, and just tells them that they’ll always have a place with her if they need it. Which seems nice, but then her thought balloons reveal that this is just so the kids won’t believe it when Magneto tells them she’s evil. Firestar #1-4: Whoa mama, Emma is at max abusive here. See, she desires to eliminate Selene, and to this end she trains a young mutant she names Firestar. She does so by manipulating the girl, isolating her, convincing her that she NEEDS Emma to help her control her powers or else she’s dangerous to others, and even KILLS HER PET HORSE. Emma is someone who says “I love children. Teaching is my life.” and she MEANS IT, she has a genuine call to teach and her love for her students is her driving force, but here we see how she USED to treat her students. Then put her against who she is now, it’s a huge contrast. Honestly, I don’t know why SOME WRITERS want to erase her growth by pretending she was Actually Good All Along but yeah, here’s Bad Emma. This is who she fights. This is what she has risen above.  EMMA’S BACKSTORY ISSUES Emma’s history is. . . kind of multiple choice. She tells one version in Generation X #24, but this doesn’t fit at all with the Emma Frost miniseries that came out from 2003 -2004, which also doesn’t exactly fit with “X-Men Origins: Emma Frost” single-issue backstory. I personally would read the “X-Men Origins” one and at least the beginning of the miniseries, specifically the parts that deal with her home life. The reason is that both of these show how unhealthy Emma’s home was growing up, and how that made her who she is. When I saw I think Emma is “wired” to be a villain, I don’t mean I think she was born like that, but as in, I think her environment trained her to become like that. It’s kind of like how a lot of personality disorders aren’t something a person is born with, but come from being in a shitty environment where certain behaviors will help you survive better, and then even once that situation is over, you can’t get rid of those behaviors because it’s how your brain is wired now. That’s how I read Emma---she came out of this toxic, duplicitous environment of manipulation and abuse where she and her siblings were set against each other, and that’s now her default for how she interacts with the world, even though she was originally just a sweet little nerd who only wanted to be a teacher. The “Origins” one features a generic Shitty Abuser Shaw and isn’t as good as the more drawn-out miniseries, as it focuses more on physical abuse (like her father suddenly slapping her) to get a point across that her family is toxic, rather than the more drawn-out miniseries, which I think works better for explaining Emma’s specific brand of. . .Emma-ness. But the bit where her mother tells her that her father is hardest on her because he likes her most of all, is really important I think, since that reflects her relationship later with the Hellions, which is also shown in this. Because Emma is cruel to the Hellions, even though she loves them, and in fact because she loved them. Her love for them and her agony over their deaths is what drives her to join the X-Men in the first place.  As for which origin story is true. . .I think the miniseries one is probably MOST true, as it’s the only one that Emma herself isn’t telling as a story. But as the friend who helped me assemble this list puts it, “ Think of any origin story of Emma's as "a sort of fairy tale, a parable," where it's the theme that matters, not the precise events or timeline “ 90s EMMA Emma spent most of the 90s teaching Generation X. I don’t remember a lot of stuff for specifically what I’m talking about with her, but here are a couple issues that strike me as significant. Uncanny X-Men (1st series) #311-314: In  Uncanny X-Men (1st series) #281-284, the Hellions were killed and Emma Frost was left in a coma, her body taken care of by the X-Men. This is when she wakes up, takes over Iceman’s body, and goes on a rampage thinking she’s the prisoner of the X-Men. When she finds out what happened to her Hellions, she collapses in despair and turns herself over to the X-Men. This is her turning point. This is when we found out Emma Frost had a soul. That she LOVED the Hellions. That they were not just tools. And there’s this one line in the yellow narrative boxes that really sticks out: “As the Hellfire Club’s White Queen, she spent the better part of her life traversing from one mind to another, violating the very essence of anyone she so chose. Losing herself in the memories of others. Altering, at times, the opinions of those who opposed her. This time is different. This time it is about survival. This time. . .it’s for the children.” The words are echoed when she agrees to join Krakoa's Quiet Council, after Charles and Erik tell her their plan and convince her it might just work. "One more time, then. For the children." Emma’s true love, in my opinion, isn’t Scott. Nor is it Namor. It’s teaching.  Emma becomes the teacher to Generation X, as mentioned, and in Generation X (1st series) #18-19, during the Onslaught crisis, she’s so terrified of losing them like she did the Hellions, that she snapped, took the kids to a safehouse in Canada, and put them under her telepathic control for their own safety. This is an Emma who has learned that abusing her students isn’t the right way, but still doesn’t respect their autonomy or consent even as she’s desperately trying to protect them, and has to learn from Monet (who is. . . .actually not Monet) that this isn’t the right way to do it either. Emma did not grow up with adult models who showed her how to love and care for a child, she has to figure it out herself, and it’s a rocky journey at times, even though she has the best of intentions. I think this is a good issue to show an Emma who is in the process of evolving. She’s getting better, but she still hasn’t got it “right” yet.  CURRENT-ERA EMMA Emma really becomes the Emma we know with Grant Morrison’s New X-Men in the early 2000s. This is where she starts affecting a British accent, calling everyone darling, and the delightfully witty Queen of Mean while also still a devoted teacher with trauma over losing her students. She always was witty and a little mean, but Morrison takes these traits up to 11 and gives Emma the foundation of what a lot of writers would build upon. It’s also when she begins her telepathic affair/seduction of Scott, which is a more than slightly problematic dynamic, as I’ve discussed. Also, this is when she got her now-famous diamond form.  We get a lot of lovely Emma nastiness in this series. New X-Men #128-139 all have lots of great moments for her where she’s just WICKED yet still on the side of the angels, and New X-Men Annual 2001 starts us off.  However, character-wise, I think what really comes out here is Emma going from blaming her past actions on substances (she tells Scott in the New X-Men Annual 2001 that she just probably out of her mind on drink and drugs all those times she was doing bad things) to being forced to face her past and herself for the first time when confronted by Jean & the Phoenix in New X-Men #139. It’s the first time we get a look at what Emma’s family and home life was like, as well as the first time she’s established as having a brother, but more than that is the emotion that gets brought in. This is also when Morrison decided to retcon the Hellfire Club as a strip joint (which I hate and also shows up in Emma’s “Origins” story) but that’s neither here nor there. The point is, Jean makes Emma face all her flaws and pain and nasty, most vulnerable parts of herself.  Emma is left mentally broken...then one page later, physically, shattered by a diamond bullet that we later find out was fired by none other than Esme, the Stepford Cuckoo whom Emma later says reminded her most of herself. There is definitely poetic symbolism there. As my friend put it “This cycle of her students dying and Emma losing it and trying again but never facing the roots of her issues goes on and on until her roots literally kill her, and Jean of all people resurrects her. Jean, who saw right through Emma, saw something there worth saving, and literally and metaphorically put her back together again.” The next place I’d go is Astonishing X-Men, which is the first time Emma and Kitty work together. Kitty HATES Emma at this point, because, as she points out, Emma is the villain in her origin story. And Emma KNOWS this. That’s why she WANTS Kitty there. She knew that Kitty would keep an eye on her, wouldn’t trust her, and that’s what Emma WANTS, because Emma doesn’t trust HERSELF. So this shows that Emma KNOWS her moral compass is a very flawed one, and that she WANTS to be better so consciously that she’s getting someone she knows doesn’t like or trust her to be around because she knows she’ll watch her like a HAWK. This also means Emma is admitting she can fail, and giving some control to someone else.  There’s. . . so much that happens from here. Utopia. Phoenix Five. The Terrigen Mists shit. Secret Empire. I feel like there are probably great Emma readlists out there that include these, but honestly I just kinda zoned out through a lot of it. These are some additional read lists for her I found: https://lornahs.tumblr.com/post/87230882649/where-to-start-reading-emma-frost-lets-start  https://www.reddit.com/r/comicbooks/comments/2bwwok/emma_frost_reading/  It’s definitely a LOT and I wish you the best of luck tackling it! Also, I wouldn’t feel you have to read EVERYTHING, or incorporate everything into your depiction. Pick and choose what you feel works best for your version!

GM: It’s more like people’s sense of the immense energy compressed into certain words. It’s not the word itself – as Wilson reminds us ‘fuck’ is a ‘bad’ word but it doesn’t sound much different from ‘folk’, a ‘good’ word, and it means the same as ‘coitus’, another ‘good’ word. So where exactly does the wickedness and dirtiness of ‘fuck’ reside?

Words become fetishized for reasons good or bad and the more fetishized they are, the more taboo they become, which confers an aura of outlaw sexiness that attracts some people to them.

Lenny Bruce, George Carlin, Bob Wilson himself, all made a point of saying that words should not be given this kind of power because once they have this power, they can become fetishized and weaponized. If you de-power a word then it can’t be used to trigger other people in the same reliable way, but we’re just not in that phase, with the dislocated politics of culture right now. I think people got it right to take down some of these structures right now and perhaps it’s okay to retire certain radioactive, abusive terms as long as we make sure we’re creating new words in other areas.

As a for instance, when I was a kid there were no words to describe certain aspects of my own experience. I’ve been non-binary, cross-dressing, ‘gender queer’ since I was 10 years old, but the available terms for what I was doing and how I felt were few and far between. We had ‘transsexual’ and ‘transvestite’ both of which sounded like DSM classifications rather than lifestyle choices! I didn’t want to be labelled as medical aberration because that’s not how it felt, nor was it something cut-and-dried and done. I didn’t want to ‘transition’ or embody my ‘female’ side exclusively, so I had no idea where I fit in.

Terms like ‘genderqueer’ and ‘non-binary’ only came into vogue in the mid-90s. So kids like me had very limited ways of describing our attraction to drag and sexual ambiguity. Nowadays there’s this whole new vocabulary, allowing kids to figure out exactly where they sit on the ‘color wheel’ of gender and sexuality, so I think it’s OK to lose a few contentious words when you are creating new ones that offer a more finely-grained approach to experience.

When we make the jump to a non-Roman-alphabet-based emoji language for purposes of radio telepathic communication, things will change once more.

Grant freaking Morrison just in an official, published interview refered to himself* as non-binary gender queer. This is huge as it means some of the most influential works in comics history were creations of a non-binary writer who only needed science and our understanding of gender to catch up enough to form terms that reflect his identity (which in itself shows how important such progress is).

* - he did not specify prefered pronouns but the interview still uses “him” at one point so I assume he approves of that until proven othertwise.

-Admin

So probably the best way to start this is to mention the obvious and say that Joker (2019) has pretty much all of nothing to do with...The Joker.  I had mention to someone else a week or two back, but for as much as The Joker can work in a wide variety of stories, the character is inherently limited, my go-to phrase being “one dimensional.”  The Joker’s ongoing motivation is that he wants to defeat Batman, nothing more, nothing less.  “Killing Batman” is only a single part of it, “it” being proving that Batman is fallible and has some weakness.  There are characters like The Riddler that zero in on a single aspect of that such as, surely there are some problems that can be created that even The World’s Greatest Detective cannot solve, but The Joker is a convenient character in that he can be applied to any aspect of Batman’s character, which is why you get stories like Batman and The Joker getting into a surfing contest, because it all goes back to that theme of if there’s something that Batman is not the best at, Batman is ultimately doomed to fail (with regards to suspension of disbelief that is needed for superheroes to work, both creators and the audience have to commit to the concept that superheroes existing 100% makes the world around them a better place, and a major incoming failure on Batman’s part makes for greatest suspense in that it threatens that concept.)

But then, there lies the issue.  Joker does not actually have any driving motivation for WHY he wants to defeat Batman, he simply is.  It’s my theory on why no origin story has ever permanently stuck, because you can’t ever really make sense of that.  This compounds itself into Batman and Joker’s relationship and can never really evolve, it’ll play out in the same way every time just with new set dressing.  What you can do is raise the stakes, but with the back to back publishing of “The Killing Joke” and “A Death in The Family” in 1988, raising the stakes meant making The Joker a sadistic serial killer at the cost of everything else about the character, creating a Joker where everyone questions why he deserves to be alive to appear in another comic three to six months down the pipeline.  There have been some instances of trying to make The Joker more nuanced, like Grant Morrison introducing the concept of “super sanity” in their Batman work and addressing how The Joker reinvents his personality on the fly, but it’s ultimately set dressing that doesn’t alter anything.

So, that begs the question of why Joker, the film, calls itself “Joker” in the first place or why it takes place in Gotham instead of New York and blah blah blah the short answer is if they didn’t, Warner Bros wouldn’t have been able to rake in a billion dollars.  It’s on par with Sony deciding to make Venom (2018) and never addressing why Venom has those large white eye covers if his design isn’t based on Spider-Man, I’ll give Joker (2019) the compliment that it’s more interesting than that film at least.  I really did not want to bring up all this Batman shit while watching this but then they started addressing Thomas Wayne and I began mentally groaning.  I don’t want to dive into the concept of how or if the Batman mythos is impacted if you make Thomas (and Martha Wayne, who like in most Batman stories is more of a cameo than an actual character here) a shitty person, but then again I wouldn’t have to bring that up if the film didn’t cram it in in the first place.  I am...SO...SO THANKFUL I did not see any memes or theories or head canons surrounding “B-B_BUH JOCKER IS BEETMANS HALF BROTHER?????/???” which...whatever. Come to think I didn't see anyone bitch that he doesnt become The Joker until 90 minutes in either.  I think the majority of my goodwill (what turned it from, oh you know the good outweighs the bad enough for me to be able to tell someone this is watchable, to, oh you can skip this) was destroyed at the Waynes getting shot scene with, WHOOPS, The Joker was responsible (indirectly!)  That gave me BAD Batman (1989) flashbacks, and when you remind me of Batman (1989), you kind of do get on my bad side.  Fuck that movie.

SO.  In the midst of ALLL of this.  Let’s talk about the “““real source material”““ for Joker (2019): Taxi Driver (1976) and The King of Comedy (1982).

I don’t think I’m ruffling any feathers by saying that that is the case and that both of those films are wayyy better than Joker (2019).  I mean, there’s a reason why Robert De Niro was not only cast in this film, but he’s second billed right under Joaquin Phoenix.  Those are two fairly different films but they’re, at their core, stories of men who are ticking time bombs of violence ready for someone to light the fuse.  It’s another point against Joker (2019), not only for reminding me of much better films, but forcing me to ask why another pastiche of this story needed to be told.  Martin Scorsese kind of made his career with a monopoly on men losing their shit and everyone around them being caught in the tornado.  Joker (2019) admittedly plays the material much differently, in that all the way through we are supposed to sympathize with Arthur Fleck and stand alongside him every step of this of his downward spiral, and even with where he ends up, I’ll admit I don’t have an issue with that, but the film struggles with making me care half the time.  Like, yes, when Arthur is alone at home trying not to go awol, yeah, I get that, but at other times there’s stuff like how Arthur’s relationship with Sophie is never developed in any meaningful capacity, like why is enamored with him, why is she not as disturbed by him as most other people seem to be?  When we discover she’s not real, that explains it from a logical perspective I guess, but it isn’t a shock or a gut punch.

Can I be real for a second?  There are a lot of moments in this film where it made me embarrased as a neurodivergent person.  The number of people who definitely saw this, because, once again, it made a billion dollars, and came away thinking oh so that’s what mentally ill people are like, even if they’re sympathetic about it, it makes me sigh.

Even though the crux of this film is Arthur’s descent, it desperately wants to be important.  I know I’m not the first person to make this observation, but it does read like, oh, what’s popular now?  Incels?  Better make part of Arthur’s character arc that he can’t hit up any actual real women so he has to entertain himself with fantasies.  Antifa?  Better make it so Arthur accidentally inspires a movement of nebulous anti-rich people who all wear masks.  And so on and so on with no actual commentary while simultaneously it’s not really world-building either because it’s so front and center to the plot. I gotta say, if the film is about people in general not putting up with things anymore after being shat on nonstop, why oh why is there a joke aimed at a little person pretty early on, even through some meta lense where “oh the person telling the joke is an asshat who dies later so it’s cool”?

Now I’m not sure what to say next about the film itself so I guess now would be a good time to discuss the film’s ~impact~ as it were.  If it weren’t for Parasite (2019) I’d have no problem saying this was the biggest film of 2019 in the grand scheme of things, like EVERYONE came in with every possible perspective on this thing long before it came out.  I remember how back in like, late-2017/early-2018?  A bunch of people were shitting on the announcement of this film and Warner Bros had to do damage control by releasing some on-set photos of the second subway scene two days later.  It’s surreal more than anything actually watching this film now and seeing, wait, this is what everyone was memeing about nonstop?  This is a mainstream film?  With the directions it goes in?  With the topics it brings up?  Well I’ll be damned.  This is probably the first time since Les Miserables (2013) and Man of Steel (2013) where a movie comes out and no two people have the exact same opinion on it, so I’m curious as to how Joker is going to age in like, a decade.  So fucking weird that this is called a “superhero film” in retrospect just because it shares a name with a comic book character owned by the same company that developed and distributed this.

I wouldn’t be talking about this film if it wasn’t called “Joker” but then again hey nobody else would either.  I don’t hate this film despite how I’ve said nothing positive about and I was pretty prepared to call it “barely good” before the finale, so I don’t regret watching it, I don’t know what the fuck to say anymore.  Gang Weed memes are pretty funny if you haven’t actually seen any in the wild.  1940: “Let’s throw him into chemicals.”  2019: “Let’s throw him into society.”

Like in both Eternal and Future End or whatever the fuck (there seems to be a lot of ‘futures’) Bat & Eddie’s interactions are miserable. Especially in the former, which I express just how fucked up it felt reading it. (View post here) But Confidential brings me the content I want to see,, whilst I do have one issue with it. (tbf? As much as I LOVE the idea of Eddie being protective of Bruce, & not wanting to kill him when he has the chance. It just seems... Unrealistic. Not to mention, Eddie mentioned needing Bat for an audience for the “riddles” he gives. And that feels... too similar to J0ker needing Bat.) But other than that...

It was just a lot of fun, and wholesomeness. A compassionate hero working with a likable villain. Whilst the hero can get annoyed and angry at the villain, it was always for reasons the reader can understand, and even empathize with. Because most of the time, Eddie either deserved it for being insensitive, or... Bat had a right to be skeptical of him. And even then, when Bat would assault or be aggressive with Eddie, it was more understandable as Eddie wasn’t alone, he was intentionally getting close to the potential victim even after Bruce said DO NOT. And Eddie being... Eddie. It was understandable why he’d get apprehensive about this. Not to mention, Bat wasn’t even particularly cruel here, just kinda firm. And Eddie himself wasn’t literally scared, screaming, or on the verge of fucking tears. He was either casual about it himself, or even smiled and cracked jokes. Not to mention, Bat never seriously harmed Eddie at all. He was protective of him when real danger arose, and he never broke any of Eddie’s limbs. He only did what he could to stop Eddie when he thought Eddie was legit going to do something bad.

Therefore, Bat still feels like the hero here. Yes, Bruce DID fuck up big time by not listening to Eddie’s warning in the beginning, and therefore leading to a victim’s death. However, this flaw feels like a fine, and again, understandable one that doesn’t completely ruin Bruce’s status as a compassionate or good guy who oftentimes bitter still. We as readers can understand why Bruce wouldn’t take Eddie’s warning, especially if Eddie could be behind it all as it seemed similar to his own crimes.

This was an enjoyable read.

In other ones, like Eternal...

Seeing Eddie literally this scared, with a broken arm, not even really around other people he can harm. I mean, they appear to be out in the middle of fucking nowhere here. And as I pointed out in the post I linked - the way Bruce talks to him “having FUN??” Then like... showing no compassion when Eddie broke his arm, or the fact that Eddie seems to be TERRIFIED because he legit thinks he’ll DIE if he returns. And also him doing all he can to insist he doesn’t want to fight, he doesn’t want either of them hurt - yet Bat still being... so aggressive toward him, so cold like the location they’re in. It’s just... not fun at all to read, or entertaining for that matter. It’s just depressing as hell watching a victim of abuse who typically cannot fight being helpless, and even practically crying about being helpless and pointing out how sick Bruce is for basically taking his frustration out on him. Then reading our “”hero,”” Bruce be such a cold, apathetic bastard, too. Like Bruce is a problematic man... but once he gets so bad, he just leaves villains for dead, never listens to them, and just hurts them even when they’re literally this upset? It’s not enjoyable to read. 

In fact, this comic itself is a perfect example of what Grant Morrison was criticizing in Animal Man #5 / Coyote Gospel. It was from ‘88... yet it’s clearly still relevant. The comic was about a Coyote from a Loony Tunes like world who gets rejected from his world by the “creator/author” and he’s sent into “modern” comics life. In it, he accidentally gets a truck driver’s family killed because the truck driver accidentally ran over the coyote. (Who can “heal” back to life in disturbing ways.) & a car crash assured. Because of this, the man devotes his life to nothing but trying to kill the coyote. This is my absolute favorite panel(s) from the comic;

Is the truck driver trying to kill the coyote. Why I love this panel so much is particularly him mentioning his hands trembling. Then saying “why won’t THEY stop?” Emphasizing on THEY. The man isn’t referring to his hands anymore, he’s referring to everyone involved in the comic. The writers, the artists, the readers. Because he doesn’t want this. Both of these characters are absolutely miserable, there is nothing positive about them. Therefore, Truck Driver is asking himself, why is this enjoyable? Why are the writers still doing this? What does this even mean other than shock value and why do people eat up meaningless shock value? In the end, both characters meet their fate, never positive once, always miserable, always bloody and grotesque.

You might be wondering “Wikia, what the hell does Animal Man even have anything to do with this and where is this rant even going?” Well, the thing is. I feel like in this case, Eddie was the coyote, and Bruce was the truck driver. Both are bad people, at this point, irredeemable people who only made each other’s lives miserable. And for what? What meaning does this have? What purpose does it have that Bruce is practically reminiscence of Eddie’s ABUSER? And that Eddie has done irredeemable shit in previous comics before? Bruce having compassion for the villains made sense as you can understand it, and it made him feel heroic. Bruce didn’t kill before, and would actually talk with his villains because he saw them as victims and wanted to help them. Hell, you can even argue that Bruce... saw himself in them. Most his villains, like himself, were created out of tragedy in the city of G0tham. G0tham ruined them all. And perhaps Bruce realizes that he could’ve easily been a J0ker, or a R!ddler. But instead, he just happened to be a Batm/an. And perhaps he feels sympathetic towards them because of this. But with him being so cruel to not only them, but oftentimes even being abusive towards the Robins? Yeah... I no longer see a flawed hero, but I now see the truck driver. A man who’s so aggressive and miserable, he only cares about getting revenge and letting out that aggression. Not even stopping to think about the  Coyote’s situation, and how the Coyote has also lost his own life because he was banned from his world. And there is just... no compassion. Just shocking and edgy content where everyone is horrible, and they’re all against each other.

This got really long, and for that, I apologize.

They're sort of a fandom but Batfam!

thanks guys!!! this got so long omg, I’m so sorry dsjkfhdskajh

my favorite female character: CASSANDRA MFING CAIN. She is simultaneously one of the most badass characters I’ve ever had the pleasure of knowing about, while also being just……….so adorable. Like, I love that she can be the scariest and most competent Bat (she is absolutely 100000% the next Batman I do not take criticism) but also, she’s such a sweetheart. She really loves people (Steph and Duke especially so), she’s an amazing friend and sister, and she is just so authentically herself and does what she wants when she wants, and she works so hard for everything, and I just. Oh my god I love her so much.

my favorite male character: this is so difficult but I have to say Dick Grayson. I Must. He’s basically what started all of this!!! I mean yeah okay Bruce was first, but Robin/Dick is what made Batman interesting and was the first member of the batfam, the one that made it a real family. In addition to that, Dick is just??? So interesting?????? He was the first kid sidekick, he lead the Teen Titans teams, he’s always kind of existed in this place of being the lighthearted one with the Batfam, but the serious one in most other contexts. HE REBELLED FIRST. Nightwing is a fuck you to his dad!!!! I love that! Plus he’s beautiful and has some of the best love interests (I’m talking about Kory and Roy here folks). He’s imperfect and has such depth and I love him kdsjfhjkdshfah

my favorite book/season/etc: I actually really like all the stuff that comes after Bruce “dies”? Seeing them all struggle and fight with each other and everything is really interesting. I love Tim here especially, just bc he’s so fucked up and such a teenager. When characters seem to be having two totally different conversations are SO INTERESTING and that’s what was kind of happening here with Tim and Dick – Tim feels betrayed and hurt, Dick feels stressed and like Tim is ready to move on. And Damian is just an adorable little asshole ksdjfshkjhakjh

my favorite episode (if its a tv show) issue: look I’m a sucker for Dick & Jason feels and I really enjoyed their moments (however few there are) in NTT/Tales of The Teen Titans/etc. They’re pretty small but so cute – it’s really nice to see them trying to figure out how to be brothers!!

my favorite cast member: David Mazouz!!!! Perfect perfect perfect Bruce. I also did like Batfleck, more for the look of exhausted 40 year old man than the story/characterization, but David takes the cake. He does all the different facets of Bruce – traumatized child, obsessive teenager, Brucie the party animal, etc – so well, PLUS THEY HAVE THE SAME BIRTHDAY. It’s meant to be yall

my favorite ship: most of my Batfam ships are one batfam member/one non member (like Dickkory/Dickroy, Dinahbabs, Timkon, etc). the only one fully in the fam would be Bruce/Talia. When written correctly, they are so sweet and so tragic. The star crossed lovers trope has never looked so good as it does when its them. 

a character I’d die defending: Damian!!!! Admittedly I do get annoyed by him,,,, a lot,,,,,, but really. He’s a child who’s been abused and manipulated and lied to. He was raised in such a dangerous, traumatic environment, and I fucking hate when people act like he’s always going to be the annoying, murderous brat he was when he was first taken away from that environment. He has to heal, and he IS healing. He loves animals so much, he learns to love Dick (and at least get along with the others), he makes friends, he doesn’t kill anymore. He is doing better. There’s no fucking way he ends up as cruel and cold-hearted as some people insist he will. If you don’t like him, just shut the fuck up

a character I just can’t sympathize with: Babs. It’s not that I can’t sympathize with her, it’s more that I just don’t like her lol. I find Batgirl!Babs really boring and regressive for literally everyone involved. The way Babs became Oracle was gross but it gave her such GROWTH and she got to be her own character as Oracle (and also tell people off for pitying her bc she’s in a wheelchair). Batgirl was passed on to Cass, who is both Asian and disabled rep, then to Steph, in a way that was much healthier for the Batgirls than how Robin was passed down. Babs being Oracle gives even more rep to disabled children/girls in wheelchairs, and she isn’t stuck in Gotham! She isn’t part of the Batfam, she’s a Bird of Prey!!!! So much more interesting!!!! Plus D*ckB*bs is boring as fuck and does a disservice to both of them. Let them grow and be their own people and stop making me see Batgirl!Babs alongside Robin!Damian. DC, that’s illegal!!!

a character I grew to love: Talia. I was sadly infected with the Grant Morrison bullshit when I first joined the fandom and I hated Talia. But I’ve read more comics and metas about her and I just. I LOVE HER. She is such a badass and I find her motives (when well written) to be really interesting!!! She’s loyal to her dad but wants the best for Damian, and does have genuine affection for Bruce and Jason. She’s not the heartless woman some people/writers make her out to be, she has compassion and drive. She doesn’t care what people think about her. I want to marry her sdkjhfjksah

my anti otp: Jason/Roy. In any context other than RHaTO, it makes no sense and does a disservice to both characters. Jason and Roy would not want to be together in most reboots of DC, because of the connection with Dick. Would you want to date your asshole older brother’s ex/best friend? Would you want to date your ex/best friend’s little brother? Would you like to date a man with that history who is also struggling with severe trauma/addiction issues (respectively) and doesn’t get help for it because of bad writing? Imagine Roy looking Dick in the face and saying “yeah, I’m fucking your little brother, who I sort of knew as a pre-teen”. In RHaTO, this is mostly fine bc Roy and Dick have no relationship at all, and Jason needs someone to take care of, and Roy is so incompetent that he fits that bill. But ANYWAYYYYY point is, I refuse to read fics with this ship in it thank you goodnight

send me a show/movie/fandom and I’ll answer these questions!!

The Invisibles #5

It says "Crash the bus" on the back cover and I fucking get it so hard.

My inherent nihilism doesn't show often because, ultimately, I believe in a humanitarian morality based around kindness and compassion, built upon the foundational belief that nothing exists beyond our short lifespans and any act of wanton cruelty which makes any part of that short and challenging life more difficult for another person is the only true evil in the universe. But I feel the statement, "Crash the bus," deep down in my bones sometimes. Maybe it stems from a carefree and flirtatious relationship with suicidal ideation that allows me to embrace the idea of burning it all down. Most people want safety and comfort and will bargain with the devil to keep as much of that safety and comfort as possible, no matter how illusory it may be (because we have to face the fact that a good illusion may as well be reality). We're living in a Jenga tower where we refuse to restablilize the base even though it's teetering on just three misplaced blocks. And because of that, the amount of true reform that can be applied to this system is limited to what shapes can stand upon those three blocks. Most people are willing to work in that paradigm because they're afraid of starting completely over and losing their current safety and comfort, or because they think those three blocks are too sacred to remove. But imagine if you kicked out those three blocks, or, to sort of get back to the original analogy, crashed the bus into them and brought the whole tower down. Imagine the stable structure you could build if you started from a foundation that was built to support a better, kinder, more just system rather than trying to build that better system on a foundation not meant to support anything like it. Just because a structure has stood for over two hundred years doesn't mean it's still worth living in today, or maintaining its upkeep simply because we've always maintained its upkeep. I often dream of crashing the bus. And believe me, I don't fantasize about it because I think I'll survive the crash. I fantasize about it because I don't think I'll survive the ride. On the inside cover of this issue, there's a brief description of who and what The Invisibles are. "An organization dedicated to subversive activity in all its forms...the only rule of the organization is disobedience." In an earlier The Invisibles review, I believe I equated this organization to the Upright Citizens Brigade (specifically the show and not the comedy troupe). It's probably why I understood this comic book from page one. My intro or about page on Facebook has simply said this for however long I've been on the cursed site: "My only enemy is the status quo. My only friend is chaos" (that's stolen from the Upright Citizens Brigade intro, just to be clear). So I really can't remember why I stopped reading this comic book. It was right up my alley, even at twenty-three! I highly suspect I just lost track of it because I was a terribly disorganized comic book collector. I just realized King Mob is Grant Morrison's Mary Sue, isn't he? I had an image of him in my head but I just checked the Internet to makes sure he did look just like King Mob and, well, the Internet confirmed my suspicions. Also while scanning Morrison's Wikipedia entry, I noticed a short paragraph about Morriosn noting the similarities between The Invisibles and The Matrix. You know, like I noticed as well! Me! I noticed it too! Try to remember that these reviews are really just reviews about me and no the comic books I'm pretending to read but really just looking at the pictures.

Morrison just puts the pieces of the puzzle on the table and you're supposed to put them together. But who does fucking puzzles?! Boring!

In my 30s, I planned on reading every holy book and writing copious amounts of commentary from a person who wasn't taught the dogma behind the words and was simply trying to understand the book with the words that were there. I made it about forty pages through Genesis with nearly three hundred pages of commentary and then the project just sort of petered out. I suppose I'm still alive so I can always restart this project. But sometimes life has a way of kicking you in the brain by distracting you and suddenly eighteen years have gone by and you're all, "What's the fucking point?" The Mahabharata was going to be one of those books. I read part of it in college but damned if I can remember any of it. Hell, I was even going to read Dianetics! I was going to save the Quran for last just in case I invoked the rage of some fundamentalist psycho for interpreting something in the book literally as opposed to the way it's been taught according to centuries of dogma (I was pretty sure I was going to offend Christians as well but Christian fundamentalists are mostly lazy, selfish bastards who wouldn't dare take any risks to disrupt their Earthly life for their spiritual beliefs). The few bits I've read from the Quran that line up with Genesis were far more interesting in the way they sort of held a dialogue with The Bible. Like when Abraham apparently went to sacrifice his only son in The Bible and the book claims it was Isaac. And yet the only time Abraham had an only son was before Isaac was born and his only son was Ishmael. So, you know, it sounds pretty much like The Bible is lying about what happened while the Quran is just telling it like it is (although I'm not sure the Quran ever names the child so that's another part of the mystery! Maybe it was Isaac and somehow Ishmael just didn't count as a true son for reasons. You know the reasons. Maid's sons don't count is the reason). After teaching about Indian puppetry, Morrison gives the reader a lengthy scene of Lord Byron and Percy Bysshe Shelley discussing their roles as poets in the betterment of the world. With all these conversations of dead artists who died young, I wonder if Grant Morrison is bitter that he's lived so long? Anyway, George and Percy have some interesting things to say but this isn't a synopsis but a review. Also I don't like to comment on things I don't understand, like intelligent dialogue and beautiful poetry and earnest compassion.

Meanwhile, Jack Frost learns that the most important part of being an Invisible is being more paranoid than the next guy.

King Mob has to get back to England after his Indian puppet show and a visit to a Ganesh statue but he hates flying. So instead, he takes a shortcut through the future where the world has been ravaged by a great war and the Berlin Wall was rebuilt but bigger. Probably not to keep people on either side of it (the world seems mostly devastated) but probably just because the few fascist assholes still alive felt building a monument to being controlling dicks was the right thing to do to celebrate. Some mysterious guy without a face takes the face of some kids' father in a park somewhere at some point. It's hard to tell if this story has a place in time that can be considered the "now" being that King Mob is in a ravaged future and Byron and Shelley are in a long gone past and Jack Frost is in the present. Oh, that's probably the now! And the guy who stole the face of the other guy is probably in Jack's now time. King Mob returns to his Invisibles cell with information about their next mission. He also lets everybody know that Orlando is currently in London. I think it was Orlando who stole the face of the guy in the park. But that's just supposed to raise the tension because the Invisibles are going to leave their bodies behind in present day London as they time travel to the French Revolution. If we didn't know about Orlando, we would just be all, "Okay, cool! I guess they're time traveling and leaving their bodies so it'll be safe. Not because there are no threats from long-lived assassins without their own faces but because it's fucking time travel and I imagine they can return to their bodies the exact moment in which they left them!" Although the idea that the amount of time they spend in the past is equal to the amount of time their bodies sit unguarded makes a lot more sense than having somebody from the future tell Bill and Ted in his past that their clock is always ticking no matter where they are in time. I mean, it just doesn't make any sense! Especially when they break the rules later and will probably shit all over the time travel rules of their own established universe in the upcoming movie. Anyway, I like the idea that their spirits leave their bodies in the present in this time travel and that the spirits are away exactly as long as they spend in the past. That actually makes sense to me! The Invisibles #5 Rating: B+. Well, thanks a lot, twenty-three year old asshole me from the past! You just had to stop buying this comic book, didn't you?! And now I have to suffer not knowing what happens! Although I suppose you also suffered that and you seemed to have been fine. Aside from having no ambition and never finishing any writing projects and killing all of your dreams to play more video games. You know. Aside from that, you did just fine. Yeah. Real fine. Idiot.

Rock and Roll Storytime #9: The Decline and Death of Brian Jones

I’ve probably made it no secret that I have a freaky-ass memory throughout the course of this series, and this won’t be an exception. Aside from many of the exact dates, I can remember exactly how I got obsessed with Brian Jones.

It started in May 2019 while I was goofing off in art class. I was trying to write about the 27 Club, being obsessed with Kurt Cobain at the time, when I found myself captivated by a certain other blonde in the club.

I don’t know what kept me around. Maybe it was the delicate features framed by silky blond hair. Maybe it was the complicated story of his life. Maybe it was his mysterious death, and my drive to find out what really happened. Or maybe it was that shitty movie they made about him in 2005.

Whatever the reason, I stuck around. I’ll even put it this way: “Came for the morbidity stayed for the music. “

Let’s start at the beginning, shall we?

It took me about a week or two to come up with my first theory between wondering what the hell I was getting myself into and trying to decide whether I should watch Stoned. I found out very early on that Brian had developed asthma at the age of four after a bout of croup. Knowing that asthma attacks can result in death, I didn’t think it unlikely that Brian could have drowned as a result of an asthma attack. In my research, I found an article stating that chlorine mixing with organic material can trigger symptoms of asthma attacks and allergic reactions.

I knew I’d need more evidence though but given that I didn’t want to be too intrusive this early on, that would be a slow process. If there was one thing I held on to, it was my firm resolute to not fall for another murder conspiracy so soon. It didn’t end so well for me the last time.

As I was trying to piece together what exactly happened to Brian Jones, I was also beginning to find out the story of how he got to that point in the first place.

There are many reasons I have love-hate relationships with Mick Jagger and Keith Richards, and their treatment of Brian Jones is by far the biggest one.

Where the story of Brian Jones’ decline really starts is at the Ealing Club on 7 April 1962. It was here that a young Mick Jagger, Keith Richards, and Dick Taylor saw Brian “Elmo Lewis” Jones take the stage for the first time. The next month, Brian put an ad in the papers for musicians to come join a band he was starting. He quickly brought together Ian Stewart, Mick Jagger, Keith Richards, Dick Taylor, and Tony Chapman. The band, which Brian dubbed “The Rollin’ Stones,” gave their first performance on 12 July 1962, though there seems to be some confusion over who was playing drums that night. Bill Wyman replaced Dick Taylor on 7 December 1962, and Charlie Watts replaced Tony Chapman on 9 January 1963.

In the early days, Brian served as the Stones’ manager. It ended up being this very thing that led to the first cracks in this fortuitous partnership.

First thing’s first, Andrew Loog Oldham came along, and in May, he became the Stones’ manager. He only really had eyes for Mick and was one of the ones who led the subsequent whispering campaign against Brian. Not helping anything was when, on 13 October 1963, the others found out that Brian had been paying himself an extra £5 ($5.58). These were expenses he deducted because he believed that should be his pay, considering he was doing much of the work at this time. (I can sort of relate; I’ve suffered through high school group projects).

On the economics side (lord knows, that’s more Mick’s thing than mine), Bill Wyman has since stated that the Stones were making £193 ($215.38) a week. Adjusting for inflation, Brian was deducting roughly £87.26 out of £3,608.53. For the Americans in the crowd, that’s roughly $114.20 out of $4,722.66, once adjusted for inflation. Granted, across the board, that’s roughly 2.5% of the band’s total income at this point. Still, even that much might matter when you’re a bunch of starving artists.

When Paul Trynka summarized why everybody was pissed in his book, Brian Jones: The Making of the Rolling Stones, he said that for Mick, it was because he was a student at the London School of Economics. Five pounds is five pounds. Meanwhile, Keith was pissed because he, like everyone else in the band, was under the impression that they were earning equal pay in this group effort.

Pro-tip: If you start a band and feel you should be paid more because of how much of the work you’re doing, please disclose this with your band and work out an arrangement that will be beneficial to everyone. Otherwise, shit gets ugly.

Brian also didn’t help his case by insisting on staying in fancier hotels than the others (he was a bit of a neat-freak and a narcissist).

Keith later said, “He had an arrangement with (Eric) Easton, that as leader of the band he was entitled to this extra payment. Everybody freaked out. That was the beginning of the decline of Brian. We said, ‘Fuck you…’”

Meanwhile, Ian Stewart (who had been ousted from the band earlier that year) stated, “When we started playing outside London, Brian said, ‘I’m the leader of the group and I think I’ll stay at the best hotel. All the rest of you can stay in a cheaper hotel.’ Of course, the rest of the Stones just laughed at him, and that was it from then on. It was all over for him as the leader. He started to isolate himself because of this attitude.”

With one little five-pound note (and an ego trip), Brian had set in motion his entire downfall.

It might seem petty to myself and plenty of other Brian Jones fans, but lord knows, I’m not Mick Jagger, Keith Richards, or Andrew Loog Oldham. Besides, I have no idea how I’ll feel about all this in five years.

Meanwhile, I must confess that I almost did fall into that mindset of believing Brian was murdered. In June 2019, I was in Paris, on a trip across France led by my French teacher. Somewhere between trying not to lose my mind in a big city and taking awkward selfies at Jim Morrison’s grave, I, being overly chatty, started talking to one of my peers about music-related topics. I told her Brian’s entire life story as I understood it at that time, having been obsessed with him for a little over a month at that point. In my haste though, I unintentionally managed to convince her that Brian had been murdered. Despite not meaning to, I did end up entertaining the possibility, both for her and myself, for at least the rest of the night.

Besides, at the time, I was drawing blanks in trying to find hard evidence that Brian wasn’t murdered. I had one (water-logged) book saying he wasn’t, and a (shitty) movie and another book saying he was.

And then, at some point, I regained my senses, and not because of how ridiculous Brian’s death was when depicted in the movie Stoned. (For fuck’s sake, there was a shooting star in the sky at the moment of his death and he showed up as a ghost in the last five minutes). It really had everything to do with how much I regretted believing Kurt Cobain had been murdered.

I once again gathered my resolve and decided to go back on the hunt for more clues.

The second part of Brian Jones’ decline undoubtedly involves his tempestuous relationship with German-Italian actress Anita Pallenberg. The two started dating after a Rolling Stones concert in Munich on 14 September 1965 and developed a close bond, thanks in part to Brian’s ability to speak German. She gave him the confidence he needed to go against Mick and Keith and helped him become the fashion icon he is still remembered as today.

The Who’s Pete Townshend later had this to say: “We hung out a lot from about 1964 to 1966. Part of the time he was seeing Anita Pallenberg. She was a stunning creature. I mean literally stunning. It was quite hard to maintain one’s gaze. One time in Paris I remember they took some drug and were so sexually stimulated they could hardly wait for me to leave the room before starting to shag. I felt Brian was living on a higher plane of decadence than anyone I would ever meet.”

However, their relationship was also highly abusive. They would verbally and physically abuse each other. In fact, one time, Brian broke his wrist while the two were on a trip in Tangier. Though Brian said it was the result of an accident, Christopher Gibbs and Bill Wyman have both stated that it resulted from an altercation with Anita (though sources vary about whether he broke his wrist on a metal window frame or her face).

Of their relationship, Keith had this to say, “I would hear the thumping some nights, and Brian would come out with a black eye. Brian was a woman beater. But the one woman in the world you did not want to try and beat up on was Anita Pallenberg. Every time they had a fight, Brian would come out bandaged and bruised.”

I’d go so far as to say that the one good thing that came out of their relationship was the fact that Brian composed the soundtrack for her movie Mord Und Totschlag (A Degree of Murder).

As I’ve previously written about, when Mick and Keith were charged with drug possession in February 1967, lawyers told the Glimmer Triplets (Mick, Keith, and Brian) that since they were the most visible of the Stones, they should leave the country. So, Brian and Anita left Britain, heading for Morocco. However, Brian was already in no condition to travel, and he fell ill with pneumonia in Toulouse. He ended up spending a few days there (including his 25th birthday), while Keith and Anita met up in Tangier. There, she started an affair with Keith behind Brian’s back (Keith even confirmed in his autobiography that she made the first move).

When Brian finally arrived, he could tell that there was something going on between Keith and Anita. Keith was apparently shy around girls at this stage in his life but was more confident around Anita. Meanwhile, Anita was now a bit more open around Keith. Not much is certain about what happened next. What is known is that Brian paid for the services of two prostitutes and that there was an incident between him and Anita that night. Keith said that he threw food at her and humiliated her. Bill claimed that he beat her to the point where she was scared for her life. The less said about Stoned, the better.

Regardless, whatever Brian’s actions really were, it was over between him and Anita. Keith convinced her that if they didn’t get the hell out of there, Brian might try and kill her. The next day, Mick, Keith, and Anita fled Morocco, leaving Brian stranded for the next two days.

Brian’s father later blamed his son’s downward spiral on Anita breaking his heart. Others, such as Linda Lawrence, suggest that it was Mick and Keith’s betrayal that hurt him far more than Anita’s.

In either case, he never really forgave Keith. Beyond that, his drug and alcohol consumption only worsened.

This part of the Stones’ history is… tricky. Of course, I can’t condone Brian for his behaviour, but Keith, and especially Anita weren’t entirely in the right in this situation. Ultimately, Keith and Anita stayed together until 1980 and had three children (one of whom unfortunately died in infancy). Besides, I understand Keith’s actions the most out of everyone, given that he had a noble intent in getting Anita away from Brian’s increasingly toxic behaviour. Of course, it’s also important to note that Brian and Anita were 25 and 24 respectively at the time of this incident, and beyond that, they were young and impulsive, with unfortunately predictable results, given that they both could be volatile.

I may have an infatuation with Brian, but sometimes, something’s got to give.

Fifty-two years after that clusterfuck, I was continuing my research into the life of L. B. H. Jones as the fiftieth anniversary of his death came and went. A week or two later, I decided, despite some reservations, to get Bill Wyman’s book, Stone Alone.

Say what you will about Bill (I know at some point I’ll be commenting about the travesty that was his relationship with Mandy Smith), but I figured that if I wanted to know about the early Rolling Stones, he’d be one of my best sources. At the very least, he’s the only one who’s given Brian any sort of credit for his accomplishments instead of solely focusing on his failures like Keith tends to do. As I was flipping through random pages, I learned that Bill had written about one of Brian’s many illegitimate children. He called her “Carol,” for the sake of anonymity, and in it, he discussed the matter of her being diagnosed with temporal lobe epilepsy. She and Bill even applied some of her symptoms to things Bill observed when he was with Brian. In that one instant, what happened to Brian the night he drowned seemed to make perfect sense.

One of the things that had made putting the clues together so difficult from the very start was that Brian had punctate haemorrhages (tiny bleeds normally found in shaken baby syndrome) in his brain, which indicated that he’d been thrashing around quite a bit in his final moments.

Temporal lobe epilepsy can’t be cured, but it is manageable to a degree with medications. Brian, however, was never diagnosed, which is why we can’t be certain that he had epilepsy. There is no doubt in my mind that if Brian did have epilepsy, it would’ve gotten worse over time, given that Brian received no treatment. Carol speculated that Brian likely chalked up many of his symptoms to being hungover. Even then, he might not have realized that something was happening with his brain.

While I was typing up my theories though, I remembered that I’d found his toxicology report not long beforehand. As I read it, I found out that the drug that was in his system was likely Mandrax, which he had been prescribed in the days before he died. When I looked up Mandrax, I discovered that it was a brand name for Quaaludes. It can cause mental confusion, ataxia, seizures, and impaired decision-making, among other negative side-effects. The impaired judgment would explain why Brian decided it’d be a great idea to go swimming after he’d had sleeping pills and alcohol…

I still didn’t consider my work done, but this was the closest I’d come to having answers yet.

Speaking of Brian and drug abuse, the third key to understanding what happened to Brian, is to look at his two drug convictions.

However, I already talked about this (quite recently too), so I’ll try and keep this section brief.

As Mick and Keith were formally charged with drug possession on 10 May 1967, Brian found his home being raided by police. Although he’d been tipped off about their arrival, they still managed to find a handbag with cannabis in it, as well as methamphetamines and cocaine. It could be argued that the evidence was planted, but there is no way to prove this. In court, Brian confessed to doing cannabis but denied doing anything stronger (even though there’s pictures of him tripping on LSD early in 1967). The Stones’ new manager, Allen Klein, told him to stay away from the other Stones. However, this had the effect of further isolating Brian when he needed his bandmates the most.

On 30 October 1967, Brian was sentenced to three months in prison for cannabis possession and another nine months for allowing cannabis to be smoked in his home. He was additionally fined. After a rough night in prison, he was released the next day, awaiting appeal, though he was left shaken by that experience.

On 12 December, Brian went to appeals court, where his psychologist argued that Brian would become suicidal if he went to prison. Brian was sentenced to three years’ probation and ordered by the courts to seek professional help.

Lord knows, at this point, Brian might have been making an honest-to-God effort to get off drugs, but on 21 May 1968, police raided his house again. This time, they found cannabis hidden away in a ball of wool in the process. This usually inspires more impassioned arguments from Brian Jones fans that the evidence was planted. Brian himself said that he would swear until the day he died that he didn’t commit this second offense. Because he was still on probation at the time of this second arrest, he was facing a long jail sentence if found guilty.

On 26 September, Brian was found guilty of drug possession for the second time. However, the same judge who sentenced him to a year in prison the first time took pity on him. Instead, he fined Brian and gave him a stern warning to not show up in court again.

As you can see with the attached pictures though, the trials only helped speed up Brian’s downward spiral, and he shut down mentally.  

Honestly, I think the trials are a large part of the reason Brian went downhill as fast as he did.

Meanwhile, back in the present day, it was September now, and I was starting to get into the swing of being a full-time college student. While I was procrastinating, as usual, I was messing about on Google and I happened upon Brian’s autopsy report. Fact about me: this was far from my first time reading either autopsy reports or death certificates, so I decided to give it a look. After all, I could understand quite a bit of the medical jargon, which I blame on the fact that I loved reading medical books in elementary school. Couldn’t hurt, right?

Was the report perfunctory? Yes. Were there mistakes? A few that stood out, such as Brian’s height being given as 5′9″ when he was 5′6″, and his age being listed as twenty-six as opposed to twenty-seven.

However, that report did reinforce my most recent conclusions that Brian had overdosed on sleeping pills, which was exacerbated by alcohol.

I knew now that Mandrax had once been prescribed to treat anxiety and insomnia, which Brian likely suffered from following the stress of two drug trials that both resulted in convictions. This was also a time before doctors realized the addictive properties of Quaaludes. For all I know, Brian might not have been keeping the best track of how many pills he was taking (which is also how Keith Moon died).

Going back to the long, sordid story of Brian’s collapse, the fourth major reason he found himself being kicked out of the band he founded was that he stopped contributing to the Stones’ music.

In the documentary Crossfire Hurricane, Mick stated, “You certainly didn’t know if he was going to turn up and what state he was going to be in and then, what he was going to be able to do in that state. What job could you give him? And then, one time, when we sat around, on the floor, we played, in a circle, playing “No Expectations”. And he picked the guitar and played a very pretty line on it which you can hear on the record. And that was the last thing I remember him doing that was Brian. Or, the Brian that could contribute something very pretty and sensitive and it made the record sound wonderful.”

Some people have compared Brian to someone who wants to quit but doesn’t want a confrontation (Brian, believe it or not, wasn’t exactly keen on confrontation). Instead, he puts in the smallest effort he can, if that. In fact, Brian had wanted to leave in 1967, but Mick convinced him to stay.

Perhaps Brian’s fate might have been different if he’d gone with his gut in 1967.

Brian still contributed to much of Beggars Banquet. By 1969 though, it seems as if he’d completely given up on the band he’d founded. He stopped showing up to the studio, and if he did come, he’d be too intoxicated to play. In fact, there were points where Mick and Keith would turn off his amp, if not tell him to just go home. It got to the point where he (barely) appears on two songs on Let It Bleed: “Midnight Rambler” and “You’ve Got the Silver.”

Frequent Stones collaborator Jack Nitzsche later said “Brian came up to me, looking pretty shaky, and asked me what I thought he should do- he didn’t know where he fit[ted] in. I told him to just pick up a guitar and start playing. Then he walked over to Mick and asked, ‘What should I play?’ Mick told him, ‘You’re a member of the band, Brian, play whatever you want.’ So he played something, but Mick stopped him and said, ‘No, Brian, not that- that’s no good.’ So Brian asked him again what to play and Mick told him again to play whatever he wanted. So Brian played something else, but Mick cut him off again- ‘No, that’s no good either, Brian.’”

Marianne Faithfull, Mick’s girlfriend at the time, told a friend that Brian had sent Mick several letters over a period of several weeks while Mick was away. One that she’d opened said “Please let me come back in. I’ll play bongos, anything, but please let me come back in.”

…I need a moment to recollect myself.

Some fifty years later, I was still trying to make it through my first semester of college. I got myself a book about the 27 Club, figuring there might be something that would aid me in my research. There, I learned that, reportedly, Brian had not only been taking Mandrax, but also Piriton (hay fever medication), black bombers (which had been prescribed to him a mere ten days before he died), and Valium. That’s on top of an inhaler that would later be found to cause heart palpitations.

A couple of months later, I decided to look up the side-effects of every drug that Brian had ever taken, be it proven fact or allegation. That part of my research isn’t quite finished yet, but what I’ve found with the five medications that Brian was taking around the time of his death proved to be particularly shocking.

For the sake of brevity, I can’t list every side-effect. What I did notice is that some included side-effects of tachycardia/bradycardia, confusion, loss of coordination, impaired decision making, hyperactivity, seizures, and stomach problems. Some, like the uncoordinated behaviour, were noted by those who were there, such as Janet Lawson, who realized that Brian had taken sleeping pills that night, based on him muttering that he’d taken “sleepers”. Others could be a no-brainer, given that Brian had an enlarged heart and liver, in addition to suffering from bronchial troubles and pleurisy.

My immediate thought was, “Jesus, Brian, what the hell were you doing to yourself?”

And now for the final part of Brian’s story: the last twenty-five days of his life.

The Stones wanted to go on tour again, this being their first in two years. Due to Brian’s convictions, Stones management discovered that he probably wouldn’t be able to receive a work visa in the U.S. On 8 June 1969, Mick and Keith drove down to Cotchford Farm to tell Brian that he was fired. They brought Charlie along in case Brian decided to put up a fight. However, Brian agreed to back out gracefully, possibly knowing that he’d burned too many bridges at this point. The next day, Brian released a statement, which painted the decision to leave as being his own. He capped it off with “We had a friendly meeting and agreed that an amicable termination, temporary or permanent, was the only answer. The only solution was to go our separate ways, but we shall still remain friends. I love those fellows.”

As I’ve said though, how Brian truly felt about this turn of events will forever remain a mystery.

In the days before he died, it has been suggested by those close to him that Brian was planning on starting another band. Some believe he was going to bring in Jimi Hendrix and John Lennon. Jimi’s camp has since denied that Brian ever approached Jimi. There are also lingering questions regarding whether Brian had given up hard drugs or if he was still taking them. I doubt the latter, considering the well-documented stress of the drug trials.

The picture above was taken nine days before Brian died. Honestly, I do believe there was still some hope for Brian (I can even see it in his eyes). Whether he would’ve recovered or not and whether he’d still be alive today will forever remain up to conjecture, as that’s another possibility that followed Brian to the grave.

Wednesday, 2 July 1969 was host to hot, muggy weather that exacerbated Brian’s asthma. He spent his last day alive with at least three people: Anna Wohlin, his 22-year-old, Swedish girlfriend, Janet Lawson, a registered nurse who was dating Stones minder Tom Keylock, and Frank Thorogood, a 43-year-old builder who’d been doing work on Brian’s property at the time.

Details of Brian’s final day are sketchy, and there are some disagreements over what exactly the people involved did throughout the day. For example, there are disagreements about whether they watched television or not. Some would argue that this is clear evidence that Brian was murdered. I would posit that three of the four parties involved had been drinking. Even if everyone was sober, in a situation such as this, human memory can be extremely unreliable. For example, hundreds of witnesses were interviewed on the night Abraham Lincoln was assassinated, but no two accounts are alike. What we know had to be stitched together from witness accounts in which everyone claimed to have seen or heard something different.

What seems to be the most agreed-upon version of Brian’s death is that he decided to go swimming. Anna was reluctant and had to be persuaded to join in. Janet, the only sober person among the group, decided against swimming, most likely to keep an eye out for everyone else. Janet said in her witness report (recorded on the morning of July 3, 1969) that she strongly felt that Frank and Brian were in no condition to swim. She also recalled that Brian had great difficulty in standing on the diving board, being helped not-so-successfully by Frank. Even after that, his movements in the water seemed sluggish.

I don’t know, but if that were me, I would’ve called emergency services right there and then.

According to Janet, Anna was the first to return to the house, followed by Frank about ten minutes later. When Janet next went out to check on Brian sometime around midnight, she found him face-down in the deep end, and “immediately sensed the worst.”

She ran back to the house to get Frank and Anna, and with their help, got Brian out of the pool. She immediately began resuscitative efforts, despite knowing Brian was already dead. Anna later claimed that she felt Brian’s hand briefly grip hers. However, when paramedics arrived, they pronounced Brian dead in the early morning hours of 3 July 1969.

Brian’s official cause of death was given as drowning by immersion in fresh water, partly as a result of liver damage and the ingestion of drugs and alcohol. To be precise, 1,720 micro-gms of an “amphetamine-like substance” and the alcohol equivalent of three-and-a-half pints of beer were found in Brian’s system.

In short, it was death by misadventure.

As seems to be the case when a young celebrity dies under tragic circumstances, conspiracy theories have since risen regarding Brian’s death. The following list is taken from Paul Trynka’s book. For the sake of brevity (such as it is), some of these will be combined into one section.

1. The most predominant of these theories states that Frank Thorogood drowned Brian. Whether it was second-degree murder or manslaughter as a result of rough horseplay will usually vary between sources. Brian reportedly asked Janet to get his inhaler shortly before his death. The story then goes on to state that Frank drowned Brian and participated little in the efforts to save Brian’s life. It should be noted that Janet did state in her original testimony that she’d asked him to call emergency services.

The main reason people will give about why they believe that Brian was murdered is that Tom Keylock claimed to have heard Frank confess on his deathbed to the murder. However, Frank’s daughter, Jan Bell, has denied that such an exchange could have happened. There was never a point where Keylock had spent any time alone with her father. Furthermore, he’d only been admitted with a respiratory problem, and thus could not have known that he was on his deathbed. She also claimed that on the morning of Brian’s death, Frank saw an argument between Mick, Keith, and Brian over the name “Rolling Stones.” During the fight, Keith allegedly pulled a knife on Brian. If this did happen, it was likely earlier in the year.

In addition, Janet and Anna have since claimed that Brian was murdered. Janet later claimed that much of her original testimony was suggested to her by investigating officers and that Tom told her to hide the fact that she was his girlfriend. Anna claimed that she was spirited back to Sweden in the immediate aftermath of Brian’s death, where she allegedly miscarried Brian’s child. One of Anna’s friends later said that her belief that Brian had been murdered was a recent development. It’s also notable that neither witness came forward until after Frank died. Many of Anna’s recollections about Brian, such as him being focused on music are also contradicted by others who were close to Brian at the time.

Keith later said, “I knew Frank Thorogood, who made a ‘deathbed confession’ that he’d killed Brian Jones by drowning him in the swimming pool, where Brian’s body was found some minutes after other people had seen him alive. But I’m always wary of deathbed confessions because the only person there is the person he’s supposed to have said it to, some uncle, daughter, or whatever. ‘On his deathbed he said he killed Brian.’ Whether he did or not I don’t know. Brian had bad asthma and he was taking Quaaludes and Tuinals, which are not the best things to dive under water on. Very easy to choke on that stuff. He was heavily sedated. He had a high tolerance for drugs, I’ll give him that. But weigh that against the coroner’s report, which showed that he was suffering from pleurisy, an enlarged heart, and a diseased liver. Still, I can imagine the scenario of Brian being so obnoxious to Thorogood and the building crew he had working on Brian’s house that they were just pissing around with him. He went under and didn’t come up. But when somebody says, ‘I did Brian,’ at the very most I’d put it down to manslaughter. All right, you may have pushed him under, but you weren’t there to murder him. He pissed off the builders, whining son of a bitch. It wouldn’t have mattered if the builders were there or not, he was at that point in his life when there wasn’t any.”

(You’re telling me he can apologize for telling Mick to get a vasectomy, but not for even a fraction of the shit he’s said about Brian?)

In 2005, this version of events was turned into the appalling movie Stoned, which featured Tom Keylock as an adviser and was based on claims made by Janet Lawson and Anna Wohlin. The director, Stephen Wooley, claimed to have researched the material for this story over a period of ten years. Really, it feels less like ten years of research, and more like one week. From what I could tell, it did seem that Brian’s death was manslaughter, but honestly, it was too confusing. Frank seemed damn determined to drown Brian in that moment. The movie (quite literally) drowned on arrival.

2. In 1983, Nicholas Fitzgerald wrote Brian Jones: The Inside Story of a Rolling Stone. In it, he claimed to have been a close friend of Brian Jones (his cousin, Tara Browne, actually was a close friend of Brian’s). Not only that, but he claimed to have seen Brian’s “murder.” He claimed that he and 19-year-old Richard Cadbury (who passed away before the story came out) visited Brian at Cotchford Farm the day he died. Allegedly, Brian told Fitzgerald all about his plans to start up a supergroup with John Lennon and Jimi Hendrix, saying “Don’t say anything… it could be dangerous!”

(As keen as I am about the idea of John Lennon, Jimi Hendrix, and Brian Jones being in the same band, you can probably tell that I think this story is a load of bullshit.)

After Fitzgerald and his friend visited a pub, they returned to Cotchford Farm at about 11:15 PM, leaving their car some distance from the house. (Keep in mind, the coroner said that Brian died somewhere between 11:30 PM and 12:00 AM). There, he and his friend saw three men holding Brian under the water, whilst two other people stood by. Suddenly, a man, likely Keylock, jumped out of the bushes and told Fitzgerald to scram, lest he be next.

He refused to give a formal statement to the police. What I don’t think the dumb fuck was counting on was that police would investigate his ass, considering that withholding information could’ve resulted in him being charged with being an accessory to murder after the fact. The police determined that the evidence Fitzgerald gave was “bizarre, full of unverifiable claims that, he, too, had escaped murder attempts, that Cadbury might have been involved with the murderers, and that Cadbury, too, had died ‘in mysterious circumstances”. Detective Chief Superintendent J. F. Reece summarized it best when he said that Fitzgerald was a “Walter Mitty type person” and that he’d come up with the allegations to promote his book. In fact, the book itself had even more ludicrous allegations, such as how Tom Keylock had overseen the whole thing. It got to the point where Eddie Kramer called the story “silly.” John Lennon, meanwhile, believed that Brian was another victim of the drugs scene, and even dreaded him coming on the phone (another reason I don’t believe the supergroup was in the cards for Brian’s future, regardless). Also, Fitzgerald mostly relied on the testimony of those who had already passed away, such as Suki Potier, one of Brian’s girlfriends, who died in a car crash along with her husband in 1981. One of the few living witnesses Fitzgerald claimed to have run into, James Phelge, denied ever having met him.

Also, pro-tip, if you’re going to claim to have been a close friend of someone you’re claiming was murdered, don’t sell your story to the tabloid that got him busted for drug possession. Just saying.

3. In 1990, A. E. Hotchner published Blown Away: The Rolling Stones and the Death of the Sixties. In it, he claimed that Brian’s childhood friend, Dick Hattrell, and a random Cockney named "Marty” had knowledge that Brian was murdered. He claimed that Rich (sounds better to me than Dick) visited Brian shortly before he died and became worried about him. Later, he bumped into someone who claimed to have witnessed Brian’s murder. Marty claimed to have witnessed the murder, claiming that two other women were there, including Linda Lawrence (mother of one of Brian’s sons) who was spirited out of the country following Brian’s death.

In reality, she last saw Brian in 1968.

Similarly, Hattrell has since stated that the story was nonsense; he never visited Brian at Cotchford, and he never said Brian was murdered. Marty has since kept his mouth shut.

Really, it just doesn’t hold up when closely scrutinized.

4. David Gibson claimed to the Brighton Evening Argus that, while he was fitting carpets at Brian’s home, Brian and Anna were absent throughout the better part of the day. When they returned later in the evening, Brian begged Gibson not to leave. Gibson, meanwhile, believed Brian had been murdered and that Tom Keylock was responsible. Some, like Sam Cutler, claim that Gibson saw Princess Margaret at Cotchford Farm, which has led to speculation that Brian was killed to protect her reputation. Gibson never went to the police, and probably believed that he’d been subject to threats and murder attempts. However, aside from Brian’s paranoia and belief that someone was out to get him, Gibson’s story doesn’t line up with many of the other conspiracy theories.

5. Geoffrey Giuliano in his 1994 book Paint It Black claimed that a man named “Joe” said that he’d held Brian’s head under the water for shits and giggles (not something one would normally do for shits and giggles). The thing is though, Giuliano’s book largely recycled content from previous books on the subject, and beyond that, made elementary mistakes, such as claiming that Frank had fled the scene, when in reality, he was there when police officer Albert Evans arrived at about 12:10 AM. It was later found that the tape he’d sourced some of this information from was a fake, made for American radio programmes in New York.

6. Given that Tom Keylock was a bit of a dishonest/disliked character in life, it should come as no surprise that some of the theories focus on him too. In 2009, Sam Cutler claimed that after Brian’s death, Allen Klein (himself a sleazeball) hired some PI’s to investigate Brian’s death and that they’d discovered that Tom was responsible. While Tom did try to pin the blame on Frank and told Janet to conceal her relationship with him, and it is known that he apparently stole some of Brian’s belongings after he died, that does not make one a murderer. It’ll certainly make him a slimeball, but that doesn’t mean he’s a murderer. Meanwhile, in 2013, Cutler claimed confusion as to whether the Klein report even existed. I think at this point, it’s safe to call it a hoax.

In addition, while it is more likely that Tom would have been the murderer instead of Frank, he does have a rather rock-solid alibi in that he was at Olympic Studios and was the one who received the call that Brian had died. Really, any theories that try to say he masterminded a huge plot to have Brian killed and make it appear as an accident tend to raise more questions than it answers.

Let’s all make no mistake though, the police did jump to conclusions rather quickly, there are several obvious mistakes in the autopsy findings, and not to mention, police failed to control the area, which is likely how Tom was able to steal Brian’s belongings and possibly have some destroyed.

Meanwhile, I myself believe that Brian’s death was accidental. Likely, it was the result of a cocktail of prescription medications, alcohol consumption, maybe a side-effect or two resulting from that, and possibly even heart failure or liver disease. Perhaps Brian fainted (which, I honestly hope for, given how painful it is to drown), and with no one around to notice his plight, he quietly slipped away.

I know there’s no way to prove this, given that the police don’t have a good reason to dig up Brian’s bones and it’s probably far too late for a second toxicology report, but given the available evidence I’ve been able to find, I believe this is the most likely version of events.

Truly, a sad ending for a man, who didn’t even have a chance to get back on his feet before fate (and a lifetime of drug/alcohol abuse) intervened.

Whenever I read about Brian’s life story, I always find myself interested by the mistakes, intrigue, and betrayal that seemed to plague Brian’s life from the outset. There are a multitude of what-ifs that honestly make this tale haunting, such as what might’ve happened had Mick and Keith not bullied Brian so severely. There’s also what might have happened if both the Stones and the authorities had better understood the effects of drug use and had the resources and compassion to better deal with Brian’s situation. Most hauntingly, there’s the question of what might’ve happened had someone been near Brian in his final moments and had the opportunity to save him.

I think the biggest reason I keep coming back to his story is that his life as a whole was very conflicting. It honestly inspires both condemnation and sympathy/pity, even in me.

Even if Mick and Keith would rather forget that Brian was ever a part of their band, it is my honest belief that people will continue to discover Brian Jones, whether it be through the 27 Club or through some other means, and I hope that they take the time to learn his story.

Sources/Further Reading: https://www.drugs.com/illicit/quaaludes.html https://asthma.net/living/swimming-pools-triggers/ https://www.drugs.com/sfx/ergotamine-side-effects.html https://www.drugs.com/sfx/valium-side-effects.html https://www.drugs.com/sfx/amphetamine-side-effects.html https://www.drugs.com/sfx/chlorpheniramine-side-effects.html Stone Alone by Bill Wyman Brian Jones: The Making of the Rolling Stones by Paul Trynka Brian Jones: The Untold Life and Mysterious Death of a Rock Legend by Laura Jackson https://clearcomfort.com/why-asthma-allergy-sufferers-should-avoid-chlorine-pools/ http://timeisonourside.com/chron1967.html http://timeisonourside.com/chron1969.html http://www.timeisonourside.com/chron1963.html http://www.timeisonourside.com/chron1962.html https://www.inflationtool.com/british-pound/1963-to-present-value?amount=5 https://people.com/music/anita-pallenberg-rolling-stones-keith-richards-brian-jones-love-triangle/ https://www.rollingstone.com/culture/culture-lists/the-27-club-a-brief-history-17853/ https://ultimateclassicrock.com/brian-jones-found-dead/ https://www.denofgeek.com/us/culture/music/281978/the-rolling-stones-and-the-mystery-of-brian-jones-death https://www.rollingstone.com/music/music-news/brian-jones-sympathy-for-the-devil-182761/ https://www.mojo4music.com/articles/15989/brian-jones-it-was-murder https://ultimateclassicrock.com/brian-jones-murdered/ https://www.udiscovermusic.com/stories/just-why-was-brian-jones-so-important-to-the-rolling-stones/ https://www.rollingstone.com/music/music-news/obituary-brian-jones-189861/ https://www.oxfordtreatment.com/prescription-drug-abuse/tuinal/

Feeling too tired to do my day, so just lying around in a bathrobe (bathrobes were on sale at Ikea, so I decided to become a bathrobe guy!  I should’ve become bathrobe guy ages ago-- it’s like wearing a blanket!), catching up on comics.

Wrapped up Peter Cannon: Thunderbolt, which I’d been writing about here and here (though you’re way better off reading  Adventures in Poor Taste’s writing about it-- they're more passionate about the project and more delighted to unpack it-- I’m just some old, crotchety weirdo that stopped liking things sometime shortly after the third issue of Civil War).  I just didn’t think it was about very much at all, in the end, though it kind of insists otherwise throughout.  It believes in itself, the scamp-- the swagger’s admirable, at least...

It mostly resolves itself as just being a comic about a desire that comics move forward from Watchmen.  Which at the outset is weird to me because while I’ve hardly read a lot of his stuff, I’d read at least some of those Keiron Gillen comics-- that guy’s influenced by Watchmen?  Oh okay.  I hadn’t... I hadn’t noticed, but.  And to be fair, I felt very influenced by Wes Anderson’s Grand Budapest Hotel when I was doing a poo the other day, so who am I to... I’m just a guy that takes twee pastel shits-- I can’t pass any kind of judgment here, so... 

But also, move forward to what?  There, the best the comic can try to answer it is with (arguably its best issue) the Eddie Campbell issue, which is celebrating the quotidian smallness of normal life.  But there aren’t any characters in the comic.  How do you do a comic with no characters in it that argues for how comics should look to normal life for inspiration more (or make that argument in a comic about defying Watchmen or whatever, which has about a zillion more normal people characters in it than this does???  It contains that critique within itself!)?  I mean, maybe that absence is part of the point, creates an arc, etc., but the “having its cake and eating it too” of it all seems like it undermines its own argument...  Or it talks about "Envying” a sort of pastiche of those things in the Eddie Campbell issue, but I just think it comes across as a fashionable pose-- because it’s got no real thematic concerns outside of comics.  Morrison made a bunch of comics about how we all need new ideas too-- then he wrote Batman comics.  He liked to do little poses next to Watchmen, too... 

As a personal exorcism of Watchmen’s influence, the comic’s, you know, fine.  The “How they beat the baddie” bit is clever.  The drawings of the baddie eating the pipe are pretty fun-- it’s a pretty fun comic to look at generally.  I didn’t really get every choice the letterer made, but it looked like they were having fun, so good for them.  But it’s... It’s just very, very odd outside of that context.  As the Adventures in Poor Taste folks point out, Moore walked from Watchmen ages ago.  And then the rest of the world-- unauthorized Watchmen sequels; pirate Watchmen TV shows; an audience that is in a state of permanent embitterment, hostility or unearned condescension towards Alan Moore; comic creators and publishers having “Go fuck yourself, Alan Moore” as their default stances... 

Like, this comic posits a world where Watchmen is a villain.  But that’s not our world.  Our world is the exact opposite:  we’re the villains. Keiron Gillen did this for Dynamite-- anyone think Dynamite’s on their side?  Answer: yeah, read the papers-- fucking Comicsgate does.  The comic’s just very oblivious to its context.  But that context is that nothing matters to anyone.  So this comic's whole orientation just seems... very odd.

The big cheer moment that the internet seems to love is the hero of this comic standing over the avatar of Watchmen and saying “you did it 30 years ago.”  Like, haha, suck it, old thing, your time has passed.  Which I suppose is a meaningful thing to say if we were still in the era of “Comics should be pop” that Gillen came of age at on shitty online messageboards.  If your antecedents are pop music where 30 years is perhaps a lot, instead of books.  But the people who went on and on about pop in comics, their work is mostly nothing.  You want to be the guy reading Grant Morrison comics in 2019?  I still like Doom Patrol or whatever (No thanks on your little TV show) but I find the idea of having read as much of his stuff as I have kind of embarrassing now.  That’s how pop works.  But if you live in the world of actual books by actual writers... 30 years for a book...?  That’s not... anything.  The conversation hasn’t even really started at 30 years.

But of course, now there is no conversation.  It’s weird seeing an internet that cheered Watchmen getting stolen away from its writer, as unauthorized Watchmen TV shows are getting trailers put out, now cheer a comic that tells Watchmen that it’s old and can’t show us the way forward and...?   The layers of indecency to that are just... I mean, Lucy just pulled away the football; she didn’t spike it on Charlie Brown’s fucking face!  But I don’t flatter myself to think we live in any more profane times than any other times.  I mean, the newspapers aren’t great to read lately, but.  The last time a comic came out that was oblivious to exploitation and heavily annotated by its creator, it was Paying For It, though...

But thinking about my own personal malaise-- which is probably mostly, you know, just being middle aged and all... It’s just constantly of interest (alarm?) to me how little stuff seems to matter.  How little anything sticks anymore-- the thing about that “30 year line” that this comic refuses to grapple with, is that Watchmen came from an era where shit stuck; and now we’re not in that era anymore; people online praising this comic but even if it’s as good as they say, it’ll be forgotten in a year, if it makes it that long because the way our culture works now. Best case scenario: people are going to be angry about Watchmen’s influence for a longer time than they’re going to remember Peter Cannon standing up to it because something in our culture feels like it’s fucking broken. (Worst case scenario:  I get full-blown AIDS).  Or you look how angry people got watching Game of Thrones just tell an ordinary story to them instead of something that justified the 1000 hours they spent mentally worried about the politics of Planet Skeksie or whatever the fuck they were going on about... They got so mad!!! Because they just got an ordinary story and what are those worth?  Nothing!  

And some of that you chalk up to “Oh all the movies are franchises now” or you know: capitalism.  But I just... I wonder if it’s maybe that when you have a larger story that a culture’s telling itself, these smaller stories can stick more maybe.  Or to put in comics terms, Watchmen came out at a time when comics were telling a coherent story about what comics were, and where they’d come from, and where they might be headed.  And in the world generally, and in comics especially, maybe those larger stories don’t make any sense anymore.  Does the story the UK tells itself make sense after Brexit?  Does the story the US tells itself make sense after ‘16?  Especially as Watchmen itself has become a symbol of that now more than ever in comics-- Watchmen tells us a story now about comics that people don’t want to hear:  the bad guys fucking won.  And this is their world.  And people can point the finger at comicsgate or whoever else as being aberrations, but it all just seems very ... consistent.   People don’t want to hear that story-- they want to hear how you can read a bunch of old work-for-hire comics off some fucking app now-- that’s 90% of the “comics discourse” now, so... fuck it... 

If we’re in a culture where the bigger stories stop functioning, what... what then?  You know?  I don’t fucking know.  I’ve kind of started rambling there, haven’t I?  Aawwwwwfuck, sorry...

Well, anyways, now I’m going to read a Dash Shaw Clue comic.  Hahahaha!  

TLDR:  Abhay is a bathrobe guy now -- they’re like wearing a blanket!

TV Shows That I Watched in 2018

A bunch of shows that I saw only one episode.

I have different reasons to drop out some of this show most of them is because It just didn't ring right with me. The first one I guess it was the Grant Morrison comic adaptation 'Happy' it was kinda fun, maybe I should watch the rest since it is on Netflix now ! The new Devilman anime was another one off ! Mostly because I kept reading the comics and I saw no sense into watch something that I just read and it was gonna be the same exact thing but with some differences ! also another anime was that B whatever that was terrible, and I saw the first episode of Final Space, it was fine but is not for me, it was like it was trying to hard to be funny and I can't care for that !

Black Mirror (Season 4)

Not as good was the last season, but still have some good episode, like half is good and the other half is meh ! I liked the most of them but the best one was the Star Trek parody one, and the most boring was the one after that, the one with the Daughter with a video cam in her brain, that one was way to dramatic for my taste ! Did kinda liked Metalhead there is pretty interesting stuff in that episode, it also weird that there is a episode that links all the other episodes in one shared universe ! like almost everything seems to happen on their on place, but ones says that no ! everything happen in one place, I Know that there is subtle hints of that on some episode, but I’m not one to look after that !

Adventure Time (Season 1-7)

I wanted to Watch all seasons in almost half of this year, but I couldn’t, because I get easily distracted sometimes and I’m Lazy, I managed to finish the 7º season in time to end to write this ! I Not one for care about all this cartoon shows that fan art appears on that god awful Radar, but this was like the last modern cartoon that I watched when i was a Teen, and so this year i decide to catch up to it and I realized that this year was gonna be the last season of the show ! talk about luck. But anyway, this was the most enjoyable thing that I watched this whole year ! re watching the first season make me realize how much cynical they are, like there is this episode where they go find a crystal in the middle of the woods with Tree Trunks and a lot of silly cartoon stuff happens and then at the end they find the goddamn apple and Tree Trunks bites it and explode ! it’s like the whole episode was this joke and that ending was the Punchline !

I guess it’s around season 5 when everything get really existentialist Are you dreaming this Universe Finn ? or are you a butterfly dreaming being a human boy and land made of candy ? it’s weird this children show passing this topics that don’t even go though the head of most people, like they own Mortally or something like, but it’s incredible to see how mature the show get across the time, everything begins with this silly crazy LCD cartoon show and go evolving and taking on more mature themes, the characters also evolve, like you see Bubblegum is this lovable character at the beginning and then you realize she is actually a Control freak maniac ! the character arcs are really nicely done in this show !  and also the own mythology of show is build up nicely, but there is some weird message that i get from this show, like some things are inevitable, Finn losing his Right arm in all of his lives, the end of the world ! there is some pretty eerie stuff in there ! man Love this show !

Also for reason one these i was Think about that scene with David Bowie in Fire Walk with Me but I replace all the character with the ones from this show ! Finn was Cooper of Course, Magic Man was Bowie, I Though that the whole FBI should be form by the wizards. Maybe I why work on that someday, Twin Peaks but the characters of Adventure Time ! That should be fun ! we live inside a dream.

The End of the Fucking World (Season 1)

I Think I describe the trailer for this was the Murder version of Moonrise Kingdom, and after watching I Think I was kinda right, it was based on a graphic novel that Will probably never see the light of where I live ! It was one the best series of this year for me ! You have two oddballs one think he is a psychopath and the other is rebellious Teenager and both of them go out on a journey of disasters ! It has nice sense humor and soundtrack too is nice, mostly composed of music that I probably have listen at least once and never knew the name ! I Though it had Sonic Youth in the middle of that, but It wasn't it was another band ! I do wonder how the next season is gonna be ! some Prison Break stuff maybe ?!

Jessica Jones (Season 2)

A Much weaker season then the previous,but still watchable ! I like seeing Krysten Ritter as Jessica, I Enjoy most of it the only thing I Kinda didn’t like was the whole thing about her Friend being jealousy of her for not having super powers, that diminish so much about that character ! Also the Villain was kinda of OK, Jessica psychopath mother, in comparison to David Tenant in last season ! Tenant appears in one episode in this season as Ghost and Think that was the most enjoyable episode of this season ! This was also the only show that got saved from being Cancelled from netflix, I don’t really know if that good or bad ! 

The Rain (Season 1)

One of the most boring show that I watched in this year, I really don’t know why I watched everything ! Does even anything in this show make any kinda of sense ?! I suppose this was to be something like the walking Dead,but in Denmark, and on the place of zombies there is a Killer Virus mixed in the rain and some incredible boring and stupid people ! and really dull story ! so I don’t Really care about it !

Dennou Coil (26 Episodes)

The Only anime series that I care to finish ! It’s about a bunch of kids that use a glasses to see through some kind of virtual reality, but also it’s about dealing with Grief of dead relatives ! most of the show is this straight forward narrative that get’s kinda of rushed in the end, but the stand out of this show was the one-shot episodes, those are really good, especially the one where they grow beards that are actually a bunch of sentient hair virus thing ! I wish that more of this show was just this type of one shot episodes, I think that the original Idea was kinda like that ! specially when you see the conceptual art for the show !

The Alienist (Season 1)

A Good first season for a show that can get better ! I Really like the concept of this, a Psychologist create a crack team to play Sherlock and find a serial killer, I really like the first episode but everything after that was kinda of average, good performances in general, but most of the other story lines I Couldn’t care less about them, Expect from the main one that was the serial Killer that was killing boy prostitutes in the streets ! pretty big shock of culture that come of that, Like “Really that happen before ?! Damn ! Thank god I don’t Live on that time” 

Mobile Suit Zeta Gundam (5 or 6 Episodes)

I Think this year I discover that I might really not like anime, I Wanted to watch all of this, but I end up not really caring about it so much the more I watched, and I at some points I barely wanted to continue, I don’t Think that it was bad, I Think it just me ! Maybe was my mood at the time, i stopped after watching 6 or 5 episodes, maybe I Get back at watching this, I still Think that Giant Robots fighting is a pretty awesome concept.

Banana Fish (5 Episodes maybe)

Another one that I just dropped because I just didn’t care about it, I think it begins great but I kinda lost interest in the way, I guess it’s good but just not for me ! So year ago I try to read the manga and the same thing happen !.

Atlanta (Season 1 & 2)

One of the people that I follow keeps saying how good this show is and saw it was on Netflix, so I decide to see if was that good ! and it is ! I Don’t even like hip hop that much, actually I don’t Like Hip Hop Point, but really didn’t think that this show would be of the quality that it is ! So intelligent and funny, Donald Glover is really something else.I watch most of the second season while trying to do a Essay that really didn’t wanna do it , I Think I finish both of them at the same time I guess. I can’t to see the next season, hope they give more episodes to Darius, that is the best, the actor is pretty great to, he was on that Death Note Movie, I guess that there he was really bad !

The Hollow (Season 1)

One day I was browsing in the netflix catalog and find this show, that was just there ! I decide to watch because why not ! I Think I already said what I though about, it’s a really fun show with a terrible ending, It’s about three kids that wake up in a white room and they have to figure out the way out and what is happening, eventually they learn that are inside of a videogame, but you can figure that out way early ! I suppose this did make quite a success for a show that have no advertising what so eve. Also I think this show is just this one season, I don’t see how either this can go further then what it was !  

Preacher (Season 3)

Find Incredible that this show keep getting better and better ! The first season was kinda of Ok, the second was a way better and this one is just even better, I like the way the adapted the angeville arc, Jesse Grandmother was a crazy religious fanatic, but in this series they turn her into a Vodu witch with a phone with a direct line to hell ! also like how they make Jodie and TC more charismatic, in the comics those two are just the worst fucking person to ever walk the earth ! in this one they still complete bastards but still likable ! God this time is not a Yellow buff dude turns red when it get’s angry, But it’s a old man in a Dog costume riding a motorcycle with some tramp ! I mean you kinda have to love the surreal sense of humor of this show ! I Think from everything that happen in this season, the next might be the last one ! I do wonder If gonna see god rip out Jesse eye with his teeth.

Disenchantment (Season 1)

I Though this show was ok, most of the jokes didn’t really landed with me, but still was something nice to pass the time, since I had nothing to do at the time that I watched this ! I Not really the biggest fan of Simpsons and Futurama, but I kinda watch a lot of episodes of this shows, I remember that since we never got a cable TV we watch most of this show on the public channels, at Simpsons will all ways be on a different channel ! or on a different time ! Browsing to channels one day and find that is passing at this one channel at afternoon, the other day It was in another in the evening ! It was kinda crazy ! This show did some kinda of success and got already four seasons ready to be delivered in the following years ! I Think that would happen even if it wasn't successive !

American Vandal (Season 2)

This I have some kinda power over me, because i can’t stop watching, like I watch one episode and I just get so into it that I binge watch almost everything, I don’t really know what it is, well this time they moved from dicks to shit, I don’t really know if that was supposed to be more funny or less, it’s kinda like almost the first season but on a better resolution and a Incredible likable character that is the basket player, there is even a Meta thing about the show being a show in Netflix, is kinda nuts ! anyway still a really solid show, the humor is still not flying with me but the investigation stuff is really what grabs me ! this time the season end with some kinda of moral massage that I totally forgot about, I guess it was about being yourself or some stuff like that !

Maniac (Season 1)

I Just remember the Scene where there is a fat Asian guy playing chess with a pink kaola in a park with no context what so ever ! that enough for me to say that this one the best show of the year ! It’s on me over on the concept of the mind exploration so you end up seeing a lot of crazy stuff that don’t really make sense but they are there anyway ! the show is Cute, it’s about the relationship of this two broken persons and them dealing with their problems, I thing one of the high points of the cinematography that is really interesting, also like the universe they are in, is like a futurist version of 70′s or something is completely crazy, I was watching the first episode trying to figure out what year they are ! also the other high point is Jonah Hill playing the Sweden secret agent in penultimate episode.

Big Mouth (Season 2)

I thing the one of the downsides of this season was not seeing people over reaction to the explicit stuff in this show, this season was even more explicit then the last, I mean some people flip because there was a scene where Jess talk with her vagina in the Mirror, This time they enter in a vagina in that episode of the sexual education lesson, that was the weakest episode of this season by the way !  and there even more gross stuff like that in this. Also this season got more of a story line then just one-off episodes, they introduce a villain to this season, which I kinda like the idea. In Resume I think this season was kinda better then the first.

Castlevania (Season 2)

What everyone wanted a season of castlevania that have more then a hour ! iT have two hours now ! Still amazing as ever, even though the animation was kinda poor on some scene, most when characters are talking at some points the animation become really wonky, but on the fight scenes, whoa ! it’s something else ! Most of the season was focus on the bad guys and Belmont and friends stay kinda on the background for most of the season, I Though that was a really good idea, focus more on the new interesting characters and let the other laid back a little. I also like the whole depressive Dracula thing, give more character them just some megalomaniac bad guy that wants to kill everyone ! the only thing that I wonder is if Warren Ellis is gonna keep writing for this show. I can’t imagine this show having the same quality without his writing !      

Daredevil (Season 3)

I don’t really don’t remember if I watched this show before of after I read the Frank Miller run on Daredevil, I Think it was after that, because while i was watching i was starting to remember the things that I just have read ! specially on the second season, it is kinda a ok adaptation, everyone seem to love this show from all the other marvel netflix super hero shows, I thing it is just kinda of ok. This Season was the fall of Murdock, and kinda have to say that the comic was way better, I really don’t like saying that, because I think the only people that say that are complete idiots that want to pose was intelligent or something ! The High point is the fight scenes, those are really well done ! 

Doctor Who (Season 11)

This was the worst season of this show so far ! No even Kidding, this was really bad, I said one my mega review last year that season 10 was bad, and thinking about it, it wasn't that bad, and the finale wasn’t complete trash, I still don’t like what I don’t like. But this season, damn, we have Jodie Whitaker was the first female Doctor and her first season is a complete mess, everyone though if they got rid of Moffat the show would get better, I don’t see why everyone hate him so much ! he have Up’s and Down’s, But so far Chris Cannibal only have downs ! The main problem is the writing, is so poor ! almost all episodes are either ok or complete garbage, in mine opinion there is only 3 good episodes in this season, the first one, the Rosa parks one and It takes you away ! Cannibal episodes are the worst, the first episode was ok, and then he just got worse and worse, this season Finale was the most boring thing ! I stop caring to whatever was happening in the middle of the episode, Like last time I had something to complain to about the finale, this time I had nothing, because I don’t give a shit !

Whitaker was the Doctor was kinda of ok to me, it seems to me that her acting was really good when they give a Doctor, which are very few ! so most of the time she was saying complete nonsense ! Her characterization of The Doctor was really shallow too, it’s like she was a side character in her on own Show ! it’s Crazy, it’s like they have no Idea what they are doing ! The companions of this season too are possible the worst  too, except Graham ! he is a charismatic old man with a actual character, But the other two, Ryan and Yaz, I could do without them ! Ryan is a Complete Dipshit and Yaz is a complete blank slate ! most of her scenes she just kinda there, listing and them she say something, she never really did something in this entire season ! Why have her them ?! also why they are travelling together ?!  all of this people have no chemistry what so ever, they try to impose that their a friends, but it seems like they are sharing a cap together ! 

The Critics have been saying that this season was the best of the show in years or something, and Jodie is the best Doctor ever, and of courser their going to say that, she is the first female Doctor, they going to fill her ball even if she was complete terrible ! also the notes of for this season in IMDB have been the lowest that I ever seem for the show ! It was complete shit show I Think even care about that I have to wait a entire year to get the next season, I Don’t really give a shit anymore ! if we keep getting this kinda of quality for the next seasons I Don’t stop given a fuck about this show !

But on the hand this season re-woken mine fanaticism for Doctor Who and I saw a Bunch of old Episodes, and I end forgetting about that Park Chan Wook series ! Also two Other series that I wanted to see and end Forgetting was Killing Eve and Sharp Objects, also maybe I should have watched the Sabrina show or maybe not I don’t really know. 

This weeks comics?

So much to cover, and just so we’re all clear upfront, SPOILERS ahead.

Sideways Annual #1: I’m not sure I’ll ever be able to forgive the cover for simply reading “All-out Action, guest-starring Superman” rather than the declaration of “The Champion of the Oppressed is BACK–JUST WHEN THE WORLD NEEDS HIM MOST!” it demanded, but otherwise what a delightful comic. It’s a mess in so many ways given Morrison’s working with what DiDio laid down for him (which he seems to demonstrate hilarious contempt for when he almost literally drops a bridge on the no-hoper who’d been set up as the arc villain before he can do anything) and jumping on mid-stream to boot, but it’s basically just an extended excuse for him to put dialogue in Superman and the Seven Soldiers’ mouths again and remind everyone how rad his takes on them are, and thereby shame us for abandoning the former. Plus give us a taste of what his voice for Spider-Man would be, which it turns out is a perfectly fine one in spite of his past professed skepticism that he could pull it off. And above all to assure us with a smile and the proper send-off (a particularly satisfying one for me personally given my arachnophobia) we never got before that even if we never see our pal cop-punching, bank-busting, casual Fridays Superman again, he’ll be out there, along with all the other cast-off good Superman ideas, helping out wherever he can.

Also, who else caught the nudge and wink about the Tailor, and how that tells devoted Seven Soldiers fans just how much of role Morrison really played in saving his take on Superman?

Batman #60: Batman is…Batman is weird lately. I honestly don’t have anything else to say about this issue, except that the bit with Alfred cleaning was obviously killer.

The Unexpected #6: So Ronan Cliquet is bad, right? Like, we can all agree that dude is just bringing nothing to the table? I’ve never seen pages so plain look so simultaneously cramped and barren. This book has been such a damn disappointment: clearly promises were made about how much space Orlando would have to work on this that have been entirely broken, he’s cutting past what was clearly intended to be dozens of issues of buildup and fleshing-out of the concept to the grand finale, and he’s already obviously and understandably checked out. This should have been one of those “hey, you never heard of _____, but it was quietly one of DC’s best books for awhile there!” titles you learn about 20 years after the fact, but it was stillborn and unable to explore even the slightest sliver of its potential. It’s almost reached a point where it can make me think its coming conclusion is a mercy killing, but then, said conclusion is the problem.

Justice League #11: The debut of the Super-eyepatch! Otherwise, while it’s definitely not my favorite issue thus far of Snyder’s Justice League, it might be the one that feels the most well-realized in terms of getting his vision on the page thanks to Francis Manapul. I desperately hope he sticks on the book past Drowned Earth, because as much as I absolutely love what Jorge Jimenez and Jim Cheung are doing, his vision feels the most in line with the, as Snyder put it, ‘magisterial’ tone this title is going for a lot of the time.

The Green Lantern #1: Not my favorite Morrison title of the week in spite of its lack of clutter and outside influence, to the point where I’d honestly say it initially left me pretty cold, but much as with Morrison’s last major #1 in Action Comics, a reread did wonders for me once I knew what sort of tone I’d be grappling with. I do think it was oddly structured in a way that didn’t benefit it, leading with the mundane-flavored-with-cosmic with the alien beat cops rather than Hal’s more grounded perspective leading into the awe-inspiring, but given it sets up an immediate contrast with his ‘civilian life’, I’d call it a calculated risk that didn’t quite pay off. Hal himself is interestingly realized, this blunt, bored dude who only really comes alive when he’s on the clock, who’s as hyper-competent at his job as you’d think the Greatest Green Lantern Of Them All would be but almost seems to be sleepwalking through his days. It’s when we reach Oa with the mission statement for the Corps that the book really comes together, meshing up the beautiful design sense, an evocation of some of Morrison’s past recurring themes and elements, and raw high concept into the most powerful evocation of the basic idea of Green Lantern’s Deal I’ve ever read. And Liam Sharp mostly does justice by it; I know some find his style off-putting and his anatomy wonky, but he sells the what-if-GL-was-a-2000AD-strip sensibility, and his work has a framing and structure and a tangible, doughy 3Dishness that recalls the flavor of some of Morirson’s best prior collaborations. Not that, to be clear, I don’t think plenty of those prior collaborators couldn’t have done a much better job with this, but I think this’ll pan out just fine.

On top of that a couple minor notes: I suspect David Uzumeri might have been right regarding the possibility that this could be the book where Morrison delves into the basic question of whether superheroes are by nature cops, and thereby police brutality (Maxim Tox and Hal himself both have some startlingly severe moments in here) and the moral feasibility of the whole business. Rather than rethinking his process in his time away, Morrison’s storytelling tics are as prominently on display here as just about anything he’s ever done. And I was genuinely shocked to see the acknowledgement of Manhattan in here - a landmark chapter in The Last War In Albion in the making if ever there was one - right alongside addressing Snyder’s Justice League, making this to my knowledge the only book in the company’s lineup to acknowledge both contenders to the throne of DC’s current actual Important Cosmic-Scale Story. I suppose Lantern is the place where that makes sense, but both bring interesting elements of their own, as with the Source Wall Morrison’s going right on in and acknowledging how other creators have brought his ideas and spirit to the forefront of the DCU in the last several years, and with Manhattan, having a Grant Morrison DC Comic acknowledge the presence of Watchmen characters as parts of the grand scheme of things makes that whole bizarre business feel real in a way even Doomsday Clock itself hasn’t for me.

Adventures of the Super Sons #4: What a charmer! I harped a lot on Pete Tomasi by and large sucking on Superman, because by and large he sucked on Superman, but put that dude on just the right project to play into his strengths and he absolutely shines.

The Dreaming #3: Wound up in my pull file since I’d unsubscribed so recently, and decided to give it one last chance. It’s pretty and confident in what it’s doing and I’m sure lots of people are rightfully getting a lot out of it, but I’m not one of them and it won’t be getting another shot.

Border Town #3: It feels odd to think this given how much positive attention it’s been getting and how well it’s sold for a modern Vertigo book, but Border Town absolutely still feels like the sleeper hit of 2018. It so feels like the sort of comic that I usually can acknowledge the quality of but doesn’t do it for me personally, so I keep picking it up expecting to not quite gel with a given issue, but each time I’m dead damn wrong. It’s brimming with energy and personality on every level, and it’s still early enough that I can’t possibly recommend enough that anyone who hasn’t given it a chance yet jump onboard.

The Wicked + The Divine: The Funnies: Speaking of titles that I can acknowledge the quality of but rarely do it for me, I’ve followed W + D from the beginning on the understanding that the fairly subdued joys I take from it on a month-by-month basis will be eclipsed by the scale of my love for it on a full reread, as was the case with the team’s Young Avengers. But boy did this one buck that trend, because it was a hoot. Honestly couldn’t tell you which was my favorite short, because like half the book is made up of front-runners.

Death of the Inhumans #5: Because Death of Some Inhumans, But Don’t Worry Not Any of the Good Ones, Other than Maximus wouldn’t have shifted as much copy. Donny Cates is establishing himself as a solid mid-tier superhero writer alongside your Tim Seeleys and James Tynions, and Ariel Olivetti’s a treat, but I have to call this one a miss.

Shatterstar #2: As I expected it didn’t grab me as much as the first issue since the tenants aren’t front-and-center, but I’m still digging it to a truly startling extent!

Marvel Knights #1: Okay? I mean, I liked it (aside from the unbelievably poorly-chosen ‘I can sort of see even though I’m blind’ line - had to be a dozen better ways of putting that), but aside from that it’s gritty and involves some of the characters with notable history in the imprint, I have no idea why this is the Marvel Knights 20th Anniversary book as opposed to just a random Marvel miniseries that I suppose could be published under that imprint if you wanted. The conceit feels so odd for the intended purpose.

The Immortal Hulk #8: This book is SO FUCKING GOOD ALL OF THE TIME AT EVERYTHING AND YOU ALL NEED TO BUY IT AND TELL YOUR FRIENDS ABOUT IT. CHRIST. Still the best super-shit on the stands.

DC Nation #6: Yanick Paquette needs to write Batman explaining science so as to teach us how to better fight crime for as long as he lives, if not in fact longer.

The Final Bell:  A Camp Camp High School AU Prologue:  The Knockout

The final bell.

For most kids, it's a symbol of freedom. It signals the end of a long day of school and the beginning of a few hours of liberty and peace. At the final bell, kids go to their lockers and head home for the day, or they wait for the bus or their parents to come pick them up. In short, most people are happy when they hear that bell.

Nicolette Virginia Morrison was not most people.

No, today, when she heard that final bell, the hurt and anger she'd been carrying around in her gut for a week bubbled to the surface. It was the final day of school before Spring Break, and she was furious. That bell rang and she left her classroom, ignoring the calls of her friends as she headed to her locker. It snapped open with ease and she glanced at a picture stuck to the door. A picture of her and him.

Just looking at his face made her want to punch something.

Or someone.

"Okay, it'll be done by the time we come back from break."

And as if someone was listening, he was behind her. Acting as if he hadn't betrayed her trust. Acting as if he was completely innocent. As if he didn't. Fucking. Care.

Nikki turned and saw him walking through the hallway with a guy she didn't know well. His name was Joseph something—it didn't matter. What mattered was that he was smirking.

The goddamn bastard.

Nikki had never understood the meaning of heartbreak. She'd never been in love. She'd never trusted her heart to somebody, only to have them stomp it to pieces and act like she hadn't given them shit.

That was before him.

She'd told him things she'd never told anyone before. She'd shown him the part of her she kept hidden from the world out of fear. He was her first kiss, her first make-out session, her first love, her first boyfriend. She'd given him those kisses, those make-out sessions, her heart.

And her virginity.

After all that, he'd only been doing because a girl paid him to hurt her.

She was angry, and hurt, and he needed to pay.

Quickly, she shut her locker and began weaving her way through the crowd, stuffing the picture in her pocket as she went. Her eyes were trained on the back of his head, her mind on one thing and one thing only.

Making him pay.

She could hear her stepbrother's voice, calling her to come back so they could go home, but she ignored him. He was getting closer and closer.

Both of them were outside the school, now, and he'd reached the bottom of the stairs. He took out his phone and checked his messages, not realizing that she was behind him. Quietly, she tapped him on the shoulder. He turned to see who it was…

And Nikki's fist went flying into Max's face.

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

Let's go back a bit, shall we? Back before this confrontation, before Nikki's heartbreak and Max's betrayal. Because neither of those is the beginning of the story. No, our story begins in a small town called Sleepy Peak. A nice town, to be sure. Located near scenic Lake Lilac, with half the town owned by crooked con man, Cameron Campbell. In this small town, there were two high schools, located in opposite school zones.

And our story truly begins at Sleepy Peak High.

At Sleepy Peak High, there was a food chain, like every other school, and at this school, Sasha Harris ruled over all with an iron fist. Everybody knew not to cross her or her small inner circle—a circle that included just three people.

Erin Roberts, Tabii Nichols, and Max Greene.

Now, two of those are understandable. Every queen bee worth her salt has at least two mindless female minions backing her up—Regina George in Mean Girls and Heather Chandler in Heathers being two famous examples. Max, however, was a mystery to most of the student body. He was the son of Mr. Greene, one of the teachers, and also known for having an underground homework ring. You wanted an assignment done or a person messed with? See Max.

Okay, so maybe him hanging out with Sasha made more sense than people thought, but still. People whispered that he and Sasha were dating, or that they were fuck buddies. Neither of those two rumors were true, but that didn't stop people from saying them.

Since Max's dad was a teacher, that meant that his little side business had to stay off the radar, which it did. For the first two years of high school, Max was considered one of the top students in the school.

Then, right before junior year started, David dropped a bomb on Max.

They were moving across town.

Granted, it was only because David had gotten a job at Campbell High and wanted to live closer to his new job. And his girlfriend was moving in with them, so their tiny apartment-for-two wasn't going to cut it anymore.

Sasha, of course, wasn't happy that she was losing her homework guy. She wanted nothing more than to finish coasting through high school with Max's fantastic work on her record, but that wasn't going to be possible anymore.

Now he was going to school with her worst enemy.

Nicolette Virginia Morrison.

There was nobody the queen bee hated more than that outdoorsy little tomboy. Nikki was the bane of Sasha's existence, and Sasha was determined to bring her down.

And she intended to use Max to do it.

You see, Max's system on favors was that he would do anything as long as you paid him the right price. His limits were assault, sex, and murder, but anything else was fair game. Sasha knew this, and she intended to use his policies to get to Nikki and crush her in the purest sense of the word. After all, little tomboys didn't have the same emotions true girls had, right? It wasn't like Nikki would actually fall for Max!

Right?

How did DC do you dirty??

heh  my writing that came across as a bit more melodramatic and hyperbolic than I intended :3

I’m not one of those longtime fans who feels a sense of entitlement that the comics need to be the way I want them and takes it as a personal slight when they aren’t.  DC didn’t do anything to me personally.  They just changed in a way that was not to my liking.  

that said, here’s the deal...

I was really into the DC universe for a long, long while.  I love, love, love Batman and Robin; they’re my all time favorites.  And Justice League, Justice Society, Legion, Flash and Shazam were books I really enjoyed.  And the DC universe had a really nice balance for me.  The Batman books were dark and gritty while Justice Society, Legion of Superheroes and Shazam satisfied my needs for lighter, less grim fare.  

Then Identity Crisis happened.  It was the beginning of this weird adolescent-like process were DC started trying to be something it wasn’t.  It had an identity crisis of it’s own, it ditched its roots and just became obsessed with being cool, and edgy and dark.  

Suddenly there were characters getting raped, heroes going in for murder, all kinds of weirdness.  Which is fine in and of itself.  The Batman books had these dark themes and that was fine, but it was like every other title was being pushed to be more like Batman.  

There were still plenty of DC books I was really enjoying.  I thought the multi-spectrum ring story arc in Green Lantern was fantastic.  And the Grant Morrison, Scott Snyder and Paul Dini era on the Batman books was as good as comics get.  Yet the rest of the line was just gross.  Justice League Cry For Justice made me physically ill.  Terror Titans, World War III, Superboy Prime ripping characters apart...  it was a fucking edgelord trainwreck.  

Not to mention that the editor-in-chief kept on talking about how desperate he was to kill off my favorite character.

Then the Nu52 reboot happened and it solidified everything I didn’t like about what DC was doing as well as jettisoned everything I did like.  Justice Society was full on deleted.  Legion of Superheroes likewise disappeared.  Oracle’s paralysis was magically cured, Cass Cain was written out.  et cetera et cetera...  

It was a full reboot and paved the way for really lazy, really tacky storytelling.  Old stories were thinly recycled and repainted in a faux-edgy, often sexist, desperate to look cool fashion.  

Again, I’m not one of those fans who feels entitled to have the books be exactly to my liking.  But for me, this reboot felt like a a clear message stating ‘DC is not for you, please move along.’

Since then, I’ve periodically tried to give DC another shot.  It’s clear I wasn’t the only one disappointed by the reboot and DC has tried to get back some of the magic they lost.  Yet I just couldn’t get back into it.  It was like trying to reconnect with an old friend but you’re just not able to fall back into the familiar grove and it just ends up awkward and uncomfortable.  

I still follow a few DC books.  Mr. Miracle, Doom Patrol, and a few other periodic books are pretty awesome.  But for me they’ve been more like Image Comics titles... individual entities that are not part of a shared universe.  It really feels like my days as a DC fan are behind me and it brings up a feeling of sorrow and loss.