#the classism was still there but fuck it was tackled better
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the dumbification of jason todd despite all we've seen he's capable of is caused by adult men who dick ride batman so hard i'm sure they get wet at the sound of his name
#stop letting batman superfans write jason comics!!!#the white elitist view needs to stop im so tired#like yes billionaire bruce wayne believes in the redemption of petty criminals more than jason fucking todd-#the child who stole for a living on the streets and whose father was a petty criminal to provide for his family#yes jason todd the kid who grew up in gotham's most forgotten and overlooked area would want death for all small time crooks#i'm so tired#it's genuinely just so disheartening#how on earth was he written better in the 80s and early 2000s#the classism was still there but fuck it was tackled better#now it's just full on classism and dumbification and elitist dickriding#jason todd#red hood#batman#dc#jason peter todd#bruce wayne#dc comics
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The Black Family: Indian?
Inspired by this meta by @narcissa-black-supermacy
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Dani made some really good points about how the Black family could be MENA, and while reading it I couldn't help but notice the similarities between the culture there and the culture in India, specifically Maharashtra.
So many of the points Dani made are so reminiscent of the casteism in India that i absolutely had to make a separate meta instead of rambling in the tags over there.
A few of the points that i want to gloss over are taken directly from Dani's meta so. Let's get to it!
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The first point I want to tackle is how large the Black family is, compared to other Pureblood families.
Yes I know what you're going to say; "but Amrut the Weasley family is also really big". I'm quite aware. The books state quite a lot that the Weasleys are weird for having such a large family. Well, the Blacks have a lot of people in their House, too (before the first world war, that is).
Walburga had 3 siblings, and so did Orion. Orion's father Arcturus had two siblings, and Walburga's father was the eldest out of four. Druella and Cygnus Black had three daughters. Arcturus' father was also one of four.
Indian familes are notorious for being large and complicated. I myself am the eldest of seven siblings, my father has four siblings of his own and my mother is one of three. My mother's father is the youngest of five, my father's father was the middle child of three.
The second thing that struck me was the similarities between the Black Family's brand of blood purism and the inherent casteism that prevails in the Kshatriya Maratha families of my Maharashtrian town.
Listen, listen. I don't give a fuck about the bullshit that the government feeds us about casteism being abolished. It might be "abolished" in theory but where I live, Maratha families are notorious for being hard-core when it comes to casteism and classism.
Caste intermarriage is considered "social suicide", especially if you're a person from an upper caste marrying someone from the lower caste. Sound familiar? A Pureblood marrying a Muggleborn sounds the same, doesn't it? The disowning of Andromeda and blasting her off the family tapestry is very similar to what happens here; disinheritance is very common for people who marry a "lower caste" person.
Casteism has been around for centuries, the same way the Blacks were blood purists for centuries. And keep in mind that the Black family were not your regular pureblood supremacists. Their views have been around for generations, passed down from parent to child. Unlike regular Pureblood "I'm-better-than-you" bullshit, the Black Family's brand of blood purism is so similar to casteism in India that I'm embarrassed it took me so long to realise.
The cousin intermarriage! That is such a huge point!
In many parts of India, marriage between cousins is pretty common. Orion and Walburga are second cousins, if I'm not mistaken.
If we look at it genetically, the people of Ancient India knew that chances of deformation and/or mutation of a child born to first cousins was almost the same as that of a child born to non-related people i.e an extremely low chance. Thus, cousins marrying each other wasn't and isn't considered weird or strange.
You may argue that the Gaunts were also inbred. Yes well, the Blacks were intelligent enough to know how far of a relation must be there between two people. And the Gaunts probably married their own siblings for them to be so inbred.
Now, as Dani said, 12GP being at the heart of Muggle London is pretty interesting.
As she mentioned about the Blacks, they're raging bigots, but they still live in a very muggle neighbourhood in a very muggle region of London.
Exactly like it makes sense with sectarianism as Dani explained it, it also makes sense with respect to casteism. Upper caste (Brahmin, Kshatriya) will mingle with intermediate castes and lower castes. They will talk, they will laugh, they will build friendships and make acquaintances. The different castes mingle a lot. But marriage? No. The Black family is essentially the same.
Like Dani puts it: we can work with muggleborns and blood-traitors.... They are allowed to exist.... remind them who is the boss, but do not engage. We will not marry them, we will not let them into our house.
This is literally what caste discrimination looks like. It's not based on fear or hatred like western bigotry. (I will not elaborate more on this bc the politics are wayy too complicated.)
The fifth point is niche, but it's there: Bellatrix wanting to kill Andromeda, Ted and Nymphadora Tonks because Andromeda "sullied her pure blood by associating with mudbloods"
Let me say this once and for all: honour killings are extremely common in India.
Families hire other people, or they themselves go out to perform honour killings. Many of the honour killing cases that I've heard/read about have been about the daughter/son marrying a person from a lower caste and running away, but being tracked down and murdered by their own family for "dirtying their blood" and "sullying the family name" (yes those are the actual words).
Andromeda's disinheritance was not surprising to me; i have seen people thrown into jail for marrying lower/higher. Obviously, the reason cited in court is not the marriage, no— the person is framed for crimes they did not commit.
Bellatrix wanting to murder her own sister— and actually murdering Dora— sounds so identical to the news I've heard over the years.
The Black Family could be Maharashtrian, is all I'm saying. Just because their slogan is French doesn't mean they're from France. India has several regions where France is spoken just as much as the local language. Like Dani said, kill the idea that French is spoken only in France.
This is all for now. I might come back later with more observations if I feel like it, but yeah. Feel free to flood my ask box with whatever questions you want.
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Tag list:
@narcissa-black-supermacy @the-chaosbringer @in-flvx @padfootastic @gracelesslady23 @mycupofrum @mrunmione @thewinchestergirl1208 @fiendishfyre @ad1thi @prongsfoot-wolfstar @siriuslystarbucks @xxmysticrosexx @ghostie-0 @pan-diasaster @h-m-i-a-n @constant-diablerie @strwbi-laces @shanti-ashant-hai @roalinda @fooochka
#house of black#the ancient and most noble house of black#house of black meta#Indian Black Family#indian sirius black#desi sirius black#sirius black#bellatrix black#andromeda black#andromeda tonks#ted tonks#nymphadora tonks#india#indian#desi harry potter#harry potter meta#i had so many feelings about this after i read Dani's stuff#i really just wanted to spit everything out#obviously this is not very well articulated#but i really dont care#its out there and thats all
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If you were editor of Nightwing's book ever since at least the start of Rebirth to today and you were given free reign, what would your story mandates?
Oh no, this is dangerous. LOL. Hmm, I have no idea what to shoot for here, so I'll try to keep it to ten. That's reasonable right? Ten is good. Yeah. Is fine.
Okay, so, in no particular order:
1) Let Dick be competent 101. None of this him having to play hype man for every other character to pop up in HIS title bullshit. Nope. That's not what they're there for. He's the lead man, LET HIM BE THE LEADING MAN. Like sure, everyone has their areas of expertise, he doesn't need or have to be the best at everything, blah blah blah.....but its about the nuance. All of that is kinda lip service because the thing is, you don't go into MOST comic books and NEED to be reminded of that because the lead characters of those books are all constantly getting saved or shown up or chastised by every guest star in their books, you know? This is a very weird, very niche phenomenon very specific to Dick's character, and I'm super over it. I'm here to read about the guy who has literally been doing this longer than most superheroes twice his age. The guy who's been doing this since before he hit double digits. The born acrobat. The destined ultimate warrior or whatever of Gotham's Ornithological Society Of Murder and Pretentiousness. Gimme that guy. And that guy doesn't need to be 'humbled' every other page, because the thing is, he's not some egomaniac to begin with so the everpresent need to humble him doesn't actually come off as humbling! It just comes off as pandering and not even to actual fans of the actual character, so its like.....wyd DC.
2) Let other people take responsibility for their own crap with Dick rather than always just expecting a mea culpa from him. I'm so unbelievably tired of the words I'm sorry from Dick. I love personal accountability, so I never thought I'd have to say this about a character, but enoooooough. They have made it completely in character for this dude to apologize to everyone ELSE for being brainwashed, getting amnesia, being KILLED, like.....the amount of things he's groveled for forgiveness for when he didn't actually do a damn thing wrong or worse yet, was the ACTUAL victim of is like....pretty damn staggering. And meanwhile, there's nary a peep of apology from the people who regularly insult or belittle him, get physically violent with him, take advantage of him or take him for granted, etc, etc, etc. Its entirely too one-sided and imbalanced, and the pendulum needs to swing the other direction, like YESTERDAY, and in a fairly big way, IMO.
3) None of this Baby's First Social Justice Awakening 101 crap. I'm sorry, but no. Especially not when you go out of your way to acknowledge that Dick is Romani, only to then turn around and act like he's only JUST had his eyes opened to an awareness of like, classism and poverty and the real struggles people face day to day? Sorry not sorry, but especially for other white writers out there, do not use people of color as self-inserts for dipping a toe into Learning To See Past Privilege. And especially when talking about a character who has a history of being actively abused and hurt by the system and institutions of power, or hell, even leaving out that particular origin story, who has still been out on the streets helping people since he was a literal child. You can not tell me that this is his first face to face experience with social issues, or the first time he's had the inclination to try and address those head on. (And its also particularly egregious that the people second-guessing Dick in his own title and giving him reality checks or acting like they have more of an awareness of all this than he does like, happen to all be white? OPTICS. LEARN ABOUT THEM. COMMON SENSE. GET SOME.)
Know what would actually be a better way to approach this? Flashbacks. Show us Dick running into situations that make him think back to a case when he was still Robin, when he and Batman had started fighting over their approaches to things, actually SHOW us those conflicts and how their viewpoints had started diverging, and how much of that was due to Dick not having the same experiences as Bruce, or the same standing in society, no matter what house he lived in. THEN you can jump BACK to the present, with the reminder/awareness that this is something that isn't NEWS to Dick, but that he in the past felt he was forced to make his peace with as something he wasn't in a position to do that much about....only NOW, he's in a very DIFFERENT position, and suddenly it just hits him how he's still acting like he did when he was limited in resources or in having to be part of a chain in command or having to factor other responsibilities into things....now he ACTUALLY has the power and the resources to make meaningful change in the ways he ALWAYS wanted to, but maybe just needed time to figure out HOW.
Like you know what would have made Shawn Tsang's story arc so much better? If Dick didn't just remember her as the Pigeon's one time teenage sidekick he'd briefly fought as a kid, but like.....if he remembered her as someone he and Bruce had FOUGHT about. Because he didn't agree with sending someone to juvie for defacing public property as a form of political protest, when it was someone's LIFE who was going to be irrevocably damaged by that while the damage to the city could be fixed with a check, and what made Dick any more deserving of Bruce's leniency and faith in his potential or underlying goodness than Shawn?
But he was still a kid himself back then, and when Bruce responded with his usual conviction, talking about the importance about rule of law and etc etc, Dick just didn't have the words to get through to him then, to get him to understand that this wasn't just Dick not getting it because he was too young, it was BRUCE not getting it, that Dick was literally just saying well he wasn't too young to have been in juvie himself, and of the two of them, he's the one who has experience there so why was Bruce's opinion on whether this was the punishment that fit the crime the one that got to hold more weight here? When Dick's the one who knows what that punishment actually LOOKS like beyond the abstract, for whom it was a reality that still haunts him in ways that even defacing a few statues of some rich old fucks doesn't deserve?
Or hell, go back FURTHER than when he was Robin. Idk where any of those posts are, but I've always wanted to see something where Dick maybe runs into someone he remembers from his time in juvie, maybe a guard who is like, the source of the reasons Dick mistrusts figures of authority and is so hung up on independence and not being under anyone's thumb, or maybe someone who was in there with him, another kid who looked out for him when he didn't have to, etc. Gimme Dick tackling head-on his firsthand awareness that there's no rehabilitation to be found in a jail for kids, when most of those kids don't even need rehabilitation in the first place and only did what they did in order to survive or escape from worse situations or like, were there purely because of racist cops, etc. Let him go after THAT system, driven by personal experiences and memories that maybe only hit him in full after recovering his memories from the Ric Grayson arc, like they're things that he put in a box in his mind a long, long time ago because he didn't have the spoons or reserves to deal with them when he was a kid still so traumatized in so many ways, like, something had to give and so he put all those memories away for another day and just....never got back to them because life kept hitting him with new and fresh trauma every week.
But now something has him thinking back to those early days in Gotham, and reminding him that not everyone had a Bruce Wayne willing and able to give them an out from that place or acrobatic skills to escape it on their own, and like. You want to do something about the cycles of violence in Gotham and Bludhaven? Why not start with the places that literally MANUFACTURE cruelty on an institutional level, that teach kids that no matter what they did to get put there, even if that was nothing at all, they're all going to be treated the same way and given no reason NOT to do whatever it took to be top dog in a dog eat dog world by the time they got out.
There's SO many better approaches to social awareness in the Batbooks than what we're seeing, and like. Sheesh. The bar is way too low.
4) On a related note, if I'm editor of the Nightwing book, the FIRST thing I'm doing is making it a priority to find a writer of color for that book, ideally someone of Rom descent. Its waaaaay past time to let a Romani writer take the reins on Dick, Wanda, Pietro or Doom, aka some of the only prominent Romani characters out there? You can't tell me that there aren't talented writers who identify as Roma who would be more than willing to add their perspective to Dick's archive of narratives, and if an editor's gotta go looking for them? Go fucking look. DC and its fans have milked a lot of mileage out of the idea of Dick being Romani with very little in the way of nuanced storytelling to show for it in the past twenty years, and if DC wants to trot out little reminders that Dick is Romani every couple years, like in the form of a freaking line that has no follow up or expansion to any degree and is offset by an internal monologue that otherwise reads as incredibly privileged, the least they can do is TRY to expand on that with the narrative perspective of someone they claim to be representing via that character.
And no, this isn't gatekeeping, this is prioritizing. Its not about preventing other writers from writing this character, like just for the hell of it, its about being proactive about finding a writer who can write specific aspects of this character that have long gone unaddressed or poorly represented. And like. Okay. Its not easy breaking into the comics industry for anyone, but its particularly not easy for marginalized writers. Most every major comic book company just recites 'make your own stuff first and then show us that' but when you're a writer specifically, finding a compatible artist to partner with on creator-owned indie stuff first, when those artists are in the same position as you are and apologetically and understandably tend to have to take paying work over yours if you can't pay except on the back end, like....there are a lot of hurdles to getting your start in comic books, and while there are more and more marginalized writers in comics these days, DC and Marvel kinda fucked up, because you know what?
After being told 'make your own first, then we'll talk,' writers DID do just that....but then found out that well, due to the ease of online distribution and access these days, for any writers who CAN find an artist to partner with, its a hell of a lot easier to get their content out there these days WITHOUT a major publisher behind them.....and for a lot of marginalized writers in particular, its worth it to keep full creative control in exchange for smaller circulation. Especially when they don't have to deal with editors 'softening' their work to make it more palatable for audiences that quite frankly aren't necessarily their primary target. So yeah, marginalized voices are becoming more and more present in comics, but Marvel and DC for the most part are keeping the same voices centered they always have, and what these voices have to say is becoming less and less relevant and outdated. Because much like this arc from Taylor, even when they DO dip their toes into story matter that's of interest to wider audiences, they're doing so to a degree that still puts them years behind the conversations everyone else is having.
5) The same holds true of disability representation. I stopped reading Taylor's run for a lot of reasons but his way of responding to people unhappy with his depiction of Babs was a key one. If I'm editor on a book, and someone tweets at one of my writers that their depiction of a disabled character was hurtful because it feels like they're doubling back on everything Babs has ever said about not being defined by or ashamed of her disability and now its being treated like a dirty little secret, and that writer's response is essentially to just laugh at them and say there's nothing wrong or ableist about their writing of a disabled person, TO a concerned disabled person? That writer's ass is getting fired. Full stop.
Either you give a shit about this stuff or you don't. Don't pay your readers lip service about how important social issues are to you and how much you care about using superhero narratives to inspire people on these matters if you're gonna turn around and show your ass the second you don't feel comfortable and prioritized by the conversation, like it wouldn't exist without your oh so valuable contributions. ESPECIALLY if you don't identify as sharing the same identity of the marginalized character you're writing. You are a guest in someone else's lived experiences at that point, and you think you've got the right to belittle and talk down to the people who LIVE THERE? Fuck off, my dude.
6) Re-center Dick as someone who the superhero community RESPECTS. I love seeing Dick depicted as someone who has an awareness of his own limitations and an appreciation for what others bring to the table, and so I'm not opposed to him calling on others when he needs to.....but I also would like to see more of the opposite. But not in the way we usually see it these days, where he's asked to come help with a crisis and then usually second-guessed the whole way, and then sent back home without so much as a thank you when its done. Yawn. Sorry. I've read that story by now.
You know what story arc I freaking LOVED as a kid, back in the 90s? In Green Lantern, when Kyle Rayner first became the sole GL, one of his very early arcs, before he ever joined the JLA or anything....was him realizing how little he knew about being a superhero. He was like, my predecessors all had a full fledged CORPS to teach them everything they needed to know, but I had a few lines of exposition from a funny little blue guy in a red pillowcase and then I was off to the races. That's not good enough. There's so much I don't know about being a hero, I don't even KNOW what I still need to know.
So he went on kinda a superhero training roadtrip. He went to Metropolis to ask Superman for advice, he went to Batman to learn from Batman and Robin (Tim at the time). He went to Wonder Woman, Sentinel (Alan Scott, the first Green Lantern), etc, etc. And in the end, Kyle very much became his own kind of hero who wasn't just a pastiche of all those other heroes and the advice they gave him, but like....this put him on the road to that.
And I'd love to see something like that happen in Dick's solo title. We've seen him train in a team setting, we've seen him train the other Robins.....I'd love to see like, young superheroes from OTHER books, not ones created by the title, but like names people actually recognize from other franchises, like, guest star in Nightwing's book to learn from HIM, specifically. I wanna see something where Wally looks at the latest speedster and is like, you know what, if you really wanna be the best hero you can possibly be, then Nightwing's who you gotta go to, because there's no one I trust to make a better hero out of someone than him. I want the newest kid on the JLA block to worry that people aren't taking him seriously because of his age or experience, and he's always hearing them talk about Nightwing and how young he was when he started and so if anyone knows something about how to gain the respect of your older superhero peers, that's the guy to talk to.
Gimme Dick's couch being crashed on at various times by a half dozen new or upcoming young superheroes who all heard or figured out that if they really want to up their superhero game, Nightwing's the guy to see.
7) Bring back Bea. There's no long paragraph expansion on this, its really simply. Bring back Bea. She was one of the freshest breaths of air in Dick's supporting cast in ages, most of the current run is based off her character direction in the first place, she's literally the best suited TO help Dick in this venture, and the reasons they gave for writing her out of Dick's life were all bullshit and they just wanted to focus on his previous relationships, which would be fine if they didn't fall into the same two endless cycles of bring back up, go nowhere with, awkwardly avoid each other for years, rinse and repeat. Like. Bring back Bea, please and thank you, the end.
8) Focus on new villains. Heartless is meh, but the idea of new villains is still better IMO than rehashing Blockbuster, Zucco, etc. Like, nostaglia ain't it. If I want to read Blockbuster fucking up Dick's life, I can do that. They're called back issues. The thing is, love it or hate it, the Blockbuster arc WAS iconic. It left its mark. And anything that doesn't leave just as much of a mark, if they're going to bring him up again, is just gonna be a waste of time, you know? It'll just dilute his overall presence when like, what he was - worked fine as is. We don't need Round Two.
The trick to good villains, IMO, is they have to speak to a fight that needs fighting.
What I mean by that is....the best villains are those who resonate on a more instinctive level because they embody something that already exists in a reader's mind as a conflict that needs fighting. Like, if superheroes exist, if the embodiment of larger than life presences and forces devoted to protecting the world from various things are real....then their villains need to embody the kinds of fights or conflicts that NEED larger than life figures to combat them, at least on a one to one level.
Look at Superman and Lex Luthor. Superman at his core embodies the strength of community. He's the ultimate hero of the people, his essence is that he was the last survivor of a doomed race who was raised by two honest, hard working people to see the beauty in just being ONE of them, in using what he had on behalf of all of them and not just himself. In contrast, Lex Luthor is basically the embodiment of capitalist greed, of excess, of the entitlement of being able to have anything with a snap of your fingers and thus assuming that gives you divine mandate to make the kinds of choices that he sees as only his right to make.
He hates Superman, ultimately, because Superman is the WRONG savior of the people. He wants their only savior to be HIM, half the time he honestly believes he's saving the world FROM Superman, but just as often he's perfectly content to be the villain and not shy about it....because Lex Luthor's ultimate motivation is he wants everyone to know when he's dead and gone that LEX LUTHOR WAS HERE. He genuinely doesn't care WHAT his impact or legacy is at the end of the day, just that it exists and it overshadows most everything else...because all that really matters to him is the irrefutable proof that HE mattered. And thus at their cores, Superman and Lex are perfectly opposed. Ideally situated to eternally be in conflict, their own forever war, because their core natures are incompatible. They CAN'T compromise, without compromising themselves and essentially ending up as someone totally other than who and what they are already.
And you can go down the list. The Joker is the chaos to Batman's order, while Mr. Freeze is the stagnancy of that order taken too far, he's what you get when you freeze everything in your grief and refuse to let anything go on, anything new grow, because that would mean having to admit once and for all that what you're mourning is really gone. Two-Face is the ultimate embodiment of Man vs Self, a once good man at war with his own worse nature, and reminding everyone who looks at him how easily they could fall to the same fate.
And so on and so on. What Dick needs, is more of the same. Like, as much as I'm not a huge fan of Talon stories, I maintain that the Court of Owls were a great foil for him - just they tend to be poorly used in canon as well. But I also think how poorly they come off in canon has a lot to do with canon not really touching on WHY they're such a perfect foil for Dick....and that's Dick's history with being outside the system, mistreated and even exploited by the system. Because the Court, their core concept, is they ARE the system. They are entrenched, enfranchised, institutional power, passed down through generations, dynastic control that is a perfect counterpart to the dynastic power of the Wayne family, embodied in its youngest generation in the form of Bruce's FOUND family, the children he adopted regardless of whether or not his peers found them deserving of that honor. The Court, and their entire....thing...about the Gray Son, is the entitled fury of those denied something they deem theirs simply because they WANT it, and who will burn the whole world down rather than admit defeat or let someone else have it instead.
And that resonates. It could resonate a lot MORE if DC would actually lean into those concepts and allow Dick to explore how the Court are nothing he's not used to, they're literally made up of the same people who have looked down on him ever since he came to Gotham, but now they're actually a face and a name put to all those attitudes, something he can literally FIGHT BACK AGAINST. The Court are literally human-sized embodiments of everything and everyone who's tried to confine Dick since his parents' deaths, tried to define him without his permission, tried to make him other or lesser than who and what he is.....and who thus now exist in a form that Dick can literally BATTLE. So that he doesn't HAVE to just take this stuff lying down.
Thanks to the Court, he doesn't HAVE to just passively accept it, that this is just how life is, that some people are going to view him this way and think this about him and there's nothing he can do about it. He CAN do something about it, in superhero stories. He can kick its ASS, in the form of the Court of Owls and everything its members think about him and intend for him. He can refuse to bow down to them, to accept their mark on him. He can say lol, no, and then blow their shit sky high, ideally with a little help from his family. He can BEAT them, in this incarnated form, and in doing so, even though he can't beat everything they stand for and represent, that victory still matters, still means something symbolic to readers it resonates with.
And that's what we need more of. Villains created specifically to embody concepts that are diametrically opposed to Dick and what he represents. The system, yes, but also villains who embody the kind of tyranny and control he fights back against in his constant battles for autonomy and self control. Villains who embody the 'new hopes' of a second generation just like Dick himself is the focal point of the hopes embodied by the second generation of heroes. I'm actually not the hugest fan of multiversal constant Dick Grayson, but I might like it more if he had an opposite number there, someone he was specifically contrasted with. Idk.
But you get it.
9) Dick having a social life. Gimme the Titans and his siblings showing up JUST to show up. We have room enough for at least a couple pages every other issue where we just get to see these characters having some breathing room, taking a beat to stop and be something other than just a superhero, to be human as well. There's more to life than 24/7 fighting, even for them, and that's largely been lost in modern superhero comics, which kinda sucks, because that was what made most of the more iconic and lasting dynamics between various characters like, STAND the test of time. The larger than life battles between good and evil might be what many of us come to superhero comics FOR, but the relatable back-and-forths and ups and downs of their private lives spent with friends and family tends to be what keeps most of us coming BACK. And lately its all just mission, mission, mission, and I'm like blah, blah, blah and its like, meh, meh, meh. Y'know? Give the guy some down time, and let his friends come spend it with him.
10) Boone. This is purely self-indulgent, but if you know anything about me, you know my obsession with Robin: Year One, Dick's brief time at Vengeance Academy, and the hate/hate relationship he has with his brief frenemy from that period, Boone aka Shrike. This character has SOOOOO much potential to be Dick's true archnemesis and rival, and like. *Sobs* I can't get into it all again. Its too much. I can't do it.
Okay, I absolutely can. And will, probably. But like. Later.
BONUS ROUND:
Other thing I would absolutely insist upon if I were Nightwing editor....
GET THAT FUCKING MEME SHIRT ABOUT BRUCE SLAPPING DICK THE FUCK OUTTA HERE.
Like. Seriously. WHAT THE HELL. Why would you double down on THAT? Why is Babs STILL wearing it? (Last I checked, like I think I saw it in a scan from last issue? I'm pretty sure its still there? If not, forget this entire rant, and I am very embarrassed. Okay not that embarrassed. I don't really care if I'm wrong here but like, in case I'm not)...
WHY. Who thought that was funny? No, seriously, on behalf of any other abuse survivors who like me are SERIOUSLY not amused, who the FUCK thinks its FUNNY to have one of Dick's best friends sporting a shirt that no matter what it represents IN universe, to readers OUT of universe, is always going to call to mind the fact that this meme only freaking EXISTS because of all the times DC has obliviously and without acknowledgment written Bruce abusing his children, including the BFF that Babs is literally wearing that right in front of.
Like omg do you hate her, DC? What other possible reason could you have for thinking that would be a cute, funny thing for her to wear around the guy getting SLAPPED, by his DAD, in your shirt's iconography.
Okay I'm done.
LOL.
Sorry, that last one was brewing for awhile. Deep breaths. Woo.
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[image description: three monstera leaves. The leaves and wall are tinted purple by string lights behind the plant. In the middle, in a white serif font and all caps, reads “LIFE CYCLE OF MASSIVE STARS”. At the bottom, in the same font but smaller, reads “update #1″ /end id]
LIFE CYCLE OF MASSIVE STARS | UPDATE #1
Before I start, this is an autistic OwnVoices novel and it’s Autism Acceptance Month! Remember that awareness is passive and acceptance is active. And whilst this book is autistic OwnVoices I want to stress that it doesn’t cover the full autistic experience; autism is so individualistic and this story only stems from my experience. Make sure you to listen to all autistics, not just those who can speak and live independently and present in a way that suits neurotypical society. Support autistic creatives and if you’re also a creative, include autistic characters in your work! Autism is not a disease. It does not need to be cured.
Hey y’all! This has sure been a week! I gave myself the goal of 15,000 words for Camp Nano and somehow hit that in 5 days? I have literally never written at that pace before so I’m a little shocked lol. I don’t intend to keep that pace but the momentum has made drafting very fun and? drafting this has been a literal dream. I was really worried because March was a month long slump I expected to carry into April. I want to disclaim that I’m currently out of school and work because of the pandemic so I have all the free time to write and that definitely contributed! But also as a neurodivergent and disabled writer, free time does not always equal writing, so to know that I am capable of writing like this, even if not always, it is Such a gamechanger. Also this story makes me miss University so much I actually can’t take it :(
LCOMS has been a dream so far because the protagonists are all characters I’ve had for 5-8 years, and | spent those years struggling to figure out their stories. Even when I settled on this story, originally Patchwork, there was like 4 versions of it before I landed on this - none ever drafted beyond a couple thousand words because they just Never Worked. But the wait was worth it because holy shit I feel like I struck gold. This story feels so me, it’s so much fun to write, and I don’t think a story has come to me this easy before. It’s given me such a zest for storytelling again that I didn’t realise was missing. I’m slowing things down now because creative boundaries and self care >>>>, but I just passed 19k words - though some of the chapters are very unfinished because my priority has been mapping out the story’s skeleton as far as I can, then filling in the gaps based off what I learnt. I wanna put a passage before the cut so it’s not just me rambling about bullshit and no content, but it’s hard to pick just one, so here’s a non-linear scene that I :) cannot elaborate on :)
(CW: alcohol)
[image description: the side of a ferris wheel against black sky. The wheel is lit white, but at the bottom it’s coloured a mix of pink, blue and green. At the top, in a white serif font, reads “The ferris wheel lights blur between turquoise, magenta, mint, lavender, casts the puddles into technicolour. “ /end id]
Picture this: December 17th. End of term. End of year. Cloudless night, stars winking. Fargate glows, market stalls lit by yellow fairy lights line the street like candle stubs, gently burning. It’s raining. It has all day. Dampened your new beanie and scarf but you’re not mad, even if you’ll cringe at the texture when you take them off later. The ferris wheel lights blur between turquoise, magenta, mint, lavender, casts the puddles into technicolour. Your eyes and feet ache, but you’re not mad. And the mulled wine that buzzed warm in your bloodstream now coils in your stomach, but you’re not mad. You’re queuing for the technicolour wheel, even though you know it’ll be underwhelming and a waste of £4, but you’re not mad. Chocolate is usually too sweet for you, but he bought a pack of snowflake shaped ones - each carved with their own design - and when he passes the paper bag over you don’t say no. They taste like raspberry. He grins at you.
I have once again written a long update because I am autistic and have no self control; more excerpts and chapter-by-chapter rambles are as usual under the cut!
(content warnings are specific to the respective excerpt, but as a general warning there’s a lot of alcohol mentions!)
Originally I wanted 3 parts for 3 semesters, but I might do 2? Especially because in the UK at least the spring and summer semester kinda blend into one. The chapters are grouped by 3 - one for every POV character - but that’s more to help with writing because I get more done if I break it down like that, but I also like how it’s shaped the story structurally.
Sometimes the three chapters will be each of the character’s POV on a single event, sometimes they’re more individual but still follow a general idea (for example, one of them is how each character’s first three weeks of the semester goes). As usual for me the plot here is ~non-existent, especially at this stage, but everything is still connected and threaded together and thats all we really need. The chapters are also pretty short at the moment, none of them are over 3k and only tackle 1-3 scenes. This is something I feel is working really nicely now but I’m not gonna commit to it for the entire novel. I like chapter length variety! But right now we are just going with the flow :)
The most unexpected part is this being in second person, which I decided impulsively the night before Nano because I have :) zero self control :). I was unsure if it’d work in Multi POV, but it’s created such a unique tone that I can’t imagine the story without anymore, even if it’ll need tweaking over drafts. I think it suits the story so well! I’m just torn about it being in past or present, so if you see tense jumps in the excerpts no you did not <3 I’m not naming chapters right now beyond the character’s name, but part one is titled Growing Pains.
[image description: photo of a city at night. To the left are skyscrapers with lots of lit up windows behind a chain-link fence. To the right is an unlit building. Near the middle is a bright streetlight. In the middle, in a white serif font, reads “growing pains”. /end id]
1: Tomas
We start in the most overrated part of Uni, fresher’s week <3 The drinking and clubbing culture of UK university is a big part of this novel but in a way that’s like “hey this can be fun sometimes but sometimes it’s really not and it’s also really not for everyone.” Our three POVs go to a club night and really don’t care for it. Tomas does not want to be here, is in a weird as shit mood, and instead of looking for his friends he goes to the smoking area with a man he just met called Damiano. I really wanna rewrite this because I wrote it with Zero Idea of where the story was going, so here’s the one part of it that I consider salvageable <3
Damiano shoves his phone in your hands, brightness puncturing darkness. You hadn’t noticed the dimmed lights until then, but the room blued, music and time slowed. Though his notes are on dark mode, his phone brightness is on two fucking high. Your eyes sting. Cracks travel up the screen like veins.
Each character also has a specific image they keep seeing in things that are never actually there and they all make me like 🤠 hey besties what do these mean are you okay?? I Do Not know what they mean yet, but Tomas’ is veins. (Also shout out to me for finally settling on a spelling for his name after 5 years and by that I mean thank you to my friends for peer pressuring me into choosing Tomas lol)
My absolute favourite part of this story is the character voices. They are all SO fun to write, and I feel like I settled into a good combo of My Literary Prose Bullshit and they’re very specific, often very sarcastic voices. They also say fuck like, so many fucking times. RIP to me if I decide to query this <3
2: Kristen
Okay first off Kristen is THE funniest character I’ve written. He is SO fun. I wish I was his bestie but he’s also been my bestie since 2013. We meet him in the gender neutral bathrooms being annoyed by a very rich and very tone deaf girl. Classism and the UK class divide is one of the biggest themes of this novel, and Kristen is a very proud working class Northerner (the North is massively underfunded and unsupported by the Gov compared to the South) and cannot stand the Tories (Conservative Party). Extremely fucking valid of him
(CW: blood)
“I’m Floss. Florence.” Of course she was. Fucking Florence. “Where are you from?”
You don’t look at her. Eyes on your reflection, the glittered cheekbones. You busy yourself with your eyeliner, gliding the pen over gaps and smudges that don’t exist. “Barnsley, babe.” It’s only a half lie this time - if you tell her you were born in Liverpool she’d probably look at you like you’re a dead rat on the side of a dodgy alleyway. But maybe that’d be better because then she’d leave you the fuck alone.
“Oh! That’s like well close isn’t it. I’m from Reigate.” Her voice breathes trust fund and Waitrose, tries to speak like it doesn’t. You try not to laugh.
“Reigate! I bet your parents are right little Tories, aren’t they?”
She playfully slapped your shoulder. She thinks you’re friends. "Not every rich person is a Tory!” Don’t roll your eyes don’t roll your eyes don’t roll your eyes. “Is that blood on your hands?”
“Huh?” You look: faded red dye dried to your palm, blotted on your fingertips. It is dye, because your hair is as of four hours ago a fierce “Real Red”. But it could be blood. “No, it’s hair dye.”
If you think he’s being harsh, she literally calls him a slur like 3 lines after this <3 Fuck rich people half of this book is me clowning on them.
Kristen’s recurring Imagery is blood, except sometimes it’s less clear if it’s actually blood or not. Once again, besties are you okay ????
3: Junie
Junie my beloved <3 love her so much. She finds Kristen in the bathroom, and they agree to look for Tomas, until Tomas texts to say he already left. But the biggest part of this chapter is the absolute crisis she has over kissing for a girl for the first time to ABBA :)
(CW: alcohol)
[image description: a disco ball against a red-purple background. The disco ball casts dots of light against the across the ceiling. At the bottom, in a white serif font, reads: “Dancing Queen bounces against the walls. The disco ball casts specks over the ceiling, floor, walls, your skin, hair, eyes like broken glass.” /end id]
You don’t listen to 80s music, or 70s, but this room is smaller than the main floor, not claustrophobic, less freshers. Yet, even without the mask of a crowd, nobody notices the girl in the corner kissing the other girl. A girl you don’t know. You’d only gone up to her because she has purple hair and you had to tell her how much you love it - what dye is it? Professional or homemade? Did you have to bleach your hair? Professional or homemade? Will your hair fall out if you bleach it at home? If you dye your hair purple, do you become part of the Milky Way or part of Andromeda?
She turns and sticks her tongue out to display her fresh tongue piercing, like a silver bullet lodged in flesh. “Dance with me, you look lost.” She has an allure to her, the Andromeda hair, the bullet in the tongue - do you want to pull it out with your teeth, or lodge it in your own skin? But she asks you to dance, and you fall into her orbit, if only for a few songs. Dancing Queen bounces against the walls. The disco ball casts specks over the ceiling, floor, walls, your skin, hair, eyes like broken glass. Her tongue in your mouth, yours in hers, bullet grazing against your lips. She tastes of vodka and cherries and metal.
I really, really feel for Junie. She’s recently out, and she’s only just navigating what it means to exist as a lesbian. She kisses a girl and immediately regrets it, because she’s a hopeless romantic and was hoping her first kiss with a girl wouldn’t be in the back of a club, but she also doesn’t regret it because it was a good kiss and they’ll never see each other again lol. Junie’s recurring imagery is glass and once again, besties are you okay
4: Junie
I don’t know how I feel about back to back POV chapters but that’s just how this set worked. The next 3 are immediately after the events of the first 3, after they’ve all left the club. Kristen and Junie walk home together, and most of this and his subsequent chapter is establishing relationship dynamics and <3 this story made me love writing dialogue y’all. This story has a lot of dark elements, so it’s really refreshing to be able to have the light-hearted moments as well. Like these characters are all going through it but they’re also Gen Z 20 year olds who grew up using humour to cope like what else are they meant to do
“We should’ve got that flat on Brunswick. It’s literally down the street from the SU - we’d just have to walk down a hill and then we’d be home.” He complains.
“Kristen, that flat had a rat problem. I saw one scurrying behind the oven.”
“Yeah, and we live with Tomas Meijer now, so what’s the difference?” He faces you, walks backwards, grin plastered on his face.
“That was mean.” You feign annoyance. You sound like a schoolteacher.
“It’s just how we are, you know. The love hate relationship. Like night and day or some shit. I’d kill for that boy but like, he’s still a rat. He’s the same to me - did he tell you he called me a malnourished ferret once in first year? In English and Dutch. Don’t even remember what it is in Dutch but he really came at me with two knives like that.”
Kristen and Junie don’t really know each other well - Junie is Tomas’ friend from class and Kristen and Tomas met in dorms, and a series of shitty housemates in second year brought them all together. It’s funny because I really worried Junie would end up with no clear place in the group and more like a third wheel to Kristen and Tomas but as I started writing I realised that her and Kristen are gonna become besties like. Instantaneously. Love this for them <3
5: Kristen
Essentially mirrors the last chapter. Him and Junie arrive home and have a heart to heart in the living room about gender <3 I love this for them <3
6: Tomas
Tomas goes home with Damiano and they hook up, which is very out of character for Tomas so it’s like his I Am So Random. I Can’t Believe I Just Did That moment. Damiano is a really sweet dude though it’s all good, but he’s here to stay and I can just tell it’s gonna get messy :/ I actually really love how this chapter came out but whilst I have no problem with reading or writing non-explicit sex scenes I’m also like a would rather die than put that on tumblr dot com oops
7: Kristen
we’ve skipped a week ahead to the day before semester starts, and the next three chapters are basically like a character study of where each of them are mentally. It’s not the best :/ This is also the point where Day 1 Of Camp me had literally no idea what I was doing. LCOMS is different from the way I pants Revelations, Revelations because with the latter I find it much easier to brainstorm scenes in my head but with this one, it really is a surprise until I open the doc. It’s created some really interesting moments though.
Kristen visits an amateur photographer friend named Kasia to model for her. I struggled to find anything that included info I’m fine with sharing, but I learnt a LOT about Kristen and his mental state, which was surprising since he’s lived in my head rent free for 8 years now. It’s messy <3 The summary: he sees himself as a mannequin, and he decides that he likes it that way, but he also doesn’t know who’s moving his joints into poses. Bestie???
8: Junie
Junie unpacks her room a week after moving in. Autistic queen <3 This is one of the unfinished chapters, and I have zero motivation to finish it because there’s a scene missing and I cannot for the life of me figure out what it is. The gist of it though is she FaceTimes a friend from secondary school that definitely was her gay awakening that she only realised was her gay awakening in the last year. Messy <3
9: Tomas
One of my favourite chapters. It’s split into two halves, a light-hearted moment of all three housemates at a superstore because <3 grocery store scenes my beloved <3 and then Tomas’ Everything Is Bad exploration at the end. There’s a moment in the first half where Tomas and Kristen have a heart to heart in the candle aisle, and Tomas asks Kristen where he thinks they’ll be in their thirties. I winged this in a sprint and I’m obsessed with it, it’s all about the ~dynamic~
“Well, he has student debt for one. But that’s not on him. That’s on the Tories. But I like to think they’ll be out of power by then. Boris might even be dead, if we’re lucky. But again, not on me.” He’s quiet again. You watch him think. “He’d be a music teacher probably, or an English teacher. But like, a cool one. He doesn’t teach secondary school because he doesn’t hate himself. Maybe a Sixth Form, or even better a Uni. His students would love him because he’d be able to take a joke and also like, not hound on them for having mental illnesses or life struggles?” Neither of you look at the aisles anymore, just circle the home section of Big Tesco. “He’d also do a lot of charity work. He has a foundation-charity-thing for queer and autistic kids to get accessible music lessons, because creative therapy is like, the best thing - besides Prozac but I digress - and it’d be better than the old white men from CAMHs who act like you don’t exist by your eighteenth birthday. And he’d have a cool little flat in Sheffield where the landlord lets him paint the walls so every room is a different colour. Turquoise kitchen. Magenta Living room. Lavender bedroom. Mint bathroom.” He looks at you like he forgot you were there. “You really let me ramble like that in the middle of Big Tesco, huh? That felt like a fucking therapy moment.” He laughs a little, like he’s nervous.
“Nah, it was a good answer. Maybe if Tomas-in-his-thirties doesn’t move back to the Netherlands, he’ll rent the apartment next to Kristen-in-his-thirties.”
Kristen pouts. “Aw, you don’t wanna be my roomie anymore?”
“No, you called me an animal for eating pineapple on pizza.”
“Deserved. And you called me a malnourished ferret.”
You smile. “You’re not gonna let that down, are you?”
He smiles. “Of course not.”
Kristen tells Tomas he knows Something Happened to him over summer, and gets him to promise to tell him when he’s ready. The second half of the chapter takes place back at the house. Tomas is grieving, and it’s starting to creep into all elements of his thought. In this one specifically, he’s reminded of his top surgery and his memories in the hospital for that starts to blend with his memory of being in the hospital to grieve. Tomas is interesting as trans rep because like, he is trans rep curated for me specifically <3 Tomas was a huge comfort character for me when I was younger and when I realised I was trans, I looked at him and was like oh. He had a very smooth coming out and transitioning process (bc mine is the opposite and I need to project :) ), but right now he views his transness as like, a chapter of his life that was important but is now closed, so he doesn’t think about it a lot anymore, but the combo of grief and its mental impacts causes him to think about it more and he realises he has a very unhealthy internal relationship with his transness. Whilst the big idea at the start of Tomas’ arc is to show trans peace, I really wanted to take a moment to acknowledge the grieving process that comes with being trans. Literally the moment that made me realise “oh god, this is real and I can’t ignore it” was googling “im scared i might be trans” and realising how normal those tangled feelings are. Tomas’ experience of it is only fleeting, but I wanted to show that it’s normal. That being said, there’s no transphobia in this story. It is ultimately a Trans Peace story but also a trans story that, for me at least, is realistic. And the thoughts don’t last long, because his mind circles back to the grieving process.
(CW: graphic surgery and hospital imagery, vomit mention, death)
[image description: a darkened picture of an empty hospital room. The only light comes in through the window through thin white curtains. In the middle, in a white serif font, reads “ Scalpel gliding across the chest; were the cuts they made as thin as the line between surgery and autopsy? “ /end id]
Picture this: The hospital room. Clinical lights like exit wounds in the ceiling. Everything hurts. Haven’t slept properly in weeks. Can barely eat without it coiling and tangling in your stomach only for nothing to come up when you heave over the toilet. Messy hair, sunken eye bags. Dull eyes. The hospital room. The hospital halls. The hospital waiting room. The hospital car park. The drive to the hospital. The sleepless night before the hospital visit. The locked in the armchair next to the phone waiting for the hospital to call. The silence shrills harsher than the phone’s ring. But ask yourself this: who’s in the bed? You or him? The memories are different but the same. Oil and water. Shouldn’t be mixed. But it’s hard not to. Picture the two of you on the operating table and on the metal slab. Too far from reality to feel skin slice. Scalpel gliding across the chest; were the cuts they made as thin as the line between surgery and autopsy?
There’s a lot of paragraphs in the story that start with Picture This:. I have no idea what it means, it just reads cool lmao
10: Junie
we skip around 3 weeks now to see how the kids are dealing with the start of semester and well. They’re managing! Junie actually has a good chapter here, because she experiences Baby’s First Queer Class Crush
[image description: a purple sunset with a large pink cloud. In the middle, in a white serif font, reads you notice her background is of a purple sunset. You wonder if purple is her favourite colour like you and if she took it and if she likes photography and if she’d take photos of you “ /end id]
You listen, touch type your notes without properly processing the words yet, but instead of studying the PowerPoint, you study her: how she tucks a strand of black hair - free from her messy bun - behind her ear. The three studs in her earlobe, three little gold stars. The way her eyebrows furrow when she’s confused, and the way her face relaxes when she figures it out. How she touch types like you, how her two brass bracelets jangle and how you’re the only one that hears it. She minimises Word briefly, and you notice her background is of a purple sunset. You wonder if purple is her favourite colour like you and if she took it and if she likes photography and if she’d take photos of you. Lavender polo shirt, lavender perfume. She doesn’t wear make-up, but a tiny black heart sits under left eye.
Junie’s dreams of a photographer girlfriend are quickly shattered when she admits the photo’s from Pinterest, but otherwise this is so <3 the sapphic crisis of it all.
You walk out together, and she tells you she only got into Sheffield that weekend, and it was a nightmare to explain to the tutors why. “It’s like, they forget we have lives sometimes. Lives we can’t control.” She shakes her head. “It’s okay now though, I’m here now.”
You almost trip on the stairs up to the main floor, and her hand is warm against your wrist. Your cheeks redden, but she just asks if you’re okay, smiles when you are. Tells you she’s late for a seminar, but it was lovely to meet you. Thanks again for the lecture notes. Calls you a lifesaver. Fades into the between-classes rush. You’re glad she’s here now.
again she is so <3 i get it babes i get it <3
In other news, at the end of the chapter Kristen drops the most relatable line of the entire fucking book:
“You know how like, when it rains, all the worms come out and do a funky little dance? Yeah so basically: the rain is LIT3001 right. And the worms are all of my mental illnesses.”
11: Tomas
Tomas turns 21 on October 13th so naturally like anyone in his early 20s he has multiple crisis’ about it. I still haven’t figured this chapter ~out yet but it sure exists! It just sucks the same way it sucks to be a young adult in the late 2010s. But here’s Kristen being the most relatable character in the book again and getting bullied for it :/
(CW: alcohol)
"I still can't believe you both do a science. Like, it actually baffles me - I could not be more further from that." Kristen refills his glass, measures the vodka level with his index. "Just a babe and his silly little BA against the world."
"You know if you wanna be a BA babe you have to actually, like, graduate."
12: Kristen
Kristen is personally like I will pretend my degree does not exist and honestly? I get it King. He visits his Dad, since he only lives 30 minutes away, but most of the chapter is him thinking about Tomas and their messy friendship and the fact that Tomas is kinda ghosting him despite literally living together :/ Anyway here’s Kristen’s cat :)
Mar snoozes on your pillow, half curled like a croissant. Orange fluff against grey sheets, and you’re not mad at the fur debris she’ll inevitably leave. Her head pops up when you sit next to her, “you forget about me yet?”. You scratch her head and it’s like you’re 12 again and you don’t have to worry about rent or degrees or masters applications or careers or groceries or housemates and you haze through Sundays snoozing in bed with your new kitten. Technically she was a birthday present, but dad couldn’t wait an extra month to adopt her. Said he saw it in her eyes at the shelter, that she belonged here. You named her Marmalade because you were a dumbass eleven year old and also thought marmalade was the shit back then. She stretches her legs and yawns. Plops her head back down, back to sleep. “Yeah, me too.”
13: Tomas
The next three chapters centre around each character’s Halloween, because <3 Halloween my beloved <3. Tomas’ starts off with him and Kristen being ~homoerotic and him being a ~disaster about it.
w[image description: a photo of a blue planet - Neptune - against a black background. In the middle, in a white serif font, reads “You don’t know which palette he’s using, but you remember his favourite is space themed: Mars red, Neptune blue, Jupiter orange - you try to guess which planet he thinks looks best against olive. He taps the brush against the palette. Imagine the planets. How they dandelion in the air.” /end id]
When you sit in front of him, your knees press together. When he tilts your head up, thumb on chin, nail grazing the curve of your lip, his hand is ice on your skin. He studies your face, you close your eyes. When he pulls back, you swear you still feel his thumbprint on your skin. You don’t know which palette he’s using, but you remember his favourite is space themed: Mars red, Neptune blue, Jupiter orange - you try to guess which planet he thinks looks best against olive. He taps the brush against the palette. Imagine the planets. How they dandelion in the air. He holds your head in place, hand sprawls over you cheek like veins. Brushes colour into your eye socket. Underneath the radiator, your phone buzzes twice. Don’t say anything. Ignore your heartbeat.
(before this Tomas threw his phone at the radiator because someone texted him :) yeah okay mood :) )
this story is really about the ~gay disasters and also the ~dialogue
You flop onto your bed, arms crossed over your face. “I dunno. I might just print off all the emails Uni's sent me about my dissertation. Staple them to a jacket and tell people I'm going as mental illness."
"Tomas, if you want to go as mental illness then you don't need a costume at all."
Unfortunately the rest of the chapter is not as fun because plot had to happen but this first scene was :)
14: Junie
Junie is not a fan of Halloween so she gives up halfway through the night and invites the girl she met in her lecture over to bake cookies at 1am instead. Fellas is this gay?
(CW: alcohol)
The girl in the kitchen brought cookie cutters in pink Tupperware. She explains she’s had them since she was eight, but she hasn’t had a chance to use them this Autumn. She has seven: cat, butterfly, crescent moon, heart, three stars matryoshka’d together. “I have more, these are just my go to ones. I’m a bit of a collector.” She lines them up on the counter, you trace the outline of the cat. She says she didn’t want to bring too many, but she likes having the options with no plan, the potential. You want to tell her that, after you invited her over, you spritzed the counters with lavender surface cleaner twice and tucked the discarded vodka and raspberry liqueur bottles in the cabinet you can barely reach. You piled unfolded laundry into your closet and hid drooping plants behind your closed curtains when you had zero intention of her inviting her to your room. You want to ask her why she said yes, why she replied in two minutes at one in the morning, and you want to ask her why people feel the need to cookie cutter themselves into a false potential. She asks if you want to bake with coconut or chocolate chip.
she is actually such a disaster around girls i love her so much
The girl in your kitchen clears up glass that isn’t hers. You drop the measuring jug and it fireworks against tile. No shards lodge in your skin. Whilst she cleans, insists that it’s okay, you brew peppermint tea because you insist it’s the least you can do. The girl tells you a story about how she did the exact same thing, when she was nine, and her mother shrieked so loud the neighbours banged at the door a minute later. She laughs, muted. You apologise again. She insists it’s okay again. Rain hardens against the window, looks like TV static. You breathe in the peppermint steam.
The biggest thing I’ve learnt since drafting is that, at it’s core, this is a love story. And that makes me so excited because so many people, especially in mainstream media, still think that autistic people are incapable of love - or even worse, undeserving.
15: Kristen
Kristen’s favourite holiday is Halloween so naturally on his special day I had to make him go through it :) I can’t share a lot of this, but it feels right to end this beast of an update on this beast of an excerpt because it came to me out of absolutely nowhere and it is one of my favourite passages I’ve ever written OOPS
(CW: death, parental death)
[image description: a cluster of stars against a dark blue, almost black sky. In the middle, in a white serif font, reads “You want to ask your dad how something can end if for you it never began, but he’s asleep in his armchair back home. You look at the stars. You wonder if any of them are her.“ /end id]
You’ve mapped Sheffield’s streets since 13 so you know you’re walking the wrong way. This isn’t the way to Crookes. This isn’t the way out the city centre. You should order an Uber. You keep walking. You stop at a crossing. There’s no cars. You don’t cross. The traffic light flashes red and bleeds on your face. The stars are out tonight, and now it’s 2004 and you’re in the lounge with Lion King in the VHS. You’re off sick and your neighbour - Mel, recently retired, recently widowed - nurses a glass of brandy in your dad’s armchair because you don’t know it yet, but he can’t afford to miss work. You’re sprawled on the dusty-red rug when Simba and Mufasa sprawl in the grass and Mufasa tells Simba that all the stars are the Kings of the past and they are watching over him. You ask recently retired, recently widowed Mel if that’s true; her smile is happy but her eyes are sad and she says “yes, and not just Kings. Nobody leaves Earth, they just move to the stars.”
Ten minutes later, Mufasa is flung off a gorge’s edge; you haven’t studied storytelling yet, but you understand those two moments are connected. And when you relay this to dad over ready made pasta that evening, you ask him if people really live in the stars: Sometimes, when they can’t live here anymore. Then you ask if they can come back from the stars: No, but people remember them. They’ll tell stories about them, so people don’t forget. Then you ask if memories and stories are like stars: A little. Then you ask why they can’t live here anymore: It’s hard to explain, Kris.
After dinner, he lets you play on the plastic slide in the garden as he scrubs the dishes. You climb to the top and try to see faces in the stars, but it’s too cloudy. And after that but before bedtime, you’re sprawled on the dusty-red rug again, and Lion King is in the VHS again, and as Simba and Nala are bathed by their mothers again, your five year old mind connects what’s different about you. You go to ask dad about it, but he’s asleep in his armchair. It’s 2018, you’re stood on a phantom street in Sheffield. You want to ask your dad how something can end if for you it never began, but he’s asleep in his armchair back home. You look at the stars. You wonder if any of them are her.
And I usually don’t do this, but I think the playlist for this wip is absolutely fucking elite, so here’s a handful of the songs that I think encapsulate the story the best:
The Wombats – Greek Tragedy
Duncan Laurence – Arcade
FKA Twigs – Two Weeks
Peach Pit – Alrighty Aphrodite
Khalid – Saturday Nights
Alfie Templeman – Stop Thinking (About Me)
Rina Sawayama – 10-20-40
If you read this far, then I love you and we shall have a platonic wedding this summer. But I cannot express how excited I am about this story and to see where it goes!
#atlastracking#LCOMS#writing update#amwriting#seriously though i have had the best week but also my brain? a fried egg#sfoidhfsdf even before the cut this post is long i hate it here#long post
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OKAY FINAL CONSENSUS
Pros
- Songs are a bop. I WILL be looping that soundtrack please and thank you.
- Closed the classism plot better with Tori showing she was taking more direct, widespread action like putting systems in place to prevent the root issue (the drought) from happening again and implementing a social services program to further help.
- Tori and Kiera have a lot more interaction and gay chemistry. The plot setup just lends itself better to this, also yes Kiera did announce her engagement to Tori up on that stage and you can’t change my mind.
- Pets weren’t too annoying... mostly.
Cons (this is what y’all were waiting for huh)
- Augh... to be honest I think this movie is a demonstration that the people who made it didn’t understand what appealed to people about the original Princess and the Pauper. Which is obviously fine if it wasn’t trying so hard to ride off of it. Like sure, it’s trying to be the Princess and the Pauper for a new generation but the fact that it’s toting itself as that means its also trying to appeal to some extent to the ones who loved the original and ehhh it kinda fucked up in that regard.
Making the two leads both part of the 1% was the first mistake. First of all, that decision didn’t age well at all. Second of all, it kinda diminishes the point of them switching in the first place in a meta sense?? because it’s so the rich one can realize the class disparity by actually living as one in poverty. Tori literally stumbled across the poverty of her kingdom by accident, and she didn’t really reflect on learning anything by having to maintain an actual job for once as Kiera. Third of all in my opinion it makes them too similar in position. Really the only difference between Tori and Kiera is that one has an actual job.
Second mistake, Tori and Kiera really don’t embody the characteristics Princess and the Pauper fans found admirable in the original movie’s leads. Which, again, is fine if they want to tackle something different, but if they had it would show understanding of the original movie and what appealed to the audience.
Annelise and Erika are both admired for their mature resolve. “Duty means doing the things your heart may well regret”. They understand their responsibilities and what is riding on them and are ready to take appropriate action to see them through at personal cost to themselves.
Tori and Kiera in comparison are like the immature little sisters, Tori at least is approaching from the opposite angle developmentally where she has to go from immaturity to maturity and come to learn her responsibilities, which might’ve caused some whiplash in og Princess and the Pauper fans. Kiera is... well. Let’s just say she got did SUPER dirty in this movie and leave the details for the next bullet point.
- This is kinda a subpoint of Kiera and Tori being in too similar positions of class, but I literally don’t see why Kiera can’t solve her own problem, take all her money and strike out as an independent artist. We aren’t really presented a reason why she feels so chained to her job, like is someone else depending on the money she rakes in or something? Also with the increasing accessibility of tools and platforms for artists to be independent it makes her struggle more... stagnant? is that the right word?
Also I swear to god I thought the ending of the movie was that Kiera was fired from her job and starts playing independently at cafes. Apparently I jedi mind tricked myself or something but in my opinion that would’ve been a better ending for her. It’s at least a change and forces her to take more time for herself, and she’d probably be fine financially since she’s not exactly a pauper as a popstar.
- I thought the problem of the story being unbalanced was going to get resolved later on but no, if anything it kinda gets worse. Tori gets the lion’s share of development. In the beginning it’s established that she has problems taking responsibility/doesn’t see why she has to take responsibility, has a major revelation pertaining to that when she realizes that being so irresponsible played into being ignorant of the plight of her people, and then later addresses that by putting infrastructure in place to prevent a repeat of the drought and programs to address the problems the drought caused.
In comparison, Kiera’s conflict is established as feeling overworked/too busy to the point where she has lost time and pleasure for her own hobbies. It’s kinda implied she’s burnt out but any simple but meaningful exploration of this falls flat as soon as she and Tori switch places. In her parallel scene to Tori’s revelation about Meribella’s plight, she gets inspired to come up with song lyrics again... and this is about as far as her half of the story goes. She doesn’t meaningfully reflect on this in any shape or form so her whole initial conflict literally dies in the water, there’s no major revelation for her to parallel Tori’s. What makes matters worse is that this has no resolution. The movie ends with the dual concert (at least my version does). Kiera presumably goes back to her status quo as an overworked popstar and nothing changes. This is not an arc, this is a flat line.
Which is a real fucking damn shame because in my HUMBLE opinion she’s the most interesting character of the two, esp if you parse apart her section of “To Be a Princess/To Be a Popstar”. Like come on. “No time for friends except for your dog and your guitar”? “Love every fan no matter how bizarre they are”? “To be a popstar is to never act your age”??? Guys she’s one half of the leading main couple you can’t just leave her storyline out to dry like this.
- The villain he... sorry he’s no Preminger. man needs a therapist for his chipmunk PTSD is all I’ll say.
- The prince literally adds nothing, just cut him out of the story already. Also his face looks weird.
- (edit) I forgot this part: It has the same problem as Princess and the Pauper where the royal family is still in charge except kinda worse because in this movie its implied the royal family willfully turned a blind eye to the suffering brought by the drought and pretended it didn’t exist as opposed to addressing it. Victoria may have the interests of the people in mind but there’s no guarantee her descendants will, they’re still under the whims of the royal family.
And... yeah thats it. Almost decent but they literally didn’t follow through with an arc with one half of their leading couple. That kinda impacts the movie a lot, jussayin. Goodnight, next time we might do Mariposa.
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debating whether to make a second acc here dedicated just to my non-fandom stuff or not. like, i want a place to talk about my novel and about how it’s a polyamorous rewrite of Cupid and Psyche from Zephyr’s perspective where everything goes wrong and i get to explore power relationships between gods and mortals, women and men and master and servant in the ancient world and how i want to say fuck you to that and makes things better
also Psyche is such a queen, she goes through so much shit and doesn’t put up with it at ALL.
like, none of what the characters do is necessarily right but i love it when characters who fit society’s idea of perfect learn the flaws within themselves and correct their behaviour to be better people; Eros is a stuck up bitch with no regard for how his actions affect others, he always gets what he wants and at first treats psyche like an object, (thanks Apeleius). at the same time he’s a victim of his mother’s grooming, and is forced into a political game by the older Olympians for their own amusement.
Zephyr is stuck as Eros’ servant but he is arrogant and selfish, and takes advantage of any opportunity because he feels he has to one up on the Olympians because he’s just an Anemoi. he WANTS to have Eros’ privilege but resents him for it at the same time. he very much is someone who tries to isolate themselves from a problem. in the story he’s literally an objectified slave with no power, the most he does is carry people to and from the valley where Eros lives. CONSIDERING HES A LITERAL FORCE OF NATURE i think i can really explore the whole “i’m being punished for someone else’s fault” thing.
Psyche kinda pulled the short straw on life. She’s the daughter of a king desperate to gain power, forbidden to do anything without express permission, and is put on a pedestal for her unearthly beauty that she never asked for and is constantly taken advantage of and is constantly infantilised when really she just wants to fuck off and live in a cottage in the woods where no one can tell her what to do. PLUS she’s used as a pawn by Aphrodite and is made to do several dangerous tasks whilst heavily pregnant and isolated from everyone she loves. like bruh, that’s fucked up.
See i wanna pull an Ibsen here, society fucking sucks, the institution of marriage which is a main theme in the original story is unsustainable. there’s so much misogyny and classism that’s still applicable to today. i do not want to excuse my characters actions for when they redeem themselves - they do not “get the girl” as a reward.
idek if i’m ever gonna get published because of how i want to tackle these social issues alongside writing a healthy romance that doesn’t fall upon stereotypes and problematic tropes. i want to try though, i think there’s a niche that can be filled that demands healthy LGBTQ+ rep, POC rep that’s more than a side character and a poetic literary level of writing that challenges the idea of social hierarchy.
#idk#i’m writing it anyway#there’s a lot of pining#and self conflict#i’d love to get published on day#it’s one of my favourite stories
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Why Bioshock Infinite Wasn’t Working (for me)
As someone who loves the first and second games (the first largely for the story, the second largely for the gameplay and characters), I have really felt out of place in the fandom for just....not liking Infinite. Ever since it was released, people have been touting it around on a pedestal like it’s the best thing since sliced bread, but I just have never seen the appeal. Sure, it looks pretty, and there are some interesting parts, but it just never worked for me. And I figured out why. (Note: this is opinionated, so if you disagree and feel the need to respond, do so politely. I will be keeping this as fair as I can and there’s no need to be rude just because you disagree. If you like this game, that’s totally fine, and I can respect your opinion even though it doesn’t match up with mine! This is just my thoughts on the matter, and I am not the end all be all on the topic. You are free to feel however you wish about the game, and if you are more sensitive to criticism about things you like, feel free to just ignore this post!)
This game is a run-of-the-mill FPS with repetitive fights that traipses around in a facade of deep thoughts and hard-hitting hot takes. So many of the people praising this game praise it because the story is deep and riveting. to which I must eloquently say, “Nah.” The story is the equivalent of someone standing on a soapbox, gathering a crowd with the promise of a new concept no one has ever thought of before; something life-changing, something thought of only by a deep thinker; and this someone faces a crowd of Americans, waiting with bated breath to hear something they haven’t been aware of literally their whole lives, only to tell them in an extremely pretentious manner that, “America’s past was no fun :(.”
No shit, Sherlock.
The original Bioshocks dealt with things that will really always be topical: the implications and consequences of extreme capitalism and objectivism, and, conversely, extreme communism and mob mentality/hive mind-esque organizations; the importance of choice and the realization of people as individuals coming together being stronger and more unified than an echo-chamber group (yes, there’s a difference); the implications of moral decisions on the future for oneself and the entire world, and extremely beautiful and sometimes heartbreaking portrayals of the importance of platonic relations, found family, and positive bonds between parent and child (particularly fathers, which is refreshing and interesting, since a lot of dads don’t get a very good rep in media); the consequences of classism; finally, breaking free from the roles laid out and expected, and thinking freely (truly freely, not wrongfully convinced of free thinking when in reality the government is in control, seen with Atlas, Ryan, Lamb, etc. The games also give you extremely interesting moral decisions and topics; do you serve yourself, or sacrifice to save the children? Are you really any better than the splicers who were taken advantage of and left to rot, and while you must kill them to survive, are they still people? As you splice, do you become exactly what you are trying to save yourself and the few innocents of Rapture from?
These are all interesting and topical ideas to bring up. So what does Infinite have to share?
Racism is bad (an important topic, but handled poorly). Religion is also bad. Schrodinger’s cat, maybe? Infinite universes mean infinite possibilities!!! Except, no, not really. For a game that puts emphasis on infinite possibilities, it only really explores the same one.
Firstly, “racism is bad/America is bad/religion is bad” is hardly a hot take, and they are portrayed in the most basic forms that they possibly could be. All the bad guys are racist to the extreme, the entire city is a haven of white supremacy, and basically all because of religion. The main villain only becomes the villain because he gets baptized. It’s extremely on the nose, with public humiliations/lynchings, and public worship of the dude who assassinated Lincoln. Not only does it seem, well, preachy, due to how on the nose it is, it’s not even interesting. Don’t get me wrong, it’s extremely important to discuss racism and xenophobia, especially as it occurred in the past, but because of the world they have set Infinite in, it comes across as implausible. Like, ok, fantasy world, but that’s just it: this is a fantasy. There could have been an amazing discussion on, not blanket “hurr durr institutionalized racism is bad”, but the society that Vigors, a majority working class of non-whites/immigrants, a search for utopia, and the extremes of religion AND science, paired with the idea of facades, would create. Why not have more of the public use Vigors? Like the Vox, in an attempt to gain more control and power? As Columbia had to travel from continent to continent, have the racism be always present but constantly hidden. Rather than public carnival games with racist caricatures, have a society that seems so perfect on the outside that it cannot possibly be. Everyone who is not white or is Jewish or Irish is always creepily smiling and re-asserting that they love their jobs, and their city. Perhaps one is seen speaking out, and they are quickly taken out. Uncovering an extremely unnerving facade like this proves the underlying corruption, power, and horror of the city a lot more than the extremely blatant examples in Infinite do. It’s like the difference between your teacher telling you people were racist in the past, and then reading something about how beautiful the world is and how nice the town they live in is in--only to then find a photo of the writer in a creepy black and white photo, smiling at the camera as they lynch someone--or even, being the subject in the photo who was lynched. It’s so creepy and obviously a lie, but unless you take the time to dig deeper, to find out why the writing had seemed so, well, strange or unrealistic, you could remain blissfully ignorant despite knowing something is wrong. That’s an interesting moral dilemma faced in everyday life. In Infinite, you can just kill them. Problem solved. In fact, it’s so easily solvable, apparently, that it makes you wonder why everyone else hasn’t done that already. It’s also extremely lazy to make all of your villains racist and all of the good guys totally not racist™ and just shoot everyone. I mean, really? they don’t even try to have a conflict of morality, like with Tenenbaum or Sinclair. It’s unrealistically black and white (ha), and because of this, predictable, lazy, and boring. Again, discussions of racism is not a bad thing--but it’s handled so poorly here that it’s almost like the story just stops to remind you that racism is bad, before continuing.
The parts of the story that don’t deal with social issues are not any better. You can tell me all you want that the ending and the story are just sophisticated, and that I just didn’t get it, but to that I respond: maybe writing a story that has so many possible implications, endings, and theories that could all exist or not exist or sometimes maybe happen unless we were wrong about this one thing, in which case maybe not isn’t sophisticated, and is instead pretentious, lazy, and a lot fucking worse than you giving me a whole story with a jumping off point for my own ideas and conclusions about it’s implications. No, Infinite doesn’t do that. It’s so hackneyed, so convoluted, with it’s “infinite” lighthouses and “infinite” outcomes when in reality, no matter what, there’s just this one racist evil religious dude who is always religious and racist and evil. It could end, not in a “maybe it’s a Schrodinger’s cat?” cop out, but in one of those alternate outcomes (like, clearly alternate, not hinted at alternate), leaving the player with questions about the importance of decisions if there is always another place where the decision either was or wasn’t made, or whether or not the world should even be respected to the extent that it is when, with Elizabeth (and, in theory, her ability to create others with her powers), it is possible to just find a new world. Those are interesting, and also leave the player with some moral questions and debate topics, whereas the actual ending just sort of looks and sounds deep, but in reality is just a writer’s inability to live up to his own setup of the multiverse.
there are some other reasons, like how elizabeth’s powers seem really pointless as they are underutilized, how the game could have worked better if you played as her, how the game literally could’ve been standalone, seeing as it has nothing to do with Bioshock’s story except for Levine’s lazy attempt at “connecting” the two canons, but those are the big ones. All in all, I can’t like it because it has potential that was so ultimately wasted--it’s lazy in it’s story, in it’s tackling of social issues, and in it’s basic requirement at having anything to do with Bioshock, when it could have so easily been an amazing game, not only at the surface, but truly, as you dig deeper into the story. But I really, truly wish that I could love this game. It could’ve been great.
#bioshock#bioshock infinite#racism mention#critique#bioshock infinite rant#unpopular opinion#not trying to be rude#if you like infinite just ignore this#you can enjoy it all you want but this is why i cant#wasted potential#criticism#game criticism#crichwine talks#long post#tw: racism#ask to tag#be polite
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Ok I need to know your thoughts about this Green Book mess
... pray for me anon XD
anyway, never mind that my general thought is that I’m really sad the mule didn’t compete this round because then it’d have deserved all the awards hands down........
tldr: the fact that people are outraged is the proof that tumblr at large can’t recognize classism when it hits you in the face.
in longer words: 95% of the hot takes I’m reading are Patently False And It Shoes People Haven’t Seen That Movie.
in much longer words: counting that I haven’t seen all the nominees but I did see both blakkk/lansman (which from now will be BKKK) and blackpanther and green book (and borap but that one wasn’t gonna win best movie anyway so) and I guess that is where the crux is, so, in order.
bkkk was obviously the best movie of the lot quality speaking. in an ideal world, it would have one. except that bkkk is a movie that’s heavily political and if y’all think that the oscars would give a prize to the heavily political movie that directly criticizes the administration in power then y’all missed the part where that’s not what happens at the oscars. last time it happened it was 1978 and the deer hunter won and I still don’t know wtf was the jury’s state of grace at that point, but in 1980 they had apocalypse now in the list and kramer vs kramer won. like. guys. if you have APOCALYPSE NOW on the list and anything else wins in the major categories then you’re a joke. and tbh it surprises me that spike l/ee is still hoping he might snag a major win that’s not for screenplay with these parameters - they’re not gonna go there. hasn’t happened since ‘78. come on;
bp was not a best movie flick. like, guys: it’s not even the best mcu film around as far as I’m concerned and while it most likely deserved the technical awards..... seriously? like. if neither GB nor bkkk won then any other movie on the list had better shots than bp. I can’t even think people seriously assume it was best movie material or ON PAR WITH BKKK as in, ‘if bkkk doesn’t win then THAT ONE should have won’. like, no;
now: green book was a *safe* pick in the sense that it wasn’t as heavy-handed as bkkk when it came to be political so it was the perfect choice if they wanted to go like ‘oh hey see we gave the award to the movie about racism without giving it to the one raising the middle finger to donald trump’, but differently from moon/light (which according to me was the most political political win of the last ten years like guys sorry that movie was nowhere near as good as people said back then and I found it incredibly overrated, and before you tell me that it’s because I didn’t understand it: exactly the point. the wire is one of my fave shows ever and it tacked all the things moon/light tried to except that it did it vastly better and I actually got it for how well it was written, moon/light completely failed in that sense and I’m glad if it was a good movie for the people it was directed to but it didn’t engage beyond that target imvho but never mind that) it actually tackled very well a series of issues I never see discussed in US cinema when it comes to *racism-themed* movies and I thought it was a really well-made movie that nailed a lot of things especially when it came to how classism and racism interject themselves in the discourse and how you don’t get out of discarding one of them so easily.
specifically, with SPOILERS FROM THE MOVIE under the cut SO GO AHEAD AT WILL OR NOT:
now: all the posts ‘this is the usual movie about the white guy who gets the black friend’ already are obviously from people who haven’t seen it because they missed the basic point, as in: that the white guy is poor and uneducated and isn’t *racist* because he’s a terrible person, he is out of ignorance and not knowing any better BUT at the same time he’s not so narrow-minded that he doesn’t have fairly forward opinions on other -isms (see THAT REVEAL IN THE MIDDLE OF THE MOVIE after which he goes like ‘I’ve been a bouncer in most of new york’s night clubs do you think I mind that thing’ which is a thing the audience wouldn’t have thought since italian-american men from the 50s/60s notoriously came from a fairly -PHOBIC culture in that specific sense), and that the guy being italian-american ie a *white* category that back then did not have *white privilege* put him in a lower class position than the black guy;
on the other side, it was spelled that the black guy’s issue was the contrary in the sense that he’s rich, he’s cultured, he speaks five languages, he’s not a stereotype and since people want stereotypes or expect them, he can’t seem to please either side and feels alienated from both, which I think is a discourse that should be way more relevant in a website where people talk all the time about people of color not being stereotypes and so on;
like the entire fucking point of that movie is that white guy overcomes his racism unlearning his ignorance and black guy has a few realizations about how classism works and reconnects with his heritage throughout the entire thing;
and the fact that it was the black guy explaining the white guy how to write the poetic love letters without grammar mistakes and got him to appreciate finer things in life while the white guy helped him get down to earth (which he plot-wise definitely needed - he was unhappy af before XD) *and* at the same time the movie never fucking forgot that skin color > money when it comes to systematical racism in the south (ie the scene where they get stopped by the southern policeman and white guy punches him bc he basically told him that being italian-american was being half-the-n-word and black guy tells him ‘yeah well I handled that my entire life you could deal with it once’ was FAIRLY DAMNED OBVIOUS even if it also showed that it’s Not How Things Should Go) was imvo a very good narrative choice/balancing;
also, I was really appreciating that scene where don asks tony (a guy who has no idea who orpheus is and thinks orpheus and eurydice is about orphans) to shorten his name because vallelunga is too difficult to pronounce and tony’s like ‘if the people you play for are so cultured they can learn to pronounce my name properly’ because like guys that’s a thing that happens with all non-anglophone names and seeing it come from someone who hasn’t had an education but doesn’t want to be *made better* because that doesn’t make them unworthy and then only accepts help when he wants it and doesn’t come from a position of ‘you need to look more presentable’ but from ‘I want to make your life better’ was really fucking nice excuse me, because it *did* make a point about how not being formally educated means that people are considered lesser when they shouldn’t have to fight for it, and I thought that the class-switch in there was a really great idea;
anyway nvm my specific opinions about specific scenes, the point is: green book is not heavy-handed and admittedly is a lot more sugary than BKKK and has the feel-good ending that makes it palatable for easy wins, but the content is fucking everything but sugary or devoid of discussing Serious Issues that I almost never see tackled in this kind of US movie and if people actually wanted to watch a movie that sees the subject counting that class relations exist, that some -isms are culturally learned and can be overcome, that money counts when we’re discussing how people are treated in the US, the *earned whiteness* concept (because tony is *white* but hasn’t *earned whiteness* and it’s plenty damned obvious) and that class relations are not automatically clear-cut *especially in the US* then green book is an absolutely valid choice. and like...... it wasn’t white saviorism in the sense that WHITE GUY GETS REDEEMED AND BECOMES UN-RACIST, it’s about two people growing and learning from each other and the fact that tony’s racism is tied to a) upbringing while being poor b) not literally knowing any better but that it doesn’t really take that much for him to see that his opinions are wrong when usually it’s poor black person vs rich white person, and actually that’s why I thought calling it reverse driving miss daisy was reaaaally not getting the point, so if people actually saw the damned movie before deciding it’s terrible that’d be nice;
I also think sp/ike lee was beyond rude in his, er, reactions to GB’s win, but then again... listen guys I love the man’s movies but since that time he went like ‘clint eastwood can’t make movies about charlie parker’ (??) and dismissed the italian partisans’s associations complains about what he did in miracle in st. anna (a movie I did actually really like but they were right about him villainizing the resistence when he could have not) with basically I DON’T CARE THAT YOU MIGHT HAVE ISSUES WITH HOW I, AN AMERICAN, DEPICTED A FAIRLY IMPORTANT PIECE OF ITALIAN HISTORY... like he needs to chill and to realize that there’s a thing called losing with grace and he’s not doing it.
tldr: bkkk imvo deserved to win way more and tbqh if I was spike I’d complain about bp having gotten more awards than his movie when bp really is the safest choice ever if we wanna talk about politics win, and I can agree that GB was a political choice, but it was not a bad political choice nor a racist one and actually it raised a lot of issues that I’d like to see explored more in movies because they usually aren’t. on top of that I thought mahershala ali’s performance in gb was fucking stellar and definitely was miles better than his part in moonlight (but like... bc he was in moonlight for TWENTY MINUTES, he was co-lead here) and I’m honestly baffled that when he won for moonlight there were gifsets everywhere and here there aren’t when this role was WAY better and more nuanced and with more to chew, never mind that again, he deserved it just for the speech under the rain I was discussing before. but like..... of course we’re all ignoring it??
also: I’m really laughing that tumblr as a whole is crying about GB winning when until two days ago bkkk was the worst thing ever because adam dr/iver starred in it and OMG OF COURSE HE WAS CHOSEN TO PLAY THE KKK MEMBER BECAUSE HE REALLY IS RACIST [lmao as if spike l/ee would work with a really racist person] and no one on this website gave a single fuck about it when it came out except for adam dr/iver fan blogs but now everyone is like OMG WHY DIDN’T BKKK WIN???!!!!! like guys you didn’t care about BKKK until a day ago and now I’m supposed to think you were rooting for it all along? when you all hated it because omg how dare they cast ky/lo ren in something where he’s not a bad guy? like we serious? come the fuck on, no one on here cared. and the fact that if blackpanther had won no one would say BKKK not winning = UTTERMOST CRIME just says all about how a film’s quality is judged around here. bye, I said my piece.
#1#2#3#4#5#k i said i was gonna shut up but#fuck all i'm really tired of seeing people dissing gb without having seen it#bye#Anonymous#ask post
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When was the moment you realized traditional craft was for you?
There wasn’t a single moment, and there was actually a moment where I realized “traditional craft” wasn’t completely “for me” either. I’m sure I’ve mentioned it elsewhere but I started practicing witchcraft as a combination of Southern Baptist folk magic and (essentially) pop-culture witchcraft (thank you Charmed). I did this for a few years and then met some Neo-wiccans in my teens and they told me I was “doing it wrong” and I went through the typical “find a patron, call them elements” shtick. It didn’t work for me, at all. I went through a bunch of phases at that time trying to figure out something that worked. I started to get a little closer with “shamanism” which was still kind of an appropriative train wreck.
By college I had more resources to find folk magic and realize that what I had started doing as a child had its roots in folk magic throughout Europe and America. That was a major “a-ha” moment and I reinvested myself in Southern folk magic. There was a time when I wasn’t really sure about the title of “witch” either. I felt like I didn’t incapsulate what a witch did I wasn’t a fan of how the community as a whole treated EVERY magical practitioner as a witch. It felt wrong to me to ascribe “witch” to every act of magic.
Going back home, to a recently developed area that was still mostly surrounded by swamps, I started to really form the basis of where I am today. I called to the swamp to eat things for me, I began reexamining my past experiences and trying to see what fit into the puzzle, to see what immediately clicked and most importantly what worked for me. The time I spent back in my home town (the same place I had discovered magic to begin with) is what led me on a more personalized path. This was also the time when I began to stop viewing my upbringing as a negative thing. I tackled my internalized classism and tried to actively embrace every aspect of myself.
At this point I think is when I first heard the term “traditional witchcraft” meaning a non-religious form of witchcraft that is rooted in historical, local, and folklore derived magical practices. I didn’t completely fit me, but it was better than anything else at the time.
Also during this time I joined a coven (I was having an “I need to be initiated to be a witch” crisis). That was… interesting to say the least. I struggled a lot with the practices in the coven but I was really hungry for community and the majority of the coven and its extended family respected me and my craft. But there was a heavy sense of conformity to the tradition that simply didn’t work for me so I left. Interestingly, during this time when I was in the mindset of needing initiation, my spirits gave me one. It was nasty and incredibly painful. They made me choose between not just my witchcraft and the coven, but also another path that I had begun to follow. My spirits (all of them) made it clear that I would have to dedicate myself to something instead of trying to have it all. Im very thankful that my spirits essentially prevented me from becoming a initiation-grabber.
That initiation by spirit is what made me realize that there was literally nothing out there (name wise) that would ever incapsulate my practice. Names and traditions (as practiced by humans) are only useful for identifying like-minded folks- which is still useful! “traditional witchcraft” began to lose some of its appeal to me because of its conflation with Traditional Witchcraft (which, again why the fuck do we thing capitalization is a good means of differentiating terms?). So I started using folkloric witchcraft as a term to describe what I did. I was/am more interested in what the witches of folklore did than anything else. They were both people and spirits, something not wholly human. The stories could be literal or allegorical, and the witches defended ideals held by the people who believed in them. I’m not interested in reviving a witch-cult or being descended from an unbroken line of craft. I’m interested in how throughout time witches have been viewed and what roles they’ve played in a given community. Sometimes I feel like I line up with those witches, sometimes I don’t. But I’m always impressed with them.
So my longwinded answer is; I never had a moment where “traditional craft” was right for me. I had several defining experiences where I realized that witchcraft was right for me. Witchcraft that has been shaped and influenced by so many places. Witchcraft that is most similar to what I read in folklore, but not identical. Witchcraft that is innovative, personal, and works for me.
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“Thinking back to when you were aged about 14, which best describes the sort of work the main/highest-income earner in your household did in their main job?”
Arts Council England have introduced a new questionnaire for it’s National Portfolio Organisations in order to collect data on the socio-economic background of their workers which they hope will tackle the working-class gaps in their workforce. But this question in itself is problematic; for one, the question only covers contracted employees, it doesn’t include freelancers who make up a huge majority of creative labour or unpaid employees like internships, and it doesn’t question artists that organisations might work with either; but for me the biggest omission here is audiences. ACE’s slogan ‘Great Art for Everyone’ doesn’t really work when there is no compelling information on how the art it funds reaches the working-classes.
Debate around class in the arts still draws on middle and upper-class stereotypes of working-class life. Just like the conversation around ethnic diversity, we are often talked about rather than talked to. People who are broadly working-class, those in households with the median income or less, are by definition not a minority. It’s only in the elite-dominated world of the arts that they are seen that way. Working-class people aren’t some tiny minority of our society to be managed and transformed; we make up around two thirds of England’s population - we are most of this country.
In the first Blair administration, organisations were encouraged to think about the “social outcomes of their work”. Art organisations were complicit in the soft privatisation of education, health and community resources that charities, voluntary organisations and other non-state, non-private bodies led. Where social services had existed as part of a minimum social welfare contract, youth services, along with social services and mental health charities began to compete for funding on the grounds of delivering agendas in areas such as citizenship, community cohesion and crime prevention. Art organisations were part of this shift. The arts world turned working-class people into a problem to be solved rather than audience members, employees or artists to be developed.
It isn’t just the working-class workforce that’s getting fucked here, it’s also the working-class artist and the working-class audience. In public museums and galleries there is a rising economic inequality which is bringing about deep-seated, systematic and sustained classism which extends beyond public funding cuts associated with austerity politics to a wider re-positioning of the arts away from the public sphere and towards elite private privilege.
It’s no lie that there has been a concerted attempt to democratise exhibitions displays and public collections over the past two decades in order to make museums and galleries less ‘highbrow’, and to promote diversity, take on social responsibility and encourage a wider range of audiences to engage with art. However, even though democratising has been in effect, less attention has been paid to the way that the rise of the super-rich and the accumulation of wealth and capital has become a problem for artistic expression and curation. The contemporary art market is driven by the investment potential of art works for the super-rich, which then becomes dependent on super-rich cultures which may affect the capacity of art to act as a critical public good. With austerity cuts making public art institutions increasingly reliant on wealthy private collectors and big galleries (like Gagosian and the White Cube) for funds and loans of works to put on shows by major artists, it means that museums and galleries compromise their civic values as private donors push works by artists that they own or represent in order to increase their value. Private collectors or commercial galleries loan the art or support exhibitions in order to up the value of their own investments. We can see diversity being strangled before our very eyes, and perhaps we’re all too bougie to notice. The top galleries control the top artists and the top artists are in the top public museums. The art world, like the rest of the world, is controlled by the same people who control everything.
With art now being so disgustingly intertwined with the dynamics of financial accumulation we can see that art prices literally reflect economic inequality. In Christopher Upton-Hansen’s essay titled ‘The Financialization of Art’ (2018) he tells us that art prices rise when income inequality goes up; that a one percent increase in the share total income earned by the top 1% triggers an increase in art prices by 14%. These dynamics in the art market have naturally had an impact on the kind of art that is highly sought after - the rich want their art in museums so to increase their value, and museums have to consider their wealthy patrons and donors because their backs are against the wall financially, so the blue chip artists get the gigs and the rest of us artists in minority groups or of working-class backgrounds, well, we don’t stand a chance; we’re just too much of a financial risk.
Many museums are under the thumb of austerity policies set out by government funding bodies. Cuts to the arts have caused museums resources to suffer, and they have come at a time when many institutions were attempting the costly business of reorganisation in order to better incorporate women artists, POC or LGBTQ+ artists into their collection. These public spending cuts have also had an effect on access by making it harder for schools or groups dependent on public subsidies to fund visits. Travel has also become more costly due to both fare increases, and in more rural areas, cuts to bus services (the village I grew-up in doesn’t even have a bus route to our closest city, if you can’t drive, you can’t get there). These public spending cuts have made it increasingly difficult for working-class people to visit public collections around England.
The population that is able to visit and work for museums is not representative of the wider population; they are primarily older, white, London-based and middle-class: a metropolitan elite. You have two-thirds of society excluded, or at least hindered to full access of the arts; you segregate two-thirds of society from being able to participate in culture, its production, reception, its making. It has become a very monotheistic and exclusive world. So how are museums tackling this working-class repression? They aren’t. It’s a worrying concern for museums since addressing economic inequality directly will be problematic because it can affect funding and patronage. This financial model tells museums to shut your mouth or bite the hand that feeds you. Museums recognise the seriousness of inequality, but act by creating outreach programmes, or by making their entrance and educational provisions mostly free; in a way completely missing the point.
This renewal of cultural elitism that inevitably accompanies growing economic inequality, and this growing tension between public provision and private art that is being increasingly driven by elites and wealth accumulation has to stop. The arts are smothered in systematic classism and I for one am bored of it. The upper-classes continue to make the art world increasingly out of reach, which in turn makes it incredibly out of touch. Privileged people are curating a privileged art scene because they want it to be about middle and upper-class assimilation. This means working-class people are excluded. The language they use creates a barrier, the buildings make you feel unwelcome, the prices are alienating - they create a purposefully threatening environment. The upper-classes create castles and fortresses because, ultimately, they don’t want people like us to break in. We’re too disruptive, we talk too loudly, we touch things we’re not supposed to, we don’t play by the rules, and this frightens them and so we are excluded. The art world appears at face value to be ‘for everyone’, but to put it bluntly, it isn’t; it’s for the few, and unless its attitude changes towards working-class people it will continue to be a monolith of classism, ignorance and prejudice.
I say, if we frighten you, good - you should be frightened. Let’s create working-class nepotism, let’s share platform’s and skills; let’s look out for one another. We need to stop romanticising the arts because it is controlled by the same people who control everything else. We need class solidarity. We need to burn these institutions down, metaphorically and physically, and start again on a true field of equality.
Image: Laura Mason, 2020, courtesy of Working Class Creatives Network and the artist.
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Riverdale Raw Thoughts
Binge watched Riverdale last night as my Netflix membership for the month was expiring. (Not renewing again until early November to watch S2 The Crown and other stuff I’m waiting on) - Like I literally stayed up from 9 pm to 6 pm this morning watching the show straight and then went to bed and woke up at noon.
Cheesy dialogue aside, it was pretty great for what it was.
But it suffered from the same thing Scream Queens did - interesting core plot, but cheesy cringy writing and too many pop culture references to pander to their target audience demographic (I’m assuming 18-34)
Wishy-washy social commentary:
FP Jones ain’t shit but Jughead has a cute beenie and is sensitive so he’s a-okay.
Alice Cooper grew up on the “wrong side of the tracks” but married well so now she’s determined to keep south side trash out by joining the “neighborhood watch” and using her white woman hood, white feminism and ‘come-uppance’ privilage to publish edgy think pieces.
Betty Cooper has some pent up rage that is sorta overlooked because it was “for good” (doing it for the girls and trying to get revenge for Polly - and because the guy was Black, thinly veiled anti-blackness) until it isn’t overlooked but simply mentioned . Then she initally starts using Jughead and Jughead calls it out and she kind of agrees and says she has “darkness” in her - until something happens again and she decides to “let the darkness out” and be selfish and blame it on something else again.
Jughead getting dealt a piss poor hand, being okay at the South Side school (he’s a gang member - arguably gang leader or liutenant’s son...of course he’s fine jesus fucking christ Riverdale) until the trio of good show up to...talk to him and comfort him? and they realize he’s fine.
Betty making a white feminist speech about the town needing to do better because yes although her boyfriend’s dad is a Serpent he’s a good person and although her parents told her to shut her mouth she feels it’s the right thing to do. [She actually did not care about the Serpents before and her buds Veronica and Kevin heckled them during the last drive in movie screening.but whatevs] After the speech she has no solution or propsed ways the town can “do better” and there’s this awkward silence and everyone’s favorite punching bag has to clap it up so people blindy accept that lackluster speech. (I don’t expect a teenage girl to fix the towns problems but if you wanted to tackle the issue and get people talking shouldnt’t you also have some thoughts other than people not being mean to your boyfriend?)
Jughead not having shit and the gang seeing him enter the trailer with a girl and (maybe wanting to keep a pg 13 rating) stop him before their steamy make out session leads to something more give him a jacket to become a serpent and Betty is angry that he’s trying to survive and embracing the gang life that he’s essentially grown up around and will be surrounded by until he comes of age.
Archie’s dad’s forhead. my god. not social commentary but damn it bugged me.
Archie and his hottie teacher banging without impuity and her being allowed to quietly leave after obviously being a predator and dangerous person. (did they ever give her back her gun??? IS that what Alice uses when Hal breaks back in? Did Hal ever mention he stole the evidence to the sheriff even after it came to light FP was innocent?)
Archie wanting the pussy cat’s to use his song so he manipulates one of the band members (Valerie), dates her, uses their connections, ignores her, and when she dumps him and tells him why he isn’t shit he somehow doesn’t get it.
Valerie being acceptable to date because she has blue eyes and light skin but she’s rarely heard from when she’s no longer helping archie’s ‘music career’ but simply dating him.
Archie playing along with Cheryl’s crazy ass family “for his music” as an excuse to be selfish.
Archie trying to be a tortured soul when his dad point blank asked him why he’s lying if he wants music that’s cool it’s just unstable; someone else (Veronica I think?) kind of saying why are you being like this no one is making you choose between Football and music; someone bringing up he was only music when he was banging his hottie teacher; the football team heckles him once but they seen he’s Troy Bolton & they accepted him - everyone fucking accepted him but himself like christ and he spent the whole season searching for validation of his self worth in women and girls.
Just Archie I mean christ lmfao. You don’t like Betty, You make out with Veronica, you decide your really into your hottie music teacher and manipulate her into music lessons (although she manipulated the hell out of him as well), when your dad starts getting a boner for her you try to cut contact with her short, people find out, you decide the pussy cats are your answer, they explain they are black and because of the culture they have had to fight hard and they can’t have a white man just step in and run shit, archie the white man steps in and runs shit, archie breaks them up, Archie says he can’t perform alone and manipulates Valerie playing on her insecurities to leave the band, archie decides “he was wrong” and Veronica decides to help him, he ditches Veronica because he looked within himself and realized he wasn’t shit, he patronizes jughead and only resumes their rocky friendship because he wanted him to keep the secret about him banging their hottie teacher, he’s semi jealous that jughead is dating Betty, archie then really wants Veronica and wants to make sure Betty isn’t jealous. He keeps playing the hero...something which probably got his dad killed at the end - If there’s a s2 I haven’t seen it yet)
Veronica Lodge is hella famous by name and it’s a small town everyone knows who she is and she even points out that she expected more people to talk to her and acknowledge her divine presence but Kevin is like “lol you got overshadowed by another rich person’s death” /s but... Ethel Muggs truly has no fucking idea who she is? No incling? No rumors? Is she really that much of a rock-dweller?
The whole incest baby thing....the josef mengele joke...the fact that Jason and Cheryl were twins.....the eugenics joke when Cheryl’s face says them damn well know they practice eugenics and ethic breeding and need to keep up the “blossom apperance” (Her dad’s red wigs, using Archie as a stand-in for Jason...but I digress - just touch on the topic to sound edgy and draw controversy but leave it shallow eh?)
The whole “lol let’s ship our pregnant daughter away to a literal convent in 2017 because I was shipped to a convent in the late 80′s early 90′s- but why is she mad at me I love her I’d never do anything to hurt her like ambushing her and having her dragged away against her will as an underage expecting teenager lol”
Hyping big bad black football player up to fuck shit up at Archie’s party and in reality he kinda did...nothing? lmao (a la Jughead’s aminous V.O. about “no one expected what happened at that party” or some shit )
The whole “the sins of the father don’t or shouldn’t reflect on the daughter” but Veronica gets away scott free essentially and Cheryl literally loses everything because I mean fuck those Blossoms amirite lololol /S
Archie looked like Jason, got his number initially before retiring it (lol kind of insensitive to have his doppleganger become team captain for plot purposes later on ) and the Blossoms essentially used him because he mirrored Jason at the tapping ceremony.
The name Hermione Lodge lmfao she’s not old enough for the HP book reading mom boom.
Hermione Lodge and Hiram Lodge’s intials on that stupid fucking bag.
Veronica being rich and intelligent but her morals making her real fucking dumb. (I wanna go home but I also wanna coddle everyone my daddy hurt but I still wanna be rich lol but I’m implicating my mom and she’s literally begging and pleading me to stop and having crying fits but lol justice and my chanel bags hahaha and I’m gonna go clubbing and shopping even though my mom is working as a waitress and flirting with her old hs boyfriend to secure a job so we can continue to float and not drown and not be taken down by the families my dad hurt lololol omg archie is a hot prince harry hipster ginger amirite lololol the met gala lalala rich girl things new york lol)
The whole plot demand that Veronica win the impromptu HBIC dance off when big red Cheryl actually killed that shit and Veronica danced like a fucking robot.
ARCHIE HURT HIS HAND PLAYING FOOTBALL AND CRACKING THICK ICE WITH HIS BARE BLOODY KNUCKLES HOW DOES THE GINGER WONDER STILL HAVE USE OF THAT HAND ? The body heals but it’s never the same after repeated exposed trama’s to the same area in a short period of time.
.....I’ve ranted enough about this and I didn’t even mean to.
The last two episodes seemed to have been steamrolled for the sake up tying up loose ends to create a cliffhanger for another season.
Again, good for what it was....but... I truly enjoyed that the real villian was capitalism. Good job millenials.
(not sarcasm. Capitlaism destroyed Jughead’s future a la his father FP and Fred Andrews - The Coopers and the Blossoms - Josie McCoy’s mom - “Criminal” capitalism Hiram Lodge ruining his associates lives, the small town not working for everyone - Archie’s mom moving (after seperation), Jughead’s mom moving, Veronica’s mom moving back because she can survive in their economy on the nest money Hiram left....) etc etc
These small cosy “uppercrust white” town just isn’t safe anymore.
I mean have you seen that new negro mayor? That wealthy latina woman and her daughter?That negro coach and his star player son?
Remember - without Capitalism there is no social inequality, systematic racism, white supremacy, classism, etc etc
(also my personal issues with one of the actors colored this a bit biased....but on how things went it was cool.)
Also our culture has a real hardon for the 1950s eh? I know it’s based on the Archie Comics but Stranger Things, 13 Reasons Why...other media where we’re going for the small town america aesthetic and “traditional values” and sprinkling in some social issues and people of color for kicks.
On to season 2 I guess lol.
Don’t put too much stock into my raw thoughts, I just think shows (especially in our current political climate and reality) should commit to what they really want.
#riverdale#archie comics#sheriff keller#archie andrews#veronica lodge#betty cooper#polly cooper#jason blossom#cheryl blossom#the blossom twins#incest baby#the cw#josie and the pussycats#kevin keller#valerie brown#alice cooper#hal cooper#thorn hill#fp jones#netflix#fred andrews#capitalism
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Blog in which Anne Hathaway is a Giant Tree Monster (AKA: Secret-Diary Reviews ‘Colossal’).
Right. Righty. Riiiiiiiiiiiiiight. I recently watched the film Colossal, and I have a lot of thoughts about it. It’s very important that you sit down, shut up and hear all of them.
My initial reaction to Colossal can be summed up as “yeah: that was a fun way to spend 1 hour and 50 minutes.” It’s funny in a low-key, quirky kind of way and the protagonist (Gloria- played by Anne Hathaway) is likeable and relatably fucked-up enough that it’s easy to care about her. Oh, and there’s giant monsters in it, which is always nice. It’s a good film- there’s no denying that. If you want a fun way to squander some time that will make you feel vaguely intelligent by association (because its an indie thing rather than typical block-buster fare), then go ahead and knock yourself out: this is the film for you.
However, the more I think about Colossal, the more off it feels. It’s like someone put all the elements of a good film together, but not necessarily in the right order.
OK. Before I can review it, I need to spoil it completely. Sorry. If you already know the plot, just feel free to skip this paragraph. It’s basically just a synopsis. Gloria (once again, played by Anne Hathaway) is an alocholic, out-of-work writer who gets kicked out by her boyfriend and returns to her hometown, ostensibly to rethink her like but, in reality, to get shitfaced on a nightly basis. While doing that, she reconnects with an old friend from childhood (I can’t remember his name, so we’ll just call him Neckbeard), whose behaviour seems slightly creepy and manipulative from the get-go. While Neckbeard is situating himself as Gloria’s patron-slash-enabler, Gloria herself discovers that, when she stumbles home drunk through a particular part of town, a giant tree monster materialises in Seoul in Korea and mimics her movements. She lets Neckbeard in on the secret and inadvertantly kills hundreds of people in the process. Neckbeard discovers that when he enters that bit of town, a giant robot shows up in Seoul and mimics his movements. Gloria tries to stop him making the giant robot appear in case someone gets hurt and his behaviour escalates from slightly offputting to abusive and violent. Oh, and he makes his giant robot deliberately go on a killing spree, because of course he does. Inevitably, Gloria is forced to kill him using her crazy giant tree monster powers. Then she stumbles into the nearest bar so that the film can spend its final sixty seconds hanging a lampshade on the fact that she’s still an alcholic.
All caught up? Good- now that I’ve explained the film, I can start picking it to death. Firstly, let’s address the elephant in the room. How come, in a film where all the giant monster action is taking place in Seoul, there isn’t a single named Korean character whose actions have any real impact on the plot? Actually, you know what? Don’t answer me just yet. We’ll be coming back to that a little later. Just ackowledge the room elephant and move on for a minute.
The thing that’s been really bugging me though is infinitely more pedantic and less political: the entire second half of the film was completely avoidable. Let me explain, there’s a scene, right after Neckbeard discovers he can make a giant robot appear in Seoul when tries it out deliberately for the first time... but first he makes sure that there’s no-one in the area surrounding the giant robot appearance site who could get hurt (apparently, there’s an app for that). And there it is: plain as day. Gloria has an opportunity to get away before Neckbeard becomes a full-on abusive arsehole and Neckbeard’s own sense of biting inadequacy is ameliorated by his ability to make a giant robot materialise in Seoul and start breakdancing. Even Seoul gets its own resident giant robot, which has got to be the world’s best tourist attraction. At that point, if Gloria hadn’t decided that Neckbeard Must Not Summon the Giant Robot and started a fight over it, all the awful, harrowing shit from the second half of the film just wouldn’t have happened. Not that I blame Gloria as a character: she’s obvs meant to be traumatised by all the death she caused when she was the giant tree monster, so her reaction is understandable. It’s just that, knowing the whole clusterfuck was easily preventable and could have had a happy ending for all concerned robs the film’s ultimate payoff of any sense of catharsis. Instead of being viscerally satisfied when Neckbeard finally gets killed by a tree monster, I just felt a bit sad and empty. He didn’t have to evolve into the world’s most ginormous douch-kanoo: he could have wiled away his twighlight years boosting Seoul’s tourist trade through the medium of interpretive being-a-giant-robot.
Incidentally, that whole scene raises another nagging complaint. Gloria intervenes to stop Neckbeard doing his giant robot thing, but walking right up to him (meaning that her Tree Monster thing also manifests in Seoul) and slapping him in the face. If that fight had actually escalated, thousands of people in Seoul could have died... which is what Gloria was trying to prevent. She aims to prevent a giant robot killing hundreds of people by starting a fight with that giant robot, which could potentially kill many more people. Not to drag geopolitics into this, but you can tell the characters in this film are Americans, can’t you? Cough cough regime change cough. Seriously, had she been taking ethics lessons from Mass Effect’s Reapers? YOU CAN’T SAVE PEOPLE BY ENDANGERING THEM, DIPSHIT.
Actually, that brings us back to my point about how there are no fully-developed Korean characters in this film where giant monsters are attacking a major Korean city. Throughout the majority of this film, Seoul and people of Seoul don’t really matter: they’re just used as the manifestation of the psychodrama bewteen Gloria and neckbeard. That could be a deliberate comment on the way American popular culture views eastern countries, but it doesn’t feel like it. Maybe the writers just needed to signpost it better. Also, it means that when Neckbeard goes kill-crazy and destroys half of Seoul, instead of being shocked and appalled, I was just kinda hoping for a few juicy shots of the giant robot kicking over buildings. You can’t paint an entire city as nothing more than the backdrop for some mellowdrama between two self-destructive a-holes and then expect your audience to feel emotional when it gets stomped on. That’s not how movies work.
A few other annoyances remain to be addressed, but they don’t really work towards the overall theme of this piece, so I’m just going to splurge them in any order I feel like.
Firstly, there’s the issue of Gloria’s boyfriend (his name is Tim, but you’ll only ever think of him as ‘That Guy from Legion’). He’s way better villain than Neckbeard, but the film does nothing with him. He kicks Gloria out and then stalks her a bit and that’s it... but the subtleties of his behaviour and the way he goes about being a nob make it clear that, if the script had any interest in him whatsoever, he could be a really compelling, hateable villain. Unlike Neckbeard whose name I still can’t fucking remember.
Speaking of which, what fucking idiot came up with Neckbeard’s bad-guy motive. He hates himself and how small his life feels? What is he, a school bully in a 1990s infomercial? Look, we’re told he’s motivated by self-loathing, but we’re never told why. He’s relatively erudite as small-town villains go; he has a circle of friends and owns a respectable little bar; he has good memories of going around setting off illegal fireworks with his bezzies. There’s no compelling reason for him to despise his life other than the fact he lives in a small town and comes from a vaguely working-class backgroud, which just makes the film-makers seem weirdly classist and snobby. I imagine the pitch for this idea went something like this “Oh, of course he hates himself, Baron Fucksmythe: he’s rural and does an ordinary-person job. I mean, I hate him and you hate him- why wouldn’t he hate him.”
Then there’s the guy who hovers in the background for most of the film, then has sex with Gloria, delivers some furniture and fucks off never to be seen again. You know how non-sequiters are usually phrases or jokes that come out of the blue and bear no relation to the rest of the film? Well, Colossal may be the first film to have a whole character be a non-sequiter.
Finally- and I realise this is a trivial thing to piss-and-moan about, but I’m going to anyway- very few alcoholics caught in abysmal self-destructive spirals look like Anne Hathaway. Nobody whose liver is slowly failing them while they pour themselves another round falls asleep against a wall and wakes up with perfect skin, fabulous hair and impeccable (if hipstery) dress-sense.
Colossal is a good movie. Sort of. It’s even got a nice feminist subtext with Gloria realising that many of the men in her life are abusive fuckwads and learning to make herself independent of them. But it undermines itself at every turn. It can’t decide what to focus on. Is it a movie about alcoholism and the psychopathology of addicts and enablers? No, because that plot line never goes anywhere. Is it a movie about abuse and victimisation? Kind of, but there’s so much else going on, it’s hard to feel viscerally invested in that plot-line, so it lacks impact. Is it a comedy movie that tackles multiple issues with a tongue-in-cheek attitude? Sort of, but its not consistently funny enough to get away with it.
The film’s attitude towards small town, rural, working class America and literally the entirity of Korea undermine its progressive, feminist credentals with a faint air of classism and not-quite-racism while its light, quirky comedy creaks audibly under the weight of the hefty subject matter. With a little bit of polishing, these issues could easily have been resolved, and a lot of the film is enjoyable as is. But a bit of tighter focus, better characterisation and a more global attitude would have been very welcome additions.
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