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dr-nero-is-god · 3 years

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i felt the urge to riff on the hive streams for a little bit since discussion came up on the hive discord, namely, holding issue with the idea that the alpha stream is inconsistent in that it is about leadership when otto is the only leader, and that it’s also possible that the alphas are just kids with specialized skills, and not actually bonded by any particular unifying element.

and, in response, @vulpix-sinistre brought up a quote from the abridged hive fanfic, that goes something like: “there are four streams: main characters, stereotypical bullies, ?, and nerds.”

and i disagree with the first two ideas, but almost completely agree with the abridged fic quote. that is pretty much how the streams work, and it is IMPORTANT that that is how the streams work.

in the end, you may conclude that the streams system still doesn’t make sense. you won’t be like “well clearly dr. nero was just logically dividing the labor of his students to reflect a specialized training program” because it’s more complicated on that. i hate to do this to y’all, but a lot of everything streams-related requires an out-of-book explanation to get where you’re going, but i can promise that i will at least try to go

first, let’s think about why h.i.v.e. would have streams at all

on the one hand, it’s inescapable to consider that one primary reason that hive has streams is because harry potter had houses, and for the same reason that percy jackson had cabins, the 39 clues had branches, hunger games had sections (or counties, idk), divergent had factions, and so on and so on. the rise of fandom spaces on the internet was concurrent with a big ya/mg boom in the post-2005 world (after twilight was published), and within those fandom spaces it became important to identify with an aspect of the fantasy world as part of your personality. that became a very marketable thing for a while, and so separating children into streams would, to a publisher, seem like a pretty solid storytelling choice.

however! the alpha stream is not the same as gryffindor house. on the one hand, it seems easy to make an alpha/gryffindor and henchman/slytherin parallel, because one group is good (relatively) and one is bad (or at least antagonistic). but it doesn’t work because while slytherin has a reputation for constituents of poor moral character (which has been largely revised in fanon), being a henchman is where you go, according to the books, if you are unintelligent and burly. it’s not a really sexy stream, is what i’m trying to say. and though there are undoubtedly some readers who would look at the henchman stream and see themselves, i think the majority of readers would likely find the henchman stream a completely undesirable stream to be in.

and, given how little importance the role of streams have after the first book, i will go out on a limb and say that mark walden knows that the henchman stream is unsexy. we aren’t interested in the hopes and dreams and motivations of the henchman stream; as we learn in book two, the ideal henchman is weak-minded and easily led—so what dreams would they even have? this leads me to conclude that while mark walden might have sold h.i.v.e. on the “there are personality-based groups in the school!” idea, he had something completely else in mind when he started writing and that, I think, is actually far more interesting.

but really, why would h.i.v.e. have streams at all

a few things about mark walden: 1) he studied english lit in school, 2) he has a background as a video game producers, and 3) he likes james bond. i know the first two things because i have read his bio and i know the third thing because i have read his books in conjunction with seeing all the james bond films. so we will call 1-3 facts.

if you are wondering what a lit degree, video game production, and the james bond franchise all have in common, then let me connect those dots: all three of those things depend heavily on the study and understanding of repetitive structure in storytelling as an interpreter and creator of meaning. each one of these fields requires an understanding of how stories and words work to create meaning in order to be successful.

and, to quote mr. walden here directly (sourced from this here link):

“So, I was playing with this cat one day and it got me thinking that those old-school Bond villains always just seemed to appear out of thin air with very little back story and that got me thinking about how they became world- conquering megalomaniacs in the first place. It was only a short mental walk from there to HIVE.”

so, imagine you’re a writer trying to tell a story about a school for villains like those in james bond—you’ve studied storycraft and you have a lot of experience in a job finding believable and compelling obstacles for people to interact with in video games. you have noticed patterns. and you need to make those patterns work for you.

enter: streams

i have watched all the james bond movies (all of ‘em) (i mean it) (just not the unreleased one yet lol) and you know what?

there’s probably just about four kinds of villains in those movies.

henchmen include the likes of jaws, oddjob, and tee hee. often physically disabled in a cinematically interesting way, these guys are the muscles and the machines in every bond film. they are the ones who tail bond as he takes long train rides and who try to personally throw him into shark tanks. they are the hands and feet of their evil masters and they don’t have a lot of emotional depth or backstory.

politicians/financiers abound in the james bond franchise because he is a government employee who often hangs out with other government employees (he has no friends). these people are like colonel rosa klebb, georgi koskov, prince kamal khan. there are a lot more, as a matter of fact, because the whole point of james bond is that they are in the cold war and even people without titles have political and financial motivations for screwing around with stuff. these types of villains depend on being well and truly embedded in an existing infrastructure or hierarchy, somebody who worked their way up from being a foot soldier or clerk into a powerful leadership position that gives them a lot of state-sanctioned trust and authority.

technicians and inventors include folks like henry gupta and boris grishenko, who use technology as their primary weapon. they are often inventors or innovators and are really good at making high-tech stuff. however, i think this stream is also a direct result of the character Q, someone who is actually on James Bond’s team and who runs an entire department of people who test sometimes outlandish gadgets for Bond to use in the field. (but we love the gadgets. they are fun.) in other words, Bond arguably has a technical stream at his disposal in MI6, which means the idea isn’t necessarily evil, but, likewise, our James Bond School also needs Qs. it’s the rules. if you are familiar with Q from James Bond at all then you understand

and that leaves us with alphas... the “supervillains.” these are the famous ones. dr. no. mr. big. scaramanga. le chiffre. blofeld. max zorin. emilio largo. goldfinger. these are the ones with the master plan, the dreams to recreate the world as they see it, the passion to see their desires to fulfillment and the resources to make them happen. they are rich. they are fancy. they are larger than life. is it weird that karl stromberg tries to incite a nuclear war between Britain and the USSR so that a lot of people can die so that he can colonize the ocean? yes. but by god, it’s fancy and dramatic, and that’s what counts.

are there other kinds of villains? oh, definitely. lots more. but you have to understand, that those kinds of villains generally don’t appear in Bond. sometimes! but it’s not a staple. for example, not many people in the bond films are motivated by revenge because each movie is kind of designed to function as a one-shot. villains don’t come back and so there is no revenge. the villain who gets the most notable reprise, jaws, actually ends up finding his true love in space.

compare: every movie is going to have henchmen. every movie has government stooges making morally questionable decisions. (almost) every movie has Q, or some gadget stuff going on. and every movie has a big bad that has to be better than the last.

so that explains why the streams are what they are.

it was a jumping-off point for mark walden to figure out what this universe might look like and how different character types need to function. consider that while the core four are all alphas and are kind of insulated as a group, the teachers all kind of roughly align with one of these groups. colonel francisco, raven, and chief lewis are henchmen types, doing on-the-ground work to get stuff done. ms. tennenbaum and the contessa are political af, they are all about the corruption and infiltrating institutional power. ms. gonzales, ms. leon, and professor pike all have technical skills that help keep an organization moving forward. and over them all is the singular alpha, dr. nero, who is coordinating and monitoring it all for his own evil plan: to run a high school.

honestly, dr. nero’s hive idea operates just like a james bond villain plot! it works, or it does when pitching the idea. the problem is that the books continued after the pitch did, and with worldbuilding came some complications. namely, the fact that the megastructure of james bond villainy does not replicate well into a small friend group on which the narration focuses. so let’s return to the question presented at the beginning:

how can alphas really be alphas when not everyone on the field trip can be a mastermind?

i’m gonna give this to you in two ways. one, the way i personally interpret it as an in-universe explanation, given the background premises we have already established. and the other, why the stream system kind of ruins the structure it sets out to create.

so, for me, the alphas can be alphas because there is more to villainy than being a mastermind and there is more to being a mastermind than being in charge. as i think about it, this novelization is actually the backstory for every one of the students, who will go on to do great and scary things. they will manage big projects and come up with interesting ways to terrorize the British government, because that is what James Bond villains do (and James Bond does canonically exist in their universe). much like your actual teenage years, this is not the main event.

as students, the core four need to learn to do a little bit of everything. you gotta learn some lock-picking, that’s essential. everyone has to be able to climb a rock wall. it’s the rules. and everyone needs to be able to do some programming. that’s just the way school is. though everyone has a different personality and a different way of looking at the world, their education has to cover the basics because the fact of the matter is, none of them are villains yet. will they become one? that remains to be seen. but they are being given the tools to become the greatest villains if that is something they choose.

the main problem that remains when holding this attitude is that the specialized skills of otto and his friends might be better suited to other streams, in which case, what is an alpha anyways?

here’s the facts: if everyone were assigned to a stream by talent, then there wouldn’t be an alpha stream.

franz? political/financial stream.

nigel? laura? otto? technical stream.

shelby? wing? henchman stream.

you can debate me on the specifics of those assignments, but the point is this: all the other streams are based on hard skills. franz can manage a ledger and that is a financial skill. laura can build a computer from scratch and that is a technical skill. wing can do martial arts, and each martial art is a physical skill that can be taught and performed in a measurable level of proficiency.

the idea of being a “mastermind” is a much softer skill—which is to say, there’s no one recipe that will make it work. my manager at work has coached me by saying that leadership is often about having a “style,” and working at it that way. leadership requires interpersonal flexibility, being able to stay organized and to make important decisions rapidly, it is about being able to prioritize and delegate. and it’s very much open to interpretation, every day, all the time.

let me tell you something else about james bond: there is a lot of classism, racism, and sexism embedded into every aspect of those films, but that goes for double when it comes to the villains in the show. to vastly oversimplify that very concept, it shows up in the bond films like this: henchmen are working class folks, the villainous equivalent of “the help,” and the supervillains are (usually) rich and glamorous and powerful. henchmen are uneducated (read as: stupid) and ugly and poor. no one cares if they die. (there’s more complexities, as always, but this essay isn’t actually about james bond so we’ll fast forward through My Opinions to the end)

the problem with replicating james bond in your villain school universe is that some of the biases of the james bond universe get replicated in there, too. poor and uneducated folks get turned into disposable henchmen whose lives are irrelevant. people who are educated and talented get fast-tracked to a more glamorous and interesting stream that will catapult them to the top of the ladder as soon as they graduate. if you look at the dialect with which block and tackle are written, they are clearly meant to be seen as a different social class than otto, despite the fact that otto is coming from basically nothing. and we understand that when otto graduates, he will be able to do basically anything that he wants to at all.

so, if you’re asking why wing has a role in the alpha stream when he doesn’t seem as leader-y as otto, there’s a simple answer: because dr. nero believes that wing can be more.

the climax of book one is dr. nero explicitly telling otto, wing, laura, and shelby that they are in his school because he believes in them and he wants to see them grow. they are given an elite status other students do not have despite the fact that they have just literally tried to escape. as we see in the case of duncan cavendish, the main way to get on that highway to a guaranteed career is to convince him that you’ve “got it.” for those who are not believed in, there is no way to make up for the special grooming. you’re stuck with the stream you’re placed in, doomed (perhaps) to be a second-in-command at best.

is all this intentional? probably not. but it is implicit in the structure of the story and, alas, that’s the way it is.

all i can think to say in conclusion is that while the stream system tends to replicate some of the unfair and classist realities present in other media and the world we live in, i think part of the reason we read h.i.v.e. is because the alpha stream is so appealing. imagine! you are competent and you have a desirable, specialized skill as well as a proficiency in many general skills and you are certain you are going to do good things—and all because someone believes in you. to receive someone else’s support and confidence can be life-changing. the magic of h.i.v.e. is that yes—lives are changed and ordinary, boring people were elevated to the level of supervillains. we are only left to wonder, are they the only people who deserved that honor?

#meta #spoilers #streams #alpha #henchman #political/financial #technical stream #technical #james bond #hive #h.i.v.e.#higher institute of villainous education #the higher institute of villainous education #otto malpense #max nero #streams post #musings

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discogs · 7 years

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a trip through murder rates: crash course in nick cave

here is the playlist, beneath lies the story.

i hope you enjoy.

1. i have an evident bias to rowland and rowland’s friends, it’s a slight one that is emphasized by an deep spiritual attachment, therefore we must start with rowland s. howard and not our dear nicholas. there were two main melbourne acts, one of which was nick’s just now forming ‘boys next door’ (which he decided to create with friends tracy pew and mick harvey after he was kicked outtuv art school), the other is rowland and ollie olsen’s ‘young charlatans.’ rowland was responsible for the creation of the boys next doors’ biggest song “shivers,” here is a clip of rowland and ollie speaking while with the young charlatans. ( x )

2. rowland wrote what i believe to be the perfect song, adaptable to all outlooks, at the age of sixteen as a comment on the over the top nature of teenage love. the song is initially a sarcastic one, yet has been redone so many times over that generally speaking it looses it’s cynical nature. this recording is the one done by the young charlatans, it’s original form with rowland on vocals.

3. this is actually about nick cave, i swear it, and here is where we get into that more so. here is a cover of nancy sinatra’s “these boots are made for walking” done by the boys next door some time in ‘78. i don’t know why nick sings like that, i’m assuming he had no sense of his vocal range at this time, and i wish the young charlatans had gotten a video but unfortunately the band split up fairly quick due to disputes between rowland and ollie.

+ there’s this house party, or maybe it’s a show, there’s mixed stories on this. but the general consensus is that nick, unruly and screwed all up on speed had been eyeing rowland for some time at this event. it was after a testosterone gun show in the bathrooms where nick ripped out a sink, that he found his fist in rowland’s face demanding to know if he was a punk or not. naturally, s a thin boy raised by women rowland was a bit disgusted by nick’s display, however took him up on his offer to meet again the following day when nick apologised. this eventually led to the creation of the birthday party, but before that rowland had managed to get a word in with his bandmates about that one song, y’know the one ..

4. here we see nick, all marionette gestures and heavy eyeliner belting his heart out over lyrics written by the tiny post ‘66 fender wielding raven shown briefly in the video. it’s undeniable that nick seemed to take this a lot more genuinely than rowland did, or at least that’s what he intended to display. this is the more popular version of the song, much glossier and easier to imagine being played at a high school dance than the previous version. this was all fine and dandy, now, but songs that sound like roxy music aren’t cool, man ! besides, every member of this band displays a talent that is remarkably astounding. the song is beautiful, yet tight, and though this is spectacular there’s much more beneath.

5. this is track is one of the birthday party’s first singles, released along with several other birthday party songs on a compilation called hee-haw which mainly consisted of the band’s earlier work. the cover art here is done by nick.

6. this track is off of the birthday party’s second record entitled ‘junkyard,’ released in 1981 and expressing more fluidity within their musical style with a certain wounded animal characteristic to the music jolted by the viciousness of nick’s voice. it is around this time, or perhaps some time before, that the band had found themselves penniless in london and retreated to berlin.

+ tensions have been steadily arising from day one due to rowland and nick’s individual stubbornness over artistic expression, nick is searching for an escape from the birthday party as he despises the route their presentation has taken. as most even vaguely punk sounding bands often realise that their audience doesn’’t so much care for the music but instead the thrill of seeing someone hurtling themselves into the ground repeatedly. no one wanted their name to be engraved in a violent history, and lucky for nick he sound his way out in berlin.

7. for some years now, the west berlin music scene has been a bustling hub of creation and innovation. with acts like abwarts and malaria surrounding, a young and reverse individual finds himself forming what would the band pioneering not only unconventional instruments but the proto-industrial movement. the band was based off a fairly simple concept; destruction as a means of creation, a notion adopted from this (x) marxist era essay as well as the factory-line like gentrification of the surrounding brick paradise. thus einstuzende neubauten was formed, and by the first glance nick felt as though he’d net his match. this rubber clad being of fire and metal was blixa bargeld, who you will see in this particular clip. (x) is a performance that shows off the impulsive and chaotic nature of the band as well as their use of out of the ordinary instruments.

8. this meeting of kindred spirits leads to nick definitively deciding to part ways with the birtday party. in an admittedly dick move, nick decided to call he record ‘the bad seeds ep,” presumably hoping to get a better feel for where he was going with his career. rowland and him are hardly speaking and they both have one foot out the door. his song is off of this bad seeds section, where nick begins to show his talent for world building and story telling.

9. this track’s off the opposite end, the part which belongs more so to the birthday party than it does to the bad seeds. i love this track for all it’s inconsistency, it attacks you from all sides musically and leaves you feeling dazed lyrically for a lack of being able to keep up. to me, this is the best way to bookend the band’s career. it displays maturity in style like no other while also perfecting the sound now heavily associated with not only the birthday party but no wave music in general.

+ below are bonus videos and music x ( mutiny sessions ) x ( live version of shivers sung by rowland with the boys next door ) x ( another song off of einsturzende’s halber mensch, my favourite )

10. admittedly i have neglected nick’s first two records ‘from her to eternity’ and ‘the first born is dead,’ i have a storage complex with my favourite musicians where i won’t listen to their entire discography because if i get stir crazy for new material then i can get familiar with one of the records i haven’t really heard. this track is off of his third record called ‘your funeral, my trial.’ like the previous two this was recorded with the first of the bad seeds lineup comprising of nick cave, mick harvey (of the birthday party), barry adamson (of magazine), blixa bargeld (of einsturzende neubauten), and for a short time hugo race. this track is one of the bad seed’s finest in my opinion, strong on atmosphere and tone with a plot line following a distinct character who’s in a strange bind - a hallmark of nick’s songwriting. this album sound tracked wim wenders film ‘wings of desire,’ with a cameo from nick and rowland in the final act.

11. let’s catch up to rowland for a moment, who is working somewhat parallel to nick as the guitarist for a band called the crime & city solution. rowland only worked with the band for one record, ‘room of lights,’ while in berlin where he was met with his brother, harry, playing bass, mick harvey once more on guitar, and a boy from a band called swell maps on drums named epic soundtracks. this clip is from the aforementioned ‘wings of desire,’ after this rowland and the mentioned members (minus harvey, replaced by rowland’s long-time girlfriend genevive mcguckin) broke off and formed these immortal souls.

12. a lot of musicians have released cover albums, and from what i can tell almost all of kicking against the pricks is except for this track. i wanted to display this song as it shows the broadness of nick’s vocal expression, in that this song makes me want to hang myself.

+ this is a little linear note about rowland’s work after crime, epic soundtrack’s origins, and who the fuck is nikki sudden again ? x ( these immortal souls: marry me (lie ! lie !) ), the project rowland worked on immediately after crime & city x ( swell maps: cake shop girl ), the band that epic soundtracks and brother nikki ‘little johnny thunders’ sudden came from initially, pioneers of what would become noise rock and grunge. x ( the jacobites: for the roses), nikki’s band with friend dave kusworth x ( nikki sudden & rowland s. howard: a quick thing ), a track from an album rowland did with nikki called ‘kiss you kidnapped charabanc’ x ( lydia lunch & rowland s. howard: burning skulls ), a song from the brilliant record cut on a whim based on a sense of familiarity between the two

13. this music video was recorded in the studio the song was recorded in, which is in berlin. this song was inspired by a girlfriend of nick’s and how she made him feel, a very momentous affair it seems to have been,

14. nick continues to make music as the end of the 1980s draws near, the first record of this time period is 'the good son,’ who’s most popular song is undoubtedly 'the weeping song.’ that track is definitely worth a listen as well, it is one of nick’s more popular tracks but it’s a rare full display of blixa’s vocals and a great duet. this song, however, is the title song and has a beautiful choir-sound to it which is present all throughout this album.

15. my favorite nick cave record is tied between this one and one that comes over twenty years after this one, but i’ll be damned if i don’t give this record the utmost appraisal. the album is more definitive in narrative than nick’s previous records, it all seems to be written to fit a particular story line and the sense of momentum in the record is impeccable. this track tells the story of the catholic saint, christina the astonishing, a story that nick was very attached to. as we further our way through his career his interest in catholicism becomes more and more apparent.

16. this song is the slowest on the album 'let love in,’ which is one of his most popular records. the most known track by nick - 'red right hand’ - is also off this album, but in my opinion it’s not the best track off the record. this song is inspired by a story nick read in robert smythe hichens’ “the green carnation,” and the unsettling nature of the story lingers in this song. it’s the counterpart to a song earlier in the album entitled simply 'do you love me?’

17. the huge thing about nick cave is his fascination for murder, something that, the more i learn about and listen to him doesn’t seem to be that huge of a fixation of his. at least not anymore than the bible is. this album, however, murder ballads, is obviously homicide centric. this track features kyle minogue on vocals as eliza day, but she isn’t the only guest vocalist on the album. on another track, henry lee (which is a must hear as well), there is another guest vocalist. pj harvey comes into the maelstrom of nick’s life, and as is displayed in the video, they become seamlessly intertwined in a romance that nick describes as one of the best events of his life. however, in nick’s own words, 'all things move towards their end, i knew before i met her that i would loose her …’

18. after the short lived romance between nick and pj, she leaves him feeling devastated. no one knows for sure why it is they split, but nick sure as hell took it like a landslide. this song is one off of his last album of the 90s, the boatman’s call, which is essentially the pj harvey breakup album. this song has stark similarities to tom waits’ first record, which rings nothing but lovely to my mind.

19. i really. really love rowland s. howard. he means everything to me, this is a song off his first solo album. i don’t know why i chose this one, maybe it’s because the proceeding two songs off it are too difficult for me to hear. he is so talented, he is so beautiful, i don’t know where these impressions of horrendousness come from. rowland is the kindest soul to every walk this earth, but um, here we are with another beautiful display of the sharpness of his guitar playing, and that aching voice of his. he’s my favorite guitarist, and the reason why is that he does not need to sing to tell you how much he is hurting - his guitar does that all on it’s own. we’re about to get heavy. 1999.

+ nick’s doing this shit called grinderman. i’ll be honest with you, i’ve never heard a line of it. and why ? because that mustache is an atrocity to not only to this earth, but to the heavens, hell, and purgatory as well. so there’s a pretty big gap in his discography after boatman’s call.

20. 2009. alright. so. i’m going to tell you this one thing first; rowland s. howard did not deserve to die. he did not deserve death, he did not deserve any of the numerous heartaches and horrendous experiences that he went through. he went his life a genius, and was scarcely ever recognized for his immense talent and uniqueness. rowland died in 2009 due to a liver disease. he wasn’t able to get a transfer in time. and look, rowland was not ready to die. he wanted so much more, he wanted everything of the world that he hadn’t the chance to reach before. he knew he was going to die, but he did not want to. i will tell you this with my heart bared open and bleedin to you - i would give up my life to have rowland back on this earth in a heartbeat. this song is from the last album he ever released, an album which i still find very difficult to listen to. he did not deserve to die. i don’t know where it is he acquired this seemingly immense hatred of himself, and the contempt for whatever actions he committed. he was the kindest, most loving soul to ever walk this earth, and i refuse to accept his passing as anything other than a true strike of hate by god to humanity. he means wonders to me.

21. so um. sorry. but nick comes back, with that record that i told you competes with henry’s dream to me. it’s called “and no more shall we part” and it is a really difficult record to speak of due to the cohesive story line there seems to be within it. this is the final track of the album, and i believe it sums it up pretty well. i think the line in here; “i think of my friends who died of exposure, and i remember other ones who died from the lack of it.” is in relation to rowland in the latter half. this song is sorrowful, without a doubt. this is the last record blixa did with him, stuck through for years. god bless him.

+ nocturama did not do well, neither did abattoir blues. i know nothing about dig lazarus dig, these three records remind me of rickety stairs on the way up to self discovery. in his 2016 movie, 'one more time with feeling,’ he mentions how you have to grow accustomed to being a new person. you have to suss out your new self, if this new you smokes or if this new you gave up smoking years ago, things like that. trying to find his place again. he did, of course, adjust to this new nick. and the product is brilliant.

22. nick outdoes himself time after time, throughout his entire career he has bested himself. please, do not take the initial crudeness of some of the first lyrics as a reason to discard this song, it’s off of his 2013 album push the sky away is without a doubt one of the most beautiful things i have ever heard. this record is one that is vicarious to me, these days i hear it every day to sleep and sometimes constantly throughout the day.

23. nick’s last record, 'skeleton tree’ was already in development before the death of his son, arthur. many of the lyrics in the record echo his last book, 'the sick bag song,’ especially in this track where the girl who dances on the rings of saturn is a reoccurring anomaly in the book. this record took everyone by storm, if that storm is freezing and you’re trapped inside a cold black marble home. this is the end of the nick cave train ride, thank you if listened and read the whole way through. this is essentially my bare bones.

- LM

#introductions #currently under construction

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