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ordinaryschmuck · 3 years

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What I Thought About "Escaping Expulsion" From The Owl House

Salutations random people on the internet who most likely won’t read this. I am an Ordinary Schmuck. I write stories and reviews and draw comics and cartoons.

Do you wanna know what I love the most about The Owl House? The writers waste no time getting to the good stuff.

Things like Willow working things out with Amity, Lumity, Lilith's redemption, and Luz's fight with Belos are stuff that most shows would drag out and wait upon using until several seasons down the line. Most of them for the final season. And yet, it all happens in the first! The writers somehow knew what the fans exactly wanted and gave them just that before they even had to ask.

Take "Escaping Expulsion," for example, as it has some great plot points and ideas I thought would happen later in the season and maybe even near the end. But it's only episode TWO of the new season, and I'm appreciative of it for that reason alone.

But explaining the good stuff this episode delivers requires spoilers, so if you haven't watched the episode yet (even though you definitely have at this point), I recommend that you do so. Now let's review, shall we?

WHAT I LIKED

Blight Industries: Huh. I'll be the first to admit: I would have never expected that the main reason why the Blights are rich is because of their technological advancements. Large in part of how the Boiling Isles is a fantasy world, and rarely do you see technology taking place in a setting such as that. Still, points for total expectation subversion added with some pretty cool tech, I might add.

Odalia Blight: It's nice to put a face to the name I've grown to hate with a fiery passion. Now I can update my dartboard!

But to tell you the truth, it feels weird saying I like someone so vile. I mean, the woman is a manipulative, smarmy b-word who nearly killed Luz. Anybody who does that last part deserves to go on my s**t list! I despise her with the same fiery passion I've had since "Understanding Willow" premiered...and it's that reason why I like her.

Because here's the thing: Characters and people are two different things. If Odalia existed in real life, she better hope that I never meet her. But as a character whose purpose is to have the audience hate her, she succeeds with flying colors. It's the same reason why I consider it unfair to hate an episode like "Something Ventured and Someone Framed" because Mattholomule exists. I get it but understand that hating him is his purpose. It's the same with Odalia. I love her, but only because I love to hate her.

Alador Blight: Wow. I guess Alador really is the lesser of two evils.

By the way, keep in mind that I said "lesser of two evils" and not "the nice one." I don't care how adorable it is to see him get distracted by a butterfly. He's still an abusive figure who stood aside as Luz fought for her life against the Abomitron and still goes along with Odalia's plans despite how heinous they are. And whenever I remember how he treated Amity in "Understanding Willow" as well--

Also, don't make him neurodivergent so he can seem redeemable. It is painfully obvious that he is just exhausted after hours of toiling away in his lab working on his inventions to the point that his brain is beyond fried.

Now, seeing that I've dismissed the argument about how Alador is the nice one, let's actually talk about his character. Because I can see what Dana Terrace meant when she said that he's interesting. He's not explicitly as awful as Odalia, as he mostly seems to be in his own little world half the time. Despite that, Alador still shows signs of being just as dismissive of Amity in general. You see this as he focuses on how her strength shows signs of Amity being a potential coven leader instead of noticing how his daughter nearly died to his own invention. Alador doesn't manipulate, but he doesn't love his daughter in a way a father should either. I'm very intrigued by this route for his character, and I can't wait to see what is done next with him.

Amity’s Amulet: My heart sank when I realized the true purpose behind Amity's amulet. The thought that Odalia found a way to literally be in Amity's head at all times...I hate that. I mean, I love it because it's A+ storytelling and symbolism, BUT I F**KING HATE IT!

Amity in General: And seeing how we're already talking about Amity, let's dive into the fact that "Escaping Expulsion" is easily her best outing so far in the series. I say this because it really puts to the test Amity's dedication to being a part of the group. You can tell by her expressions and Mae Whitman's performance that Amity so desperately wants to help her friends, but she can't due to being afraid of her mother's wrath. Which doesn't surprise me, given what we know about Odalia so far. But what does surprise me is that Amity stands up to Odalia in this very same episode. I expected it for sure, but most likely at the end of the season, due to most shows dragging out a similar concept for drama's sake. However, as I said, the writers don't waste time giving the fans what they want. So, yeah, Amity defies her mother in the very same episode we're officially introduced to her. And it's totally believable, as Amity has been fighting her parent's control ever since Luz literally showed her the light after "Covention" (click here if you don't believe me). It's yet another impressive showcase of Amity's character development and how she's leagues ahead of other redeemable characters who would go through five more episodes like this before getting to the point.

Luz in General: But enough about Amity. For now, let's talk about the actual best character of the series!

Just like Amity, Luz is on top form in "Escaping Expulsion." She is quick to call 'applesauce' about Odalia and Alador expelling the Hex-Squad and is smart enough to figure out the deal Odalia is worming her way into making. Several people classify Luz as stupid, and while she definitely leaps before she looks at times, this episode proves that Luz isn't going to fall for the sweet talk that someone like Odalia offers. As reckless as she can be, Luz is still intelligent enough to know what someone like Odalia wants and cuts to the chase despite knowing the woman can't be trusted. Still, Luz going through with the deal anyways is fantastic character work for her as it shows her dedication to the people she cares about. It hurts my heart to see Luz get all beat up from Alador's inventions, but her willingness to put up with it for her friends is an act of service I wouldn't have expected from anyone else. "Escaping Expulsion" may be more centered around Amity, but it still proves why Luz earns her spot for one of my favorite characters.

Learning How Glyphs Work: Another solid aspect of The Owl House is that the writers find brilliant ways for world-building and explaining the rules of the Boiling Isles. Take this episode's b-plot, for instance. Eda and Lilith need to learn how to do Luz's version of magic, so having an entire section of the episode dedicated to them figuring it out is a perfect outlet to explain how glyphs work in the first place. Although, I have some tribulations with this subplot that I'll get into with the dislikes. But I still consider this a brilliant workaround to explain glyphs, even if specific executions could be handled better.

The Fairy Pie: Not only is this well-crafted dark humor, and not only is it adorable as hell, but it also shows how Amity has calmed down with her feelings toward Luz. She still blushes when handing over the fairy pie, but it is certainly more subdued in comparison to "Wing it Like Witches." I like to think the time off from her (and our) favorite weirdo helped cool down those emotions a bit, but that doesn't mean she won't get slightly flustered every now and again. Because as much as I adore seeing cool and collective, I'm still very much a fan of Disaster Amity due to how cute it is.

Principle Bump: "This character is underappreciated!"

"That character doesn't get enough love!"

YOU WANNA KNOW WHO'S UNDERAPPRECIATED AND DOESN'T GET ENOUGH LOVE?! PRINCIPAL GOSH DANG BUMP, THAT'S WHO!

So many kids' shows focus on how educators are the bad guy who treats students poorly because they love seeing children suffer. But that's not Bump! Sure, he made a misstep in "The First Day," but for the most part, he really cares for his students and hopes that they work hard to be their better selves. So when he's forced to send Luz, Gus, and Willow away, he's genuinely saddened by it to the point where he breaks down crying! On top of being wholesome, Bump missing his students is another example that a character shouldn't be written as evil just because they run a school. Sure, there are scumbag teachers and principals out there, but for others, they're a lot like Bump: People who show admiration and respect to their students rather than ridicule because a principle "just doesn't get it." And I appreciate Bump all the more for it.

Gus and Willow: It feels weird that these two basically got sidelined, especially since they have a stake in the plot as well, but it's understandable. "Escaping Expulsion" is clearly more Amity-centered, and with Luz being the main character, it would also be odd if she didn't get more of the focus than her friends. Having them do more would have been great, but what they've already accomplished is pretty decent anyway. They show how much they're on the same page as Luz when trying to figure out a way to sneak back into Hexide, Willow is still the best voice of reason when saying no one will be killed through their plans, and Gus wins the comedic highlights in the episode. While I would have loved that they did more, I'm perfectly fine with what we got. Besides, this is only episode two of Season Two. We got nineteen more episodes to go to focus on these two.

King: Ok, now, this is the version of King I like to see. A character that mocks Eda as if they're equals and acts as a reluctant voice of reason. This episode shows King more at his best and is a major step above what we've seen in "Separate Tides."

Lilith: ...Yeah, f**k it. I like Lilith.

Personally, I would have preferred seeing her dragged through the coals at least a few episodes, but that's judging the show for what I want. Not what it is. And as is...It's fine. Lilith has a great dynamic with the rest of the Owl House, it's honestly adorable seeing her refer to Luz as a teacher, and that scene where she makes presents out of ice for Hooty is all kinds of wholesome. I'd say your enjoyment of Lilith highly depends on how forgiving you are, and if you think her splitting the curse is enough of a gesture, you probably won't mind her as much. The execution of her redemption really could have used more time in the oven, but Lilith is still a decent character regardless, so what's to complain about.

Luz Making the Abomination Have a Cat Face: ...Luz...I f**king missed you.

DON'T EVER LEAVE FOR THAT LONG AGAIN!

(Also, I just love that this is all Amity needed to know Luz was in trouble)

Hop Pop Cameo: He's on the cover of one of the books Willow's dad lifts up. Which is extra cute given how Dana Terrace and Matt Braley (creator of Amphibia) are close friends in real life.

Willow’s Dad Pretending Not to See Anything: One single action defines the type of man this guy is. He's the fun and understanding dad!

Gus, Willow, and Amity Arguing How to Break In: This little quarrel just shows how much these three need Luz. Without someone to keep the peace and bring up compromises, these idiots would have just kept arguing all night.

In addition to that, this clash over ideas acts as a showcase for who these characters are. Willow is careful and smart, so she's going for the option more unlikely to get them caught. Amity is brash and to the point, so she's going for the route that gets them inside as soon as possible. And then there's Gus, who's young and naive, so his plan sounds like something out of a cartoon. The odds of any of these plans working are highly debatable, but seeing these characters with clashing personalities and ideas is a ton of fun to watch regardless.

Edric and Emira Helping: There's not much to add here. It's just another sweet scene that makes me so glad that the writers decided to make Ed and Em more like supporting characters than minor antagonists like "Lost in Language" made fans think they would be.

(Amity throwing the "Hex me" signs back at Edric is just the cherry on top).

“Stay away from my Luz!”: ...What the f**k do you want me to say that? It's f**king perfect!

Luz Catching Feelings for Amity: ...Huh. Neat.

...

...Alright, let's move on.

Luz Wanting to Take a Nap After--Yeah, I can't do it. Not even for the joke.

WAH-HOO-HOO-HOO-HOO! MU! TU! AL! PINING! AH-HAHAHA!

THIS! This is more of that good s**t I'm talking about! Due to being so used to other shows going for the slow burn when writing the endgame romance, I was expecting Luz to catch feelings halfway through the season, even at the end of it. But near the beginning?! That is something I am more than ok with!

And much like Amity standing up to her parents in this episode, Luz catching feelings this early on is totally believable. Many fans have already analyzed how Luz's love language is "Acts of Service," which I'm somewhat sure is romantic gestures. Meaning that I f**king challenge you to find a grander gesture than holding back a literal killing machine while swooping down like a knight in shining armor! Oh, wait, you can't. BECAUSE THERE ISN'T ANY!

But by far, the best--the BEST--thing that can come from this is the dramatic irony! We, the audience, know that Luz and Amity like each other, but they don't. So the constant failings as these two fools try to work out their romantic feelings for one another is something I cannot wait to see in all its glory.

This is one of the best things that could have come out of the episode, and while it doesn't mean Lumity is canon, it is definitely closer than ever before. And I'm excited about all of it!

Luz Wanting to Take a Nap After Getting Home: I adore this because there's no one way that this can be interpreted. Either it's because Luz is exhausted after nearly getting killed for the fifteenth time that month, or it's because Luz is overwhelmed about having a crush on Amity...or both. Most likely both.

Belos Wanting The Abomatrons: Wow, what an ominous ending to the episode! I'm sure it won't come into play at all in the future...The season finale is going to hurt, isn't it?

WHAT I DISLIKED

Gus’ Growth Spurt: I mean...that's just weird. Gus suddenly being almost as tall as the others is a change so jarring that I feel like an explanation other than "witch puberty" is required. I get that they wanted to explain away why Issac Ryan Brown's voice got deep this season, 'cause puberty's a b**ch. But sometimes I feel like it's best to just ignore it, like with how Phineas and Ferb or Steven Universe just goes along with the fact that VAs tend to grow up when the characters themselves remain ageless.

Eda is Kinda Stupid in this One: It's not just me, right? Because I feel like Eda is more careful in the past than she is in this episode. She's been as reckless as Luz is at times, sure, but carelessly screwing around with magic when she has no idea how it works? I can maybe see King doing that, but not Eda. Just seeing her act dumber than usual is something that doesn't sit right with me.

Lilith Explaining Her Glyph Magic: I don't mind this. Glyph magic is pretty confusing, so having Lilith explain how it works to Eda and the audience is something I can understand. My issue, however, lies in how they did this.

Why, in the name of all that is holy, would Lilith explain her theory after the fact. It would be much more natural if she explained while saving King, but doing it after comes across as more forced than it should. Which is a shame because this series is usually on point when explaining how things work in the Boiling Isles.

And...That's about all the complaints I have with this episode. Which are nothing but nitpicks and possibly personal preferences.

IN CONCLUSION

If I'm willing to forgive and forget, I would give "Escaping Expulsion" a well-earned A+. But I'm not, so it's going to be another solid A. And, I mean, if you complain about that...there's something wrong with you.

"Escaping Expulsion" delivers on quite a bit of what fans want to see on top of giving these great character moments that show why we love these casts of oddballs and weirdos. I wouldn't say it reached perfection, but it still carries the winning streak that this new season has so far. Meaning there's no escaping the fact that Season Two is off to a better start than the first.

(Although, the fact that we got two solid As in a row means that we're in for a stinker real soon, doesn't it?)

#the owl house #the owl house season two #the owl house review #what i thought about #odalia blight #alador blight #amity blight #luz noceda #principal bump #willow park #gus porter #king of demons #lilith clawthorne #edalyn clawthorne #lumity

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arlingtonpark · 4 years

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SNK 129 Review

Attack on Titan is a very violent series. People get torn, crushed, cut, shot, and bludgeoned basically every other chapter. Loved ones are lost tragically. Mangled corpses feature regularly. The main character is one of the most ruthless people in the world.

What makes SNK so interesting is how it depicts violence. People have described the series’ depiction of violence as “unvarnished” and “real” and I’d say that’s true, but there so much more to it than that.

It’s not just that the series depicts violence viscerally. That’s been done before.

It’s not even that the series depicts violence as a fact of life.

What sets SNK apart is that it treats violence as endemic.

In Attack on Titan, violence is not only real and unfortunate, not just a fact of life we have to deal with, it’s ever present.

Yeah, this is a story about people who have to fight giants, and then the whole world, to survive. Violence would be an inevitable part of the plot no matter what.

But Attack on Titan goes above and beyond that.

It’s about the emphasis. Some stories would argue that violence should be avoided at all costs. The hero and villain are at odds with each other, but they manage to broker some kind of deal.

Or a story could acknowledge that violence is sometimes necessary. It could be an action movie that kicks off after the conflict has already spiraled into violence. In that case, the question of why people start shooting at each other isn’t necessarily important.

Or the story could show how the conflict came to violence, but emphasize the undesirability of resorting to war.

What makes Attack on Titan unique is that it focuses very much on the origins of violence, but doesn’t emphasize the undesirability of it.

Every conflict in this story is resolved using violence. If this were just a mindless action show, that’d be fine, but this is a series that invites the reader to dwell on whether violence was appropriate.

Unlike most stories Attack on Titan concludes, after all its philosophizing, that non-violent alternatives are a waste of time!

Paradis’ attempts to broker peace with the world are presented as flailing and unsuccessful. Every attempt by Armin to negotiate with the enemy fails.

King Fritz is depicted as a coward, a control freak, and a fool because of his ideology. His ideology of non-violence.

Attack on Titan seems to mock people who don’t want to have to kill. Because of that, the series almost seems to revel in its bloodshed, even as that bloodshed is depicted as gruesome and ugly.

SNK isn’t like Gundam.

Gundam has always had the theme that war is bad. SNK’s theme seems to be that war is unfortunate but necessary.

The difference between those two themes is huge but subtle.

Another important pillar of this series is freedom.

The Survey Corps rides out into the outside world constantly. Every one of them knows they’ll be trampled and torn apart at some point; they do it anyway because they believe in their cause.

That cause is to fight for freedom.

Freedom in Attack on Titan means being able to decide your own fate. If you want to explore the outside world, you can do that. If you want to found a family, you can do that. If you want to virtue signal by adopting the same dream as your friend, you can do that.

But people don’t have to literally be a slave to be unfree.

In Attack on Titan, you can be unfree just by being a slave to other people’s expectations.

People expected that Eren would be humanity’s savior. He was sold to the public as a trump card against the titans: a human who had their power. He was the advantage humanity needed to win. After 100 years, humanity catches a big break, and his name was Eren Jeager.

But it never panned out that way.

The expectation was always unrealistic. Eren was still one (not particularly bright) person, and he was never going to destroy all the titans himself.

Come the end of the Uprising arc, and Eren has not really contributed anything, and he starts to give himself grief.

When it’s revealed his existence seems to have impeded humanity’s survival, Eren begs for death. The weight of everyone’s expectations had crushed him.

Eren had been a slave to the Rogue Titan hype machine.

After Historia’s ahem “pep talk” and some post-cavern ruminations, Eren starts to let go of that way of thinking, and he’s better off for it.

He still works hard, but he doesn’t think he has to carry the world on his back, and thanks to Historia and the military overshadowing him in Uprising, people in general expect less of him, too.

Eren had been liberated from people’s expectations.

Freedom also means freedom from the past.

The Eldians are dogged by their history. Every major villain so far has thought Eldians deserved to die for the sins of their ancestors.

Reiner, Bertolt, and Annie were brainwashed to believe Eldians were devil children.

The Marleyans hammer at that point to this day.

Zeke is convinced Eldians are a curse partly because of the animosity caused by the Empire’s history.

We haven’t seen King Fritz yet, but he’s probably the craziest one of them all. He is sooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooo convinced that Eldians carry an irredeemable stain because of their ancestor’s actions that he’ll let their enemies slaughter them.

So it’s not just what people do in the present that can make you unfree. Attack on Titan is also about not being held back by the past.

There’s one more aspect of freedom in SNK to bring up, and I think it’s one of the more underappreciated ones: the importance of posterity.

Isayama loves children.

Soldiers in SNK are asked to devote their hearts for the sake of humanity. “Humanity” means not just people alive today, but their progeny.

People join the Survey Corps despite the high death rate because even if they die, they feel they’re contributing to a future their children can enjoy.

Erwin’s soldiers know they’ll die when they charge Zeke. Erwin sells them on it with talk of paving a way forward for future soldiers.

Parents who abandon their children are presented as bad or weak people. People like Grisha, Rod Reiss, Reiner’s mother.

Gabi is spared by Mr. Blouse because she’s just a child.

Zeke thinks being born is a curse and wants to sterilize a whole race.

Oh, and there was also that hilarious non-sequitur speech Onyankopon gave about children.

The heroes fight because they’re working to a free future for future generations. For their posterity.

Attack on Titan implores people to fight for our own freedom, but also for the freedom of our descendants.

So Attack on Titan has two major components to its message: violence is necessary, and freedom for yourself and your offspring is worth bloodying your hands for.

But fighting for freedom has its limits.

…aaand because I need to tie this post in to the actual chapter I’m supposed to be reviewing, I’m going to use Floch and Gabi to illustrate this point.

In this chapter an ice cream swirl takes flight, ready to fulfil his dreams. They are mercilessly shot down by a kid with a gun. How did we get here?

Floch and Gabi were two wild fanatics starting out.

Gabi was born into a family that had a warrior in it, and it’s clear she aspired to follow in his footsteps. She and Reiner were close, and she wanted to carry his legacy.

Floch joined the Survey Corps because he heard a call and decided to answer. He idolizes Eren, and sees him as an example to follow. Eren is vicious when he fights, and Floch thinks that makes him a good leader.

Both of them wanted to free their respective peoples. Paradis is stuck on an island and feared by everyone around them. The mainland Eldians are stuck in a ghetto and feared by everyone around them.

Gabi believed the mainland Eldians would prove their worth by destroying Paradis, thus displaying their virtuousness to the world.

But Gabi was also a bit self-serving, too. She also wanted to prove that she herself was a good Eldian. She was showered with praise because of how good a fighter she was; she was driven to become that good to prove her own value.

Gabi was raised to believe her self-worth came from how well she fought for Marley. Sources of self-esteem are external for her. They come from the gratification of others.

Floch’s self-esteem is also external. He derives all of his self-worth from his identity as an Eldian. He pounds his chest about the glory of the Empire because if Eldia is glorious, then he, as an Eldian, will be glorious.

He wants to bask in the warm, glowing light of world domination. Of the knowledge that his race is the most powerful group of people in all the world.

I don’t know if Floch believes that Eldians are superior to other races, but that’s not the point. In his mind, the power of Eldia and his own power are inextricably tied together.

The big difference between the two is that Gabi isn’t an idiot.

Say what you will about her, but Gabi is actually talented. She’s smart, strong, a good shot, a good fighter, and a dutiful soldier.

Floch’s only talent is his absolute shamelessness.

He has no moral compass, so he’s willing to do things that his enemies won’t. He’s also stupidly audacious, so he’ll do crazy stuff most won’t consider.

This allowed him to get the upper hand at first. People didn’t expect him to leak information about Eren’s imprisonment to the public or that they’d work with Eren directly.

But now that our heroes are going against him in basically a fair fight, he’s losing badly. The only strategy Floch’s puny brain can muster is to keep spamming our heroes with redshirts.

Compare Floch’s shamelessness to Gabi.

Gabi…is a good person.

She wants to prove her self-worth like Floch does, but she’s not fucking pathetic about it. All she wants is for herself and her people to be recognized as equal to everyone else.

She does not, in the end, want to revenge kill Marleyans just to feel big and strong.

She only wanted to wipe out Paradis because she was indoctrinated to think that way. Once she realized that Eldians on Paradis weren’t devilish, and that the Marleyan system was crap…she stopped hating Paradis and didn’t hate the Marleyans for it.

Floch, on the other hand, nurses a massive victimhood complex that he uses to justify genocide.

This is where the series draws a line between justified violence and unjustified violence.

Floch does not give a shit about human life. He kills people wantonly, and the lives of his own troops doesn’t seem to be a factor in his strategy this chapter.

Floch, very expressly, fights to oppress others and take away their freedom. His big talking point is about Eldian freedom, but in reality his actions go beyond that into cruelty.

Gabi, even when she was a brainwashed fanatic, was never sadistic and hasn’t done anything egregious that I can remember.

In this chapter, Gabi shot a killed people with her rifle. The Yeagerists…didn’t actually kill anyone this chapter, but they tried.

But Gabi is with the good guys because she’s right on principle and isn’t motivated by sadism, or personal insecurity, or a desire for revenge.

The same is true for all of the Cringevengers.

They’re all fighting to oppose global genocide.

The Yeagerists, including Floch, are fighting because they think global genocide is justified if it saves their country.

That is inherently selfish.

Those are the themes of the series in a nutshell.

This is where things start to get questionable.

First off, I object to how pervasive war and violence are shown to be. War is an institution, meaning it is the product of human behavior. That means human behavior can be changed to make war less violent and less common.

And war has, in fact, become less violent and less common.

Attack on Titan has paid lip service to that fact, (see: Gabi, above) but it remains that we are 95% into the story and there is still zero hope for a peaceful resolution.

There is almost zero chance the Cringevengers stop Eren. Even if they do, the world will be whipped into a fury at the destruction he caused, and not only would Paradis be wiped out, the mainland ghettos would conceivably be overrun by angry mobs and Eldians would be killed in the streets.

By the way, I think this would happen even if Magath had lived. I do not understand why people thought just one person’s word would have mattered at all.

Obviously it’s not a peaceful resolution of Eren destroys the world.

Secondly, while the series makes a point that excessive violence is bad, remember that the series also makes the point that appropriate violence is often bloodier than we’d like.

The issue, as I just said, is that Attack on Titan overestimates how often situations calling for violence come up, so functionally the series seems to lean in favor of violence as a general rule.

The series flat out conflates pacifism with defeatism.

King Fritz is a defeatist. He chooses to let his subjects die rather than work towards undoing the caste system that he ruled over.

Instead of making Marleyans equal to Eldians, he let the Marleyans do as they pleased while hiding out on Paradis.

And if the Marleyans came knocking, he was going to let them kill everyone.

He hoped to create a utopian world in the time that he could. This world was built on brainwashing and dictatorship.

But King Fritz’s ideology isn’t identified as defeatist in the story.

He’s identified as a pacifist.

This is why I always thought it was ridiculous that people said Attack on Titan was anti-war. As if a series that implores people to fight could be anti-war.

This chapter was good on its own. I didn’t even mind the violence since it’s a battle and the never ending bloodshed was conveyed really well.

Then the wider context of this fight came to mind…

#attack on titan #shingeki no kyojin #snk 129 #snk chapter 129

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aion-rsa · 5 years

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Beyond Silk Spectre: How the Women of HBO's Watchmen Grapple With the Book's Sins

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Silk Spectre and Angela Abar are perfect examples of how HBO's Watchmen can both remain faithful to the book while moving past its mistakes.

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This article contains Watchmen spoilers.

HBO’s Watchmen is the best kind of prestige revival – one that doesn’t try to recreate the success of the original property, but which, instead, builds on its legacy in new and interesting ways. In doing so, the series must also confront the failings of that original, of which Watchmen has several, despite the fact that it was and is a truly groundbreaking genre story.

The television version of Watchmen takes place 34 years after the events of the comic, and though the series still keeps the frisson of existential despair threaded throughout the original, it changes several other key elements, including the primary lens through which we view the story. Here, rather than focusing on a group of damaged and broken men, the series frames its narrative around a pair of powerful female characters in Angela Abar’s Sister Night (Regina King) and former vigilante turned FBI Agent Laurie Blake (Jean Smart). In doing so, Watchmen positions itself to directly confront some of the more problematic elements of its own legacy, particularly how the original treated its women.

For many female readers and comic book fans, Watchmen hasn’t always been the most accessible of stories. Whereas the comic is often—and rightly—praised for its gritty, dark and highly original takes on male heroes, the same cannot really be said for its depiction of its female ones. The story is full of sexist tropes and misogynistic underpinnings, frequently killing, torturing or otherwise harming female characters solely to drive story and emotional arcs for its men. These women are generally scantily clad, highly sexualized, and not particularly fleshed out as individuals.

HBO’s take on Watchmen confronts this issue head on by making its main character a complex and capable woman of color who not only serves as our main window into the story, but into what it means to be a hero in this world. Angela Abar is an ex-police officer who, in the wake of a brutal attack by white supremacists, dons a mask and cape to become Sister Night. A talented fighter and intrepid detective in her own right, she also sports what is possibly the most comfortable, sensible costume in superhero television today (it’s difficult to overstate how exciting it feels to see a female costumed hero who appears as though she doesn’t need the assistance of an entire hair and makeup team to get dressed).

Since most superhero stories still tend to focus on the concerns and anxieties of white male heroes from major urban centers, the very idea of a black woman vigilante from flyover country is in and of itself fairly revolutionary. This is even more true in the world of Watchmen. The original comic never addressed racial politics in any significant way and featured few characters of color. That its small screen descendant decides to do from its opening frames feels like an important step forward. As does the fact that it chooses two women to serve as the axis around this story turns – one entirely new creation and one we’ve seen before. Albeit under very different circumstances.

Watchmen’s third episode, “She Was Killed By Space Junk,” introduces Laurie Blake, a modern day update of the original comic’s female lead Laurie Juspeczyk, the second Silk Spectre. There, she seems to exist in large part because traditionally, superhero teams always featured a token girl, whether it was Wonder Woman, Black Canary, Sue Storm, or Jean Grey. But if Laurie herself is meant as an attempt to undercut this trend in some way, the book doesn’t go nearly far enough in that regard. Like most of her teammates, she doesn’t have any particularly special abilities, but unlike her male compatriots her very identity was forced upon her by someone else (her mother). Her primary role in the story is generally to parade around in an uncomfortable, overly revealing costume and serve as a love interest for two different men. To say that Laurie was the most underused and underappreciated character in the bookhardly feels like an exaggeration.

Her presence in the original story is required to—among other things—motivate Doctor Manhattan to save the Earth, but Laurie gets little agency of her own. In fact, her place in the story is almost entirely defined by other people, right up until the very last panel in which she appears (in which you can at least argue that she finally makes a choice that’s just for herself). In her final scene, Laurie tells boyfriend Dan Dreiberg, otherwise known as Nite Owl, that she’s thinking about going to get some guns, indicating that she’s considering completely changing the direction of her life, adopting a new vigilante identity, and forging a new path. But the story of Watchmen ends just as the real story of Laurie Juspeczyk is beginning, and we never find out what that journey might have looked like or who she would have become.

Until now. Sort of.

The decision to turn Watchmen’s most underutilized original character into one of the television revival’s most fascinating leads feels like nothing so much as a necessary course correction we’ve been waiting an awful long time to see. Because Watchmen hasn’t invented a new version of her character from whole cloth - this is Alan Moore’s Laurie, for both good and ill, simply given her rightful chance to shine. Here, Laurie isn’t an afterthought, but a driving force of the story. She’s whip-smart, formidable, funny, angry and more than a bit sad—a world-weary woman full of contradictions and sharp edges, who can and does contain multitudes. This is someone who knows she was overlooked all along in the story of her more famous superhero counterparts, but has become confident enough in the intervening years to claim that fact as a strength rather than a weakness. She made it, after all, when so many of her compatriots did not.

The story that frames her introductory episode, a long joke left via interplanetary voicemail for Dr. Manhattan, sets her character up as the surprise hero of her own tale, a survivor who’s still standing, even when no one else really saw her worth. And it feels as though that’s a role she’s both fought for and achieved on her own terms, though the question of what she’s sacrificed along the way—or whether those choices have made her happy or more fulfilled—is still up for debate. HBO’s ancillary Peteypedia website offers us a few clues, including a transcript of an interview with Laurie following her 1995 arrest, which indicates that her relationship with Dan, the possibility of children, and the truth about Adrian Veidt’s squid plot are just some of the things she’s traded away over the years.

Since the original story of Watchmen, Laurie has certainly undergone significant changes. She’s adopted her father’s last name, and much of his cynical outlook on life and the idea of masked heroism. In doing so, she’s rejected the Silk Spectre identity she never asked to assume anyway, and made an uneasy peace—or perhaps merely a convenient truce—with her father’s legacy. Now, a leader in the FBI’s Anti-Vigilante Task Force, she works to bring down those who are doing the very thing she used to be famous for. That she still has a complicated and uneasy relationship with her own history is evidenced by everything from her home décor to her sexual aids, and her professional persona seems to rely on both people knowing who she used to be, and pretty much never mentioning it at the same time.

Both Angela and Laurie are complex, complicated women with their own baggage and histories, which is part of the reason watching the two of them circle one another onscreen is both so satisfying and so much fun. How often do we get the chance to see two women over 40 presented not just as equals, but as the driving forces behind any series, let alone a superhero show? Female characters may have gotten short shrift in the original Watchmen, but it certainly seems like HBO has (thankfully) learned from that mistake. In this universe, women are afterthoughts no more, and in just four episodes the difference that fact makes already feels incalculable.

Read and download the Den of Geek NYCC 2019 Special Edition Magazine right here!

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Books

Lacy Baugher

Nov 12, 2019

Watchmen

HBO

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