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sineala · 3 years

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A Few Thoughts About Hurt/Comfort

I have been asked this month to make a post about hurt/comfort in Avengers comics. And I love h/c -- I actually have a massive number of WIPs right now that are h/c -- so I am very happy to talk about it! Anyway, this is not really all that planned out and this mostly turned into an excursus on Tony Stark's pain. I'm sure you're all surprised.

Like pretty much everyone else, I'm sure, I have found that everything lately has been... pretty tough. And the coping mechanism that really got me through last year and this year was reading and writing a lot of h/c, on the theory that, however lousy a day I'm having, I can absolutely make sure that Tony Stark has a worse one. And then I can make sure he gets hugs. Wish fulfillment? Why, yes. (Once at Hallmark I was trying to find a "get well soon" card, forgot what it was called, and described it to my wife as "a hurt/comfort card.") I think Marvel Comics -- the Avengers side, in particular -- is an interesting canon for h/c for a lot of reasons. Though, honestly, if you asked me to recommend you, a hurt/comfort fan, a new fandom, I would probably just hand you some Starsky & Hutch DVDs. Go watch "The Fix" and get back to me later. If you like that, there's way more where that came from. But there's still lots to love in Marvel! Superhero comics are really a goldmine as far as the hurt side of h/c. Because superheroes, and you probably have noticed this, get hurt a lot. They get hurt repeatedly, in fantastical ways that are probably impossible in real life both physically and emotionally (at least, I don't think anyone's invented mind control yet), and even the heroes without superhuman healing powers tend to get physically hurt a whole lot worse than actual people can take. Currently in Iron Man comics, Tony has a broken back and is dealing with this by locking himself into the armor as a backboard and injecting himself with massive doses of painkillers. He's busy! He's got stuff to do! He doesn't have time to lie around and heal! So, basically, if you name a kind of pain that you would like to see happen to a character, it's probably happened to superheroes. Multiple times. The downside, though, is that comics do not really deliver that well when it comes to the comfort part of h/c. They could. It's not inherent to the medium that they don't. But because of the serial nature of comics and also the fact the primary audience is dudes who want to read about people in spandex punching each other, a lot of the time they don't really feel the need to provide closure and write about people dealing with any of the hurt. (Raise your hand if you're still annoyed with the end of Hickman's Avengers run.) But at the same time, I think that's a quality that makes Avengers ripe for h/c fanfic. Because, generally speaking, fandom likes to provide the things that canon doesn't, and fandom is more than happy to provide the comfort. If you enjoy canonical h/c in comics, I think you really can't go wrong with Iron Man. One of the big innovations of modern Marvel Comics was the concept that heroes would also suffer from relatable human problems, and in practice what this means is that a lot of heroes start with a fully-loaded angst-ridden backstory and origin story, ripe for h/c. So Tony starts out by incurring a heart injury that he fully expects is going to kill him, which he responds to by vowing he won't get close to anyone so they won't be sad when he dies, and throughout the early Silver Age is constantly on the brink of death as his heart nearly gives out on him practically every issue. And then even after his heart gets (mostly) better, there are various plots involving his armor being detrimental to his health and him choosing to fight on anyway. It's hard for me to think of another superhero hitting that particular variety of h/c in exactly the same way. Sure, superheroes risk their lives constantly, because this is how superhero comics work, but Tony is the only one I can think of who is this constantly this badly off, physically. Like, think of all the other heroes who have had a continual solo presence as fan favorites across Marvel history -- Captain America, Thor, Spider-Man, Wolverine, maybe even Deadpool. You know what those guys all have? Healing factors! For the most part, they are not running around continually on the verge of death, and while there are certainly memorable arcs involving several of them being severely injured and/or dead, you really have to work at it. It's not their constant state of affairs, whereas Tony is the kind of superhero who shows up to a fight already bleeding out under his armor. Yeah, I know Extremis gave him a healing factor. But he didn't have it very long, and also he did some extremely dangerous things while he did have it; I'm pretty sure I've never seen Wolverine saying that he'll just solve a problem by cutting off his own foot. So, anyway, yeah, there are a bunch of good arcs involving h/c for Tony. If you're looking for physical injury, he has a whole bunch of heart problems over the years, gets several new hearts, then ruins his brain, et cetera. That level of hurt is basically the background pain of Tony's life; every so often, his heart will get damaged or he'll have to live in the armor or the armor will be killing him, et cetera. If you're looking for more unusual trauma, I am, as always, going to rec Manhunt, a relatively obscure arc in late v3 (IM v3 #65-69) in which Tony has an extremely bad week. His tech is stolen and used to bomb a building. Then he gets shot in the chest. Then while he's at the hospital a nurse tries and fails to poison him, and she then tries to beat him to death. Then he checks himself out of the hospital and a helicopter shoots missiles at him. Then he becomes a fugitive from justice. And then, oh, yeah, he has to fight the Mandarin. It is... a lot. (Volume 3 of Iron Man is pretty good as far as h/c possibilities. You've got a lot of physical pain, Carol's drinking arc, the Sentient Armor, both DreamVision arcs, and Manhunt. Manhunt is finally supposed to be out in trade this month, by the way.) There are of course the drinking arcs, which probably count as their own type of hurt. But if you haven't read the second drinking arc (IM #160-200), please do. Marvel likes to up the stakes on events (Fear Itself, Secret Empire) by making Tony drink, and it does work, I think. I feel like I've spoken at length about Tony's drinking elsewhere so I don't really want to rehash it all here. And then there's the emotional pain. Angst and drama is something that happens to a whole bunch of characters, yes, especially in comics, but somehow Tony seems to end up with possibly more than his fair share of it. Fandom likes to make a lot of Howard Stark's A+ Parenting, so much so that you might think, if you didn't know canon, that this was just fandom running with a throwaway mention of Tony's terrible childhood and making it worse. But, no, canon really does go there with a reasonable amount of frequency. Howard's actual first appearance is in a flashback where he's ordering teenage Tony to break up with his girlfriend because she's the daughter of one of Howard's business rivals. And then we get into the verbal abuse, and the physical abuse, and the time Howard made Tony take his first drink, and the part where Howard was a demon in hell who Tony fought while he insulted him. And more! Currently, in canon, Howard is alive again and is in league with Mephisto for the express purpose of ruining Tony's life. Also when Tony was a baby, Howard tried to trade him to Dracula. I think you can make an argument that fandom is actually showing restraint when compared to canon. Tony also has a whole lot of Terrible Exes whose presence and/or former presence in Tony's life can be used for a lot of hurt. If you've read any amount of fanfic, you probably know that the exes who get the most play in fandom are Sunset Bain and Tiberius Stone -- not that Tony and Ty were ever canonically a couple, of course, but fandom is definitely enamored of this idea. Ty and Sunset both have relatively similar interactions with Tony in canon, in that they are both liars and emotional abusers, heavy on the gaslighting, with the purpose of becoming more successful than Tony. They both also attempt to murder Tony, although this is after he figures out they're evil, at least. (Yes, I know, this is not how either of them usually appear in AUs.) Tony also has a bunch of exes who also have just straight-up tried to murder or otherwise hurt him, sometimes while they are dating, and sometimes before Tony dates them: Whitney Frost, Indries Moomji, Kathy Dare, and Maya Hansen come to mind. There are probably more I'm not thinking of! But, yes, if you want to write about a guy in a series of terrible relationships, please consider Iron Man comics. If mind control is one of your favorite flavors of hurt, Tony's pretty good for that too. We all know about The Crossing. I suppose when I say "mind control" I mostly mean "armor control" because there are an awful lot of plots where someone else makes Tony's armor do whatever they want it to do and Tony is along for the ride -- Demon in a Bottle, Sentient Armor, and Execute Program are the first things that come to mind. There is also a fairly obscure What If that is What If Iron Man Lost The Armor Wars in which Justin Hammer apparently really wants Tony in a mind control collar to take off all his clothes and lounge around in his underwear. No, really. I think a lot of pain for Tony often revolves around his issues with control, generally -- his alcoholism comes into play here again. The entire aftermath of Civil War is also notable for its propensity to hurt Tony over and over and over. Is he stoically soldiering on through his grief after Steve dies? Hell, no! He cries, like, six separate times. He 100% blames himself for Steve's death. It's great. Everybody loves The Confession and the funeral in Fallen Son, but one of my personal favorites is Avengers/Invaders, in which Tony is confronted with a time-traveling Steve from WWII and in order not to screw up the timeline, he can't tell Steve he knows him. He is clearly not coping well. He shuts himself in a room with a giant wall of pictures of Steve! Also there's a part where he has to try to convince Steve he can trust him and he ends up having to tie Steve to a chair to talk to him, and Steve looks at him and asks, "Who did you kill to get where you are?" and I feel like that is probably one of the worst moments in Tony's life. No wonder he gave himself amnesia. So now we might want to ask, okay, but why is hurting Tony in fanfiction so much fun? I mean, I can tell you why I think it's fun. I can't speak for anyone else. One reason is that he is very emotional and very affected by everything he does. Sometimes you will see people complaining that the heroes of m/m fanfic cry too much and this is not realistic. This is not a problem if you're writing Tony! He can cry as much as you want and it's perfectly in character. I don't think it would be as fun to hurt him if he didn't express so much of his pain. But he does. He also feels guilty, and for me that's a very satisfying character element. If he were well-adjusted and didn't blame himself for so many things, it wouldn't be nearly as fun as watching him blame himself for everyone whose death he thinks he is responsible for, whether or not he is. And then he just keeps going, and it's, y'know, nice to watch him be resilient, too. So, I guess, I think hurting him is interesting because it's easy to hurt him, his weak points are pretty obvious, and he reacts a lot. Steve doesn't hurt quite as much as Tony does, in canon. It's certainly possible to hurt him -- I mean, they did actually kill him after Civil War, after all -- but I don't think the canonical patterns of hurting him are as numerous. Obviously deseruming Steve is a fairly popular go-to in terms of physical hurt; he's been deserumed at least three times that I know of. I think's easy to see the appeal there of taking a character who is fairly physically resilient and making him... much less so. Certainly Marvel seems to see the appeal. But other than that I don't think he has any other really common way to get physically injured. Unlike Tony, whose origin story is basically "oh no, I've acquired a disability," Steve's origin story is "I drank a serum that cured all my disabilities." Which, I mean, great wish fulfillment but there's not really as much there to poke at. Pretty much all of Steve's pain is emotional, but, unlike Tony, his pain isn't often specifically in response to someone directly, purposefully hurting him. Hickman's Avengers run is a big exception, yes. His pain seems to come up most often as a kind of situational angst. He feels like a man out of time. He feels out of touch with the modern era, with people his own age. He feels guilt because he feels responsible for Bucky's death. He feels like he can't trust the government and therefore he can't be Captain America. He worries that he doesn't know how to have a normal life. And, yes, these are deep and important worries but it's different than, like, Indries Moomji dumping Tony with the intent to make him sad enough to start drinking. Very few of Steve's villains want to personally ruin Steve's entire life the way Tony's villains do; mostly they just want to do things like bring back the Nazis. In terms of Steve's potential for h/c, I think Steve is harder to hurt than Tony is. Physically, he is definitely harder to hurt. You can deserum him, sure, but unless you want everything you write to be a deseruming fic you're probably not going to want to do that more than a couple of times. And if you want to hurt him physically while he has the serum, you have to hurt him hard. Usually past the point where a regular human would ever survive it. He's also harder to break, emotionally, than Tony is -- which means it's very satisfying when you can get him to break, but this is a guy who's only cried twice (that I remember) in canon. So if you want to get him to cry, you really, really have to wreck him, and he doesn't have as many obvious weak spots. He also doesn't generally sit around blaming himself for things that aren't his fault, and the whole "stewing in guilt" genre of plots for him basically came down to "he was sad that he thought Bucky's death was his fault," and that's really the biggest regret he seems to have, and also Bucky's not dead anymore. The Steve/Tony relationship itself, I would think, is also appealing to h/c fans because canon provides a lot of ways for them to hurt each other. Some people only ship pairings who would never, y'know, take turns beating each other half to death in major event comics. (And for a lot of Marvel Comics history, that was also Steve & Tony, so if you want them to be BFFs who have never fought, you can just set your fic earlier.) They have definitely hurt each other both physically and emotionally, so if you're looking for something easy and satisfying as a h/c fan, you can just read or write something where they... make up. What about Marvel characters other than Steve and Tony? Surely some of them are angsty, yes? Well, yes, but also it depends on the particular flavor of angst that you like. If you like the way Tony hurts, you may very well enjoy Doctor Strange comics, because they have a very similar attitude towards life -- they are both former alcoholics whose origin stories involve physical disabilities, who routinely make tactical decisions that negatively affect their continued existence and/or happiness a whole lot. It's very much an "I must suffer alone in the dark and no one will ever know what I am doing to save the world but it's the right thing to do" sort of vibe. Like, you can read comics where Strange is lying in hell with two broken legs, hallucinating that Clea has finally come to save him. Strange's biggest fear, akin to Tony's control issues, is basically that one day he's going to be an asshole again, so he's out there trying as hard as he can to do good. Also, if you like tentacles, he has all of them. I mean that. Carol also occasionally hits similar angst spots, and her drinking arc is great. A lot of people like Natasha, too; I have read zero Black Widow comics but I get the impression many people enjoy her brand of angst. The mutant metaphor is a little different in terms of overall vibe, but some people really like it as a source of angst -- the whole "protecting a world who hates and fears them" thing. It may not work for you, but if you like your hurt to include things like systemic oppression, go pick up some X-Men comics. Start with something like God Loves Man Kills. I feel like I liked this sort of thing a lot more as a teenager but that I kind of aged out of liking the mutants quite so much. It's also worth mentioning that not everything that hits the spot in one universe will be the same in the others, and I'm mentioning this because I feel like I have to say something about MCU Bucky. MCU fandom seems to get a lot of mileage out of Bucky's guilt about being the Winter Soldier, everything he was forced to do, et cetera. I have definitely read my share of those fics, and FATWS sure went right for that angst too. But as far as I can tell, he doesn't hit the same way at all in 616. And I like him a lot in 616; I'm always pleased when he shows up on a team. (He was so good in Strikeforce. Everyone was so good in Strikeforce.) But the thing is, 616 Bucky is, basically, phenomenally well-adjusted, given everything he's gone through, and I'm including the time he wrestled a bear in a gulag. He gets over having been the Winter Soldier, and now he's just, y'know, a guy with a cool arm who likes to bring guns to every fight to horrify his teammates, and he snarks at Clint. If you're looking for that angst, that is really not him these days. He's all better. So pretty much all that is canon. So what do we do in fandom for h/c? Well, as far as I can tell, a decent amount of it is canon-based or very canon-close -- there are a whole lot of stories exploring the angst of Civil War or Hickman's Avengers run. Tony's drinking comes up a fair amount, and if one of Tony's Evil Exes comes back to haunt him, it's pretty much only Tiberius Stone. I don't think I've read a lot of fic with Steve getting deserumed; it doesn't seem as popular in fandom as in canon. When Steve gets hurt, he tends to just get physically whumped pretty hard, and there's a fair amount of that for Tony too, but of course Steve can take more. There's also a thriving, uh, subgenre of pain involving Hydra Steve doing terrible things to Tony, presumably the terrible things he would have wanted to do to Tony in canon if Tony had had a flesh body. There's the usual kinds of h/c setups that appear in basically every fandom as well -- sickfic, whump, dub-con/non-con. You get the idea. But since fandom in general likes to take specific inspiration from canon, there's a lot of fic where the hurt tends to resemble things that happen more in canon. Like, I feel like comics fic probably has more tentacle fic and more mind control than canons that don't come pre-stocked with those. Probably everybody has a whole lot of "tied up by bad guys," though. And then, of course, fandom brings the comfort that canon does not. This is true in pretty much every fandom -- I mean, you aren't going to find a lot of actual canons where Character A saves Character B from mortal peril and then there's gay sex -- but, like I was saying, comics don't provide a lot of closure before it's onto the next thing. Usually with a different creative team, who has no interest in wrapping up anything from the last team. Steve and Tony talked about the incursions exactly once after Secret Wars and nobody mentioned the part where Steve spent several months trying to hunt Tony down and kill him. Tony is never going to remember the events of Civil War. Hydra Steve died ignominiously in a fire and no one has ever talked about him again. Honestly, if you're looking for a way to get some comfort in your fanfic, picking an event, any event, and just having the characters talk about it will be way more than any of them get in canon. I feel like honestly that can often be a pretty satisfying to read. And even though comics canon physically hurts characters pretty often and pretty badly, they also often skip right past the recovery. Maybe you'll get one page of a character in a hospital bed at the end of the story arc. Maybe you won't. Demon in a Bottle has one splash page of Tony going through alcohol withdrawal and then he's all better. I think Manhunt skips to Tony getting out of the hospital at the end. That's just not a story that they want to tell very often. The second drinking arc is notable in that it devotes almost as many issues to Tony's recovery as it does to getting him to rock-bottom. Similarly, Steve is done with his Nomad angst way way faster than you probably think he is (though The Captain does go in for a fair number of issues). So one of the things we often want to do in fandom is focus on all the bits that canon skips over, both in the "why did no one ever mention this story arc ever again" way and the "wow, so how long are they in the hospital after that" way. That's really all I can think of about h/c! I'm off to write some more of it!

#posts i actually wrote

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bamfdaddio · 3 years

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X-Men Abridged: 1978

The X-Men, those take-me-to-the-ballgame mutants that have sworn to protect a world that hates and fears them, are a cultural juggernaut with a long, tangled history. Want to unravel this tapestry? Then read the Abridged X-Men!

(X-Men 109 - 116) - by Chris Claremont and John Byrne, Tony Dezuniga

Yes, the plan here is to toss Kurt at Magneto and yes, it’s objectively the best panel of 1978. (X-Men 113)

If the X-Men were a tv-show, the Phoenix mending the M’Kraan Crystal would probably have been the finale of season 1 of X-Men: the New Generation. Now that we’ve had this big finish, Claremont takes his time to sow new plot seeds and navigate his team of merry mutants in new directions. Compared to 1977, 1978 is a lot more laid back, with smaller arcs and more character moments.

Take the first two issues of the year, for example. The victorious X-Men come home from their space capers and for a moment, all is well. Ororo is a plant mommy, Kurt is a grade-A cutey and Jean comes out to her parents as the Phoenix. (Intrigued? Read more here.) And, because Moira going back home to Scotland, the X-Men say goodbye to her through… a baseball game! (Which, I guess if you’re comic book character bound by the comic book code, is the next best thing to just getting drunk together.)

It’s all very straight-edge wholesome.

Lilandra is very absent: I’m assuming she is sleeping off the space jetlag somewhere. idk

Sure, there’s still a few action-packed B-plots: a fight scene is mandatory in a comic book, after all. Weapon Alpha tries to claim Wolverine in the name of the Canadian government and some nobody named Warhawk sneaks into the mansion as a phone repairman to rig the Danger Room into a Death Trap.

(Look, you have a danger room. Why are you calling phone repairmen? During breakfast, did Charles go around the table, asking anyone if they wanted to fix the phone and everyone was like “nnnnnno, I am le tired”.)

Anyway, how would you unwind after a baseball game? Scott has an awesome idea! (I'm betting Scott would have embraced the Comics Code.)

This is the one issue not drawn by John Byrne this year. Dezuniga does a fine enough job, but Jean using her powers looks like she’s barfing psy-energy all over the place. (X-Men 110)

Warhawk traps the rest of the X-Men in the Danger Room. Wolverine gets a moment to shine as the team’s rogue, finally getting a win after getting knocked on his ass lately. Also, Kurt calls Warhawk Krieghabicht. (Hee.) Jean, meanwhile, is startled because despite her phenomenal powers, she was taken out so easily. She makes the formal choice to rejoin the X-Men.

And the next time we see them… THE X-MEN HAVE VANISHED? (yes, i know this sentence contradicts itself, shut up)

We find Beast at a circus in Texas, investigating their disappearance while on a sabbatical from the Avengers. See, Lorna called him because Havok was kidnapped in Scotland and the X-Men did not pick up, so she called good ole Hank McCoy. We know Charles is honeymooning with Lilandra, so where are the X-Men?

Cerebro leads Hank to a circus and, dude, for someone who’s supposed to be a genius, you draw the conclusion that these are the brainwashed X-Men way too slowly.

I by no means wish to belittle Storm’s situation, but Wolverine is in equally skimpy clothing while chained the fuck up, Beast. Can’t spare a little sympathy for him? (X-Men 111)

Beast continues being the worst detective mutantkind has ever known: even Jean, who’s currently a cigarette smoking trapeze artist named Miz Destiny, barely convinces him that these are the X-Men. When Beast finally confronts the Ring Leader, it turns out to be… Mesmero!

This pose: appropriate for a super villain or suitable for a Harlequin novel cover? Especially with all this talk about enthralling? (X-Men 112)

Apparently Mesmero doesn’t give a fuck that half these X-Men aren’t the same X-Men that fought him before. Revenge is a dish best served cold and to the wrong table, apparently. Beast fighting ole Messy causes Wolverine to spring free from his hypnotic influence. Wolvie proceeds to slap Jean out of it (literally) and they free the rest of the X-Men. But when they come and confront Mesmero in his little circus wagon, their villain is knocked out…

By Magneto.

dun dun DUN

Magneto proceeds to kidnap them, like this:

Magneto, who has no patience for narrative baggage, also yeets out Mesmero over the Andes, no big deal (X-Men 112)

Just like Mesmero, Magneto wants misplaced revenge. Instead of exacting vengeance on Charles, Moira and the Defenders involved in (literally) infantilizing him - no, seriously, he was a baby - Magneto comes for these All-New X-Men. (Look, logic has never been one of Magneto’s super powers.)

He takes the X-Men to his secret base below the South Pole, tucked away under a literal volcano. (He really should be on the tourist board for Amazing Antarctica, this is his third base there.) The X-Men, after they have safely landed, attack him, but they are tossed around like rag dolls, falling one by one - even the Phoenix.

Jean does have the right idea, though: it’s my theory that the key to defeating Magneto is being equally dramatic and hammy. (X-Men 112)

Somewhere on a cruise ship, Charles loses contact with the X-Men and proceeds to do absolutely nothing about it. Damn, but Elizabeth Taylor Lilandra must have some pretty choice moves in bed.

YOU COULD TRY FINDING OUT, CHARLES. (X-Men 113)

When the X-Men wake up, they're bound by Nanny, a robotic… uh, nanny! And Magneto unveils his revenge: he has scrambled the X-Men’s brains: they are fully conscious, but are trapped, powerlessly in their bodies, which won’t follow the instructions of their brains. It’s as if they’re the minds of adults, trapped in the bodies of infants - just like Magneto was. (He does not succumb to an evil laughter, but he’s definitely drifting into Evil Overlord territory.)

Look, a lot of this is very silly. Magneto hasn’t really been codified by Claremont yet: he’s still very much the sixties super villain and he doesn’t have his Holocaust-past yet. His motivations don’t make much sense: it’s never made clear why he needs the base, for example, or why he doesn’t just kill the X-Men. And yet, he seems more menacing than he used to be. Might be because these X-Men actually have a hard time beating him.

A lot of this era works like that. There’s the occasionally very silly trappings of a superhero comic, but there’s also glimmers of exceptional writing. Take the following scene, for example, which I’ll just include in its entirety, because fuck it. Storm is trying to break free, on the flimsy premise that she was a highly advanced baby who had the motor skills of a toddler. (I’ve met babies. They basically eat, sleep and poop. They can’t really do this.) And yet? This scene kind of works.

Like, the fact that this scene works despite the fact that Magneto thought to give his Nanny-robot a sixties copper bob-cut and a aluminium French maid headpiece is a testament to effective writing. (Also to Magneto’s attention to detail.) (X-Men 113)

No worries, Storm succeeds the second time she attempts this.

Together, the now free team manages to almost defeat Magneto, but Phoenix grows a little too zealous, destroying precious machinery. It proves to be their undoing: the roof to the base cracks open, letting lava in. Things grow dire and Magneto gets the nope out of there.

The lava turns on the heat and the team gets split up. Phoenix escapes together with Beast, and they both collapse into the freezing snow in the Arctic. A helicopter saves them, but what about the rest of the team? Are they dead?!

They’re dead enough for Professor X, and I really have questions about the effectiveness of Cerebro. After a brief mourning period, Beast rejoins the Avengers. But what really happened to the X-Men? Well, they fled into the Savage Land!

So, are we getting a sexy costume change with every new locale and/or story arc? What is this, Charmed? (X-Men 114)

The Savage Land plot is… kind of messy and confusing? First, Storm is attacked by Sauron (yay!) and he even hypnotizes Wolverine and uses his love for Jean against him (ew!), but as soon as Karl Lykos gains control again (boo!), he explains how he

Did not fall to his death;

Is suppressing his pterodactyl side (ain’t we all);

allied himself with the Savage Landers.

Then Ka-Zar, Marvel´s discount!Tarzan, explains how someone named Zaladane transformed a hapless innocent into Garruk, the Petrified Man, who is some sort of… living god? Who stopped some sort of interdimensional invasion by mending some sort of… portal rift? And then he set up shop in the swamp and built some sort of futuristic city? And he wants to enslave all of the natives of the Savage Land? And he built his city on the geothermal fissure that heats the Savage Land, so now the jungle is being choked out by snowy tundra?

Such a mess. And I know Zaladane gets important later, but, ugh, the socio-political tensions in the Savage Land is generally not what I’m here for.

One of the few Savage Land scenes I do like is also messy, but the emotional kind of messy. See, the X-Men on their part believe Jean and Hank are dead, and Scott takes it rather… lightly? When Storm confronts him about it, he confesses he does not mourn Jean as much as he thought he would, as if she were a different woman ever since they crash-landed the shuttle. Storm rejects this confession, always solidly in Jean’s camp, and basically tells Scott to man up. Scott has a point: Jean has changed and it’s not like people have fallen out of love for less, but there’s something to be said for Storm’s firm “for better or for worse”-argument. The scene ends unresolved, and I like that.

Anyway, there’s some X-Men fighting dinos and flying lizards, so there’s at least that. Oh, and Colossus develops a suddenly intense bond with a Savage Lander with a mohawk, which is a detail that becomes important later. Another significant detail?

There’s a lot of weight to that snikt, bub. (X-Men 116)

The implication is that Wolverine simply kills the guy in cold-blood. It’s a little weird that both Storm and Kurt are so okay with this, especially because Storm tries to save Garruk later. This, however, also marks an important direction in which they’re taking Wolverine, becoming the most ruthless of the X-Men.

In the end, Cyclops blasts the foundations of the citadel to smithereens, solving everyone’s problems and putting a neat bow on this tangled plotline. Also, all of a sudden? The X-Men are monthly again! (yay!) And they’ve upgraded from All-New, All-Different to Uncanny on the cover, though the name of the comic won’t officially change until issue 142.

Best new character: Like Hell I’m giving this to Weapon Alpha! So instead, it’s going to the two stylish, mohawked ladies who “show the island” to Piotr. (Again. They’ll be relevant later. Sort of.)

What to read: X-Men 109, for the denouement of the Phoenix Saga (or the first part thereof). The rest is rather inconsequential.

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luninosity · 3 years

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Okay, so, some Falcon and the Winter Soldier thoughts (will have some spoilers) for episodes two and three. General non-spoilery comment first: I feel like these were both *okay* episodes - neither as good as the first, but I didn’t dislike them, either. I’m still really curious to see how we’re going to wrap this all up in three more episodes; it doesn’t feel like we’re halfway done yet!

Okay, more spoiler-y notes below the Read More, not in any real order, just as I think and type. I’ll probably forget some things, but for now, here’re some thoughts...

--I like ep 3 slightly more than ep 2, mostly because of Zemo!

--I actually really love Zemo here (I liked him in Civil War, too): complex, sardonic, enjoying poking at people, a villain we do feel sympathy for even as he’s still sharp enough to remind us that he is a villain. Daniel Bruhl has always done a fantastic job flipping between calculated cruelty, wry humor - the whole “I am a Baron” moment was great - and pain that for him is still raw, about the loss of his family. (Some things’re awfully cliche - look, the supervillain’s playing chess and reading Machiavelli in his cell? really? - but, y’know...sure. Why not. We expect some cliches in the superhero genre, and this is an inoffensive one.)

--also Zemo dancing. That’s it. That’s everything.

--moving on from that: I’m also really liking how they’re writing John Walker. He does have charm, and there’s a certain amount of sympathy - especially as we see him worrying about filling the Captain America shoes, in ep 2 - but we’re also getting this really subtle sense of wrongness about him. He’s clearly vindictive and angry when things (and people) don’t act according to his mental script for them, and he’s willing to use his name and power to do things like get Bucky released...which in context and given our sympathies for Bucky is a good thing, but...it’s also an indicator of his willingness to do what he wants, because he can. (To be fair, Steve Rogers also often did that! - but Steve earned our trust, both in narrative and character. From his first introduction to WWII leadership experience to all the Avengers stuff, Steve consistently acts to protect people, and he’ll also listen if someone else has a good idea or if someone needs to talk, like with Wanda.) So I’m really liking this slow-fuse character development.

--mixed feelings about Sharon. I love that the show’s acknowledging how much she sacrificed for our main heroes, with no reward. On the other hand, she also clearly knew the consequences that could happen; she said as much at the time. The level of bitterness seems like a lot. But I’m also interested in everything we still don’t know about her - if she’s not the Power Broker herself, she’s obviously Up To Something. So that should be fun.

--hey, look at that X-Men location, with Majipoor! Also a nod to Wolverine’s favorite bar there, I think?

--I love heist and disguise plots!

--I also really like Bucky’s having to revert to the Winter Soldier - Sebastian Stan does it so brilliantly, with so many layers of emotion: not wanting to, loathing it, recognizing the necessity, shutting off all emotion and just coldly doing it, hurting but covering it up...just fantastic, and you know I love some hurt/comfort, and this seems like such a great set-up for emotional hurt

--but! this also seems like...a weird plot hole, kind of? Bucky’s pretty famous at this point, right? I imagine the criminal underworld knows he’s been pardoned and deprogrammed, right? or do they assume Zemo, with his knowledge of Hydra, still has some special control over him?

--along the same “this seems like someone didn’t think this through” path, Sam, you’re a professional, turn off your phone on a mission. Oh my god. Face-palmingly stupid - and I think somewhat lazy writing, as the writers plainly needed a giveaway, and went for the first idea they had. Even if it made a main character look incompetent.

--the Flag Smashers and Karli are...fine. They feel very Generic Marvel Villain - not the big space alien type, but the other type, the “I have a personal loss and motivating pain so I’m a little sympathetic but also Clearly Evil, watch me kill civilians so the audience won’t ever find me TOO sympathetic” type. Meh. Fine. Zemo’s more interesting, but...fine.

--Anthony Mackie is such a fantastic actor - every bit of his reaction to the Isaiah Bradley reveal is so good. The anger, pain, frustration, ferocity...heartbreaking. Actually that whole scene is so good - his emotions at discovering this secret history are palpable, and it’s so painful, because we also understand why Bucky would keep the secret - as someone who knows about pain and trauma and being experimented on, and knowing Isaiah wants to be left alone - we feel really deeply for both characters here, and it’s great.

--I actually liked the abrupt swing from the Isaiah Bradley encounter to the casual everyday racism of the cops on the street - is it subtle, no. But it’s not meant to be: it’s meant to be standing up and shouting about how not that much has really changed, and about how pervasive racism is. I know some reviews were all, “this was just too much!” or “too forced!” but...look, it needs to be shouted sometimes for people to hear.

--Bucky’s notebook being Steve’s, oh, ouch, my feelings. If I had the time and energy to write fic...

--(also, if I had the time and energy to write dark!fic: where’re my fics in which Zemo’s implication about the Winter Soldier “doing anything you want” gets played with? what or who does Bucky have to do to keep the undercover charade going? so many Bad Wrong Kinky power dynamics and explorations of consent and what this would do to Bucky’s head, here, and honestly I’d totally read them all, just saying.)

--Sam and Bucky together...I don’t know. This is one of the elements that I’m not actually a huge fan of, but I think it’s partly a personal genre / sense of humor thing that’s not clicking for me, personally, again. Like...

--I don’t find people shouting aggrievedly at each other to be funny? I’m not sure why it is.

--I mean, I get that they’re doing, like, eighties buddy cop movies, but...it got old really fast then, and it’s not something we needed to bring back. It’s not clever, and it’s...well, shouty and annoying.

--(I say this as someone who genuinely likes the first two Lethal Weapon movies...but the significant difference is, I think, we’re also shown in both those movies that Riggs and Murtaugh care about each other. They don’t want to be partners initially, and they don’t get along initially, and they do argue over tactics**...but they immediately feel responsible for each other and act to protect each other even as they argue, because it’s the right thing to do and we’re shown moments of them awkwardly trying to connect, because they both have that deep sense of...protectiveness...that makes them Good People - like, if they learn something that the other person needs to know, they tell each other. They protect each other’s families / love interests. So by the end of the second movie, with that fabulous character death fake-out, Murtaugh’s initial shock and grief is real and powerful and painful, and so is his genuine relief when the worst isn’t true - and it’s all earned.) (**however, they tend to argue tactics *before* jumping in - “is it 1, 2, 3, go on 3? or 3, then go?” And then once that’s established, they go ahead. That makes a difference as far as...well...competence and teamwork!)

--(Sam and Bucky, as far as I can tell, don’t do the above, and just...maybe shouldn’t be working together?)

--I also don’t find grown men acting like my youngest nephew, when he’s having a temper tantrum, to be funny. Staring contests? Random insults? Sulking in silence? Oh, grow up.

--(Also, yes, writers, we see you with the “couples therapy” and “get closer and make your legs touch” and “landing on top of each other as they hit the ground” moments. I, at least, personally, am very tired of...I don’t know that I’d call it queerbaiting exactly, but this idea that we’re supposed to find these moments funny...because why? Because, ooh, they’re two men getting close to each other, physically or emotionally? Why is this a thing we need to draw attention to? Do you think you’re doing some sort of fan service? Please either make Sam/Bucky happen or stop doing this.)

--both Sam and Bucky are highly competent and professional agents, or they should be. They should know how to work in the field - even with people they may not like - and adapt to shifting strategy, make best use of available assets, include people in the plan, etc. I can’t help but compare this to something like, say, Leverage, which also has a team who mocks each other and makes jokes but clearly absolutely respects each other’s capabilities, has a plan going in and tells everyone what the plan is, and adapts (and trusts each other to adapt) on the fly as necessary, and does it all without random insults about someone’s (PTSD-related) staring and “robot brain”.

--one of the very specific moments that bothers me a lot is the ending of the therapy scene (yay for showing heroes in therapy! but also I’m pretty sure she’s...not a great therapist?). Bucky finally opens up and says something real, about his own self-doubt and wondering whether Steve was wrong about him....and Sam just...brushes it off and goes, “we’re done here,” basically. Not only does that feel wildly out of character for former counselor Sam, it feels cruel. I really deeply dislike that moment the more I think about it. Makes me want to scream.

--Sam insults Bucky way more than the other way around. It’s starting to feel very one-sided (it’d be better if more clearly reciprocal, though it’s still not a dynamic that’s my favorite), and again, feels out of character - maybe this is Anthony Mackie’s sense of humor, but Sam isn’t Mackie, and Bucky isn’t Seb, and it reads as...a weird unbalanced power-trip thing to me. And also out of character for Sam, who can be sarcastic (”If you guys eat that sort of thing,” about breakfast, when Steve and Nat have randomly shown up at his door) but that’s not the same as just throwing unprovoked insults at a person who’s trying to recover from trauma, and a lot of those insults seem to center on things that were done to Bucky, that he had no choice in (the staring, the arm, etc), and that feels....it just feels mean, to me. Make fun of things he’s had a choice in / can do something about, if you have to - hair, clothes, liking “old people’s games” like gin rummy or pinochle, not knowing who Beyonce is, I don’t know, there are so many options that aren’t cruel! Do that instead. Let Bucky have a good comeback for once, too!

--the action scenes are action scenes. Also fine.

--Sam might be right about destroying the shield, and the show may even be (unintentionally?) setting that up as the best outcome, but that’s a problem for the future, Sam; get it back first. Also it’s a problem you caused by giving the shield up - did you really trust the government to leave it unused in a museum? You’re not that naive.

--overall, it’s...a perfectly fine show, so far, I think? Solid, and interesting, but not great. I think some of what doesn’t work for me is because it doesn’t work for me personally, as far as the shouty insult-heavy action “comedy” bits that I’m not enjoying, but I think they’re doing what they aimed for with it, so in that sense, I guess it’s working? There’s a lot of really cool stuff around the edges - John Walker, Isaiah Bradley, that Dora Milaje stinger, the bigger world of a history interwoven with racism and superpowers, the chillingly effective use of Bucky’s past - but I wish I liked the central Sam-Bucky relationship more. Individually they’re wonderful - they’ve both had such powerful scenes dealing with family, trauma, and consequences - but I feel like, in the effort to do the buddy comedy dynamic, the writing has just made me really sure that they actually genuinely don’t like each other? To such an extent that if they show any affection / caring / interest in each other in the last three episodes, it won’t be believable. (I mean Sam and Bucky, not Mackie and Seb. Mackie and Seb’re adorable.)

--I just want to think about Zemo dancing some more.

#the falcon and the winter soldier #tfatws spoilers #spoilers #fatws spoilers #thoughts

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alwaysahiccupandastrid · 3 years

Text

His Dark Materials Season 2 Ep1 - Some Thoughts!

(This is mostly in bullet points because I’m rambling/fangirling - also I’ll add a read more later when I can get on my laptop so I can hide spoilers! Also I’ve probably missed out a lot of great moments because I’m still reeling and I’m just going off what I remember!)

IT’S FINALLY HERE, like you don’t understand how LONG I’ve waited to see an adaptation of The Subtle Knife finally on-screen.

Is it just me or is Pan’s voice deeper? Is that a sign because Lyra is at the age of growing up/adolescence?

Okay so this COULD just be me but I feel like they had a much bigger budget this time around because the dæmon representation this episode? YES. So much more Pan and other dæmons than I was expecting to be honest!

The imagery/settings are so on point and beautiful asdfghjkl

MRS COULTER LOOKING AT ASRIEL’S PHOTOS OF LYRA, especially the BABY one omg 😭

I love Hester and I love the little banter between Lee and Hester so much, like it’s just so fun to see

The witches are so bloody fabulous and beautiful and strong and I love every single one of them frankly. A+ character and costume design!

Lyra pinning Will down to the table just like Asriel did to her in the first episode of the first series - URGH WE LOVE TO SEE CONTINUITY

The laugh I let out when Will saw Pan for the first time / when Pan spoke omfg

Also that moment where Will is like “WTF why do you have that talking animal thing” and Lyra is like “WTF why DON’T you have a dæmon?!”

Give Ruth Wilson ALL the awards, please and thank you

That witch torturing scene was so scary??? At least to me??? Like omg Mrs Coulter is terrifying and ruthless, I love it

EVIL BASTARD GOBLIN MONKEY IS EVIL

Also Mrs Coulter is the ultimate petty queen, taunting that witch about the fact she (the witch) was Asriel’s lover (????)

Lyanna Mormont (Bella Ramsay) appeared and I was like “?!?!?!?!?!”

Will saying that in his world a “demon” is a bad thing and Pan being kind of offended like “ummmm thanks?!?!”

Also, I don’t know if it’s just because I’m not comparing it to The Golden Compass’ adaptation/performances or if this is actually true, but I feel like Dafne Keen is really coming into her own as Lyra now. I feel like last season I was kind of comparing her to Dakota Blue Richards but I also do genuinely feel she’s getting more and more into the character.

THE WAY LYRA ATE THAT OMELETTE WITH HER BARE HANDS AND JUST SHOVED IT IN HER MOUTH LIKE A BREAD ROLL OMG

Will making a sarcastic comment about how they must not have cutlery in her world and her being all “haha you’re funny” before continuing to use her hands 😂

Lyra being like “I’m taking this bed by the window” and Will saying “I was sleeping there...” before resigning with “but okay fine I’ll sleep downstairs then”. And Lyra just shrugs and doesn’t even notice he was kind of put out ASDFGHJKL

I laughed way too hard at Lyra sniffing herself/her clothes after spending days without a bath, days of trekking through what looks like humid foliage, running around, not changing her clothes, the fact she probably stinks bad... and then being like “NAH I’m fine as I am”

Also Lyra’s world doesn’t have showers??? (That does seem like a more modern thing tbh and Lyra’s world definitely doesn’t have the same modern day technology our world does)

The fact that Lyra accidentally let an egg break when it fell on the floor, and instead of properly cleaning it up she tries to just spread it out more with her shoe as if it’ll be less noticeable/go away

Long story short: Lyra is literally a little savage legend and I love her - she just truly doesn’t give a f*ck

I burst out laughing at Lyra attempting to make omelettes for her and Will breakfast, like it’s so sweet of her but also she literally put the whole damn egg in the pan, shell and all, and I love it

Will pulling out an iPhone and snapping a picture of the tower is... not something I thought I would see but okay sure?!?

The way that Will immediately ran to save that cat the kids were torturing 😭 and then Lyra and Pan appeared, and Pan was a snarling wolverine-thing - Urgh I LOVE it

That moment where Will is holding the cat and Lyra strokes it while it’s in his arms 😭👏🏻❤️

Lyra saying to Will “you do have a dæmon, you just don’t see it yet” and “I don’t see it yet” - FORESHADOWING.

Also can we talk about how TALL Will is?! Lyra doesn’t really look that short, like she’s about the same height as the other kids in the episode, but Will towered above ALL of them?!

^ One of the girls did mention that Will is “close” to that change where he goes from boy to man (and that it means the Spectres will soon be able to get him), so it makes sense I guess that he’s already pretty tall?

I kind of love the fact that Pan kept jibing at Lyra this whole episode, and his “finally you’ve made a good decision” 😂 and him talking to Will even when Lyra was like “wtf no we are not talking to him”

Honestly I want to just appreciate how much Pan we got in this episode, like they actually bothered to include him more this time and I’m so relieved because that was my biggest issue with the first series

I still think it’s the funniest thing that the Alethiometer tells Lyra “yeah Will’s a murderer” and Lyra immediately feels safe and says “hell yeah I trust him”. Like I get it and also it was more self defense than murder, but it’s also kinda funny?

I’m so happy that the Spectres are genuinely terrifying from what we’ve seen so far, like I was nearly yelling at my TV at the end of the episode with one appearing behind Will

NEXT EPISODE CANNOT COME SOON ANOTHER OMG IT LOOKS SO GOOD

#his dark materials #hdm #his dark materials spoilers #hdm series 2 spoilers #lyra belacqua #lyra silvertongue #pantalaimon #will parry #mrs coulter #marisa coulter #i'm now putting this under a read more because of assholes so umm yeah love that for me

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skullsandwineglasses · 3 years

Text

The Legends (2019) Full Review

My review of the first 30 episodes of the drama can be found here.

This is more of a rant than a review. The drama should have wrapped up at episode 35. I was able to tolerate it up to episode 42 when the wedding was, but by episode 48 it’s a total mess.

If only this scene was as epic as the picture makes it look. But alas, this was just a dream sequence, and by this point in the finale, I was already bored and scrolling through instagram on my phone. If only they really did have a love-hate relationship. But this is an angst-free drama.

Inconsistent character arcs

The FL and ML have become incredibly weak, both in terms of abilities and personality. The changes just don’t make sense for their characters.

Zhao yao is no longer the badass she once was, and I’m actually fine with that. Moving away from her demoness persona is part of her growth. BUT, she no longer has a goal in the drama (except when she finds out that Mo Qing has an inner demon. Then, her goal becomes finding a way to expel the demon). But in the last quarter of the drama, she doesn’t really do anything of importance. She lost her sword, but she doesn’t actively go and find it. Instead, Mo Qing and Jiang Wu are the ones who took initiative to hunt it down for her. And when Lin Zi Yu got away with it, she doesn’t bother thinking about finding her sword again?? I mean girl, you lost your sword. Your only weapon. Why is that not at the top of your list of priorities? Is this the same FL who had risked it all for the Wan Jun sword?

(I miss the demoness)

Her tolerance level for things that annoy her is just so out of character. Zhao yao used to be someone who always fought back against anything she didn’t like. But when it comes to Jiang Wu, she seems to have unlimited tolerance for him. Yes, he saved her, but owing him does not mean letting him be a menace. Like when Jiang Wu sucked the life energy out of Ah Dai. All she did was try to restrain Mo Qing from attacking Jiang Wu, but she didn’t spring forward to prevent Jiang Wu from killing Ah Dai. I mean, the cause of Mo Qing’s rage was Ah Dai dying. Shouldn’t you go address the root of the problem? Instead, she just sits and stares and lets Jiang Wu kill Ah Dai instead of doing something. And then there’s the scene in the library when she’s asleep, but Mo Qing is wrestling with his inner demon, and then the Wan Jun sword kills the 2 guards on duty. She just sleeps through the entire thing. Wasn’t she once the most feared conqueror/demoness? Isn’t she a warrior? How can your senses not be alert when there’s so much ruckus around you? Someone on MDL said that she became a glorified baby sitter for the ML, and while I don’t agree that it’s as extreme as that, I can see their point. All that Zhao yao does after the wedding is try to reign in Mo Qing to prevent him from going into full-on demon mode. She holds him back, tries to calm him and soothe him, rinse and repeat.

Speaking of Mo Qing, his current personality is just rage and jealousy. At first, it was kinda endearing seeing him jealous, but soon his entire arc was just about him being consumed by jealousy. The writers try to justify it by saying that he’s always had low self-esteem and been unconfident about himself because of his upbringing, and the growing demon energy inside him is exacerbating these thoughts, making him more unlike himself, but you’re telling me that everything that he and Zhao yao had gone through together was all for naught? This would have made sense 5 years ago, but we’ve seen that he has greatly matured since becoming sect leader. During the earlier episodes, he was able to see right through Zhao yao’s mask. He teased her, flirted with her, scolded her, and basically proved he’s her equal in every way, and he did it all with easy confidence. And now suddenly, all of that growth reverses, and he’s insecure and sensitive again. This character progression just doesn’t make sense in the context of everything that’s happened. I would have loved to have seen more of the introverted and unconfident Mo Qing at the beginning of the drama. But instead, we only got a handful of scenes before that part of his character arc was cut short and we skip ahead 5 years later and then another 5 years later to when he’s the sect leader. There was honestly no purpose for Mo Qing’s suffering. He just suffered for the sake of suffering. In other xianxia dramas, characters suffered for a purpose. It was a price they had to pay in order to protect someone they love. But this suffering is just pointless. It does nothing for this character arc. And they kept replaying the same montage of him sleeping on the dragon. As if it’s not already clear from the last 20 episodes that he’s being haunted by his father’s demon.

Villains and supporting characters

I didn’t really care for the villains? Luo Mingxuan is still alive, but doesn’t do anything until the last 5 episodes. I eyeroll whenever Lin Zi Yu is onscreen. Jiang Wu is the only one who’s interesting and he serves as comedic relief.

And then there are all the unnecessary deaths. It’s like they’re killing off all the good characters one by one. What was the point of killing off the doctor? He was the only character who could scold both Zhao yao and Mo Qing. The drama felt so empty without him.

But on a good note, I really liked most of the supporting characters, from Zhiyan to Shi Qi to Ah Rong to Gu Hanguang. They were also the most consistent characters in the drama.

On a bad note, the drama spent too much time on the backstories of supporting characters. I did not care to watch Suruo mourn Luo Mingxuan and remembering how they fell in love, and this happens for pretty much all the couples in the drama. It’s because Zhao yao and Mo Qing have a very simple romantic arc that’s resolved very early on, so the writers had to throw in fillers to drag out the drama. And the consequence is that our leads end up getting not enough screen time.

The final 2 episodes

Oh boy. The last 2 episodes were a hot mess. In the final battle, everyone kept attacking and stabbing Luo Mingxuan, but he just won’t die?? He’s like Wolverine. He just comes back stronger. It just kept dragging on and on, and I completely lost interest. And I felt bad for Xu Kai. He was standing on the sidelines for most of the battle, just watching and shooting worried faces at Zhao yao. I hate to say he was useless, but it just felt like the writers did him dirty. Even Jiany Wu, who had already died by that point, was given a brief re-appearance. While Mo Qing, the ML, was forced to sit out on the action.

I’m also so over the will-he-won’t-he be evil plot. I keep saying this but I’ll say it again. It. Just. Keeps. Dragging. I’ve watching longer dramas, but this one felt to go on forever. We get it. You’re being tortured by your inner demon, but love will conquer all.

The editing is also weird? Some of the scenes aren’t in chronological order, and there’s no separation between dream sequences and reality. I also never liked the preview at the beginning of each episode. I also hate how they cut some crucial scenes from the TV version that’s on youtube, forcing me to hop onto doboku, which buffers.

Honestly, the last episode felt like a hallucinated dream sequence. In one scene, they’re all sitting around the table saying that the need to seal the Wan Jun sword before Mo Qing gets out of the control, and then it suddenly cuts to black with a title card that says 5 years later (don’t get me started on how often they overuse the “5 years later” plot device. Why is it always exactly 5 years?) We then see that Zhiyan is now the sect leader, and we’re told that Mo Qing has sealed himself away, and Zhao yao has been waiting for him to return. We don’t see them say goodbye to Mo Qing before he seals himself away. No scene showing a handover to Zhiyan. We’re just forced to go with it and imagine these scenes ourselves.

Zhao yao, with a new hairstyle and new clothes to signify the time skip, watches Zhi yan and the sect from the distance. She then goes to visit other people, like Sima Rong and Liu Cangling. Liu Cangling and Zhiyan are the only couple who were able to move on from each other, and honestly, good for them. We then see Zhao yao sitting in the cave, pouring wine onto the cave floor, and then it cuts to black again and a sword flies through the air and wedges itself on the bedrock and we hear Mo Qing say Zhao yao’s name in a voiceover. And then it cuts to a scene where they’re both in the cave wearing their clothes from 5 years and Zhao yao has her old hairstyle. You assume this is a flashback to when they sealed the sword. And then we see Mo Qing in another realm where he lowers the sword in to the water, presumably sealing it. And then it cuts to both of them on the street buying food, wearing their old clothes and hairstyles.

Does this mean he got out of the seal? When in the timeline is this street scene? How did he get out of the seal? Did he just walk out? Was Zhao yao there waiting for him, or did he go and find her? It’s typical for there to be a long period of uncertain separation in xianxia and wuxia dramas, and these dramas usually end either ambiguously where you don’t know if the couple will reunite, or they end with an emotional reunion, like in Ashes of Love, Eternal Love, Love and Destiny, and Love and Redemption, and famously in Return of the Condor Heroes. But what in the world was this ending?? The hell happened? That was so anticlimactic. If the scene on the street really was their “reunion” after he got out of the seal, does that mean Zhao yao changed her hair back to 5 years ago? Why is the costuming so confusing then?

And the last scene where they have the same actors play their kids? Um, no. That’s just plain weird. You built up the chemistry between the 2 actors, and then in the end you make them play siblings and re-enact the scene of when their parents met? For what? To make the audience reminisce about the budding romance between the leads at the beginning so that things come full circle? But, these characters are siblings?? You’re trying to make us emotional over a scene of two siblings pretending to be lovers?

There was just no point in doing that. It doesn’t tell us anything about the characters’ married life now. I don’t care about their kids. I care about the characters and what they’re doing now. What a strange and uncomfortable way to end the drama. Not satisfying at all.

It would have been better if they had left it ambiguous. The amount of times that Zhao yao came back from the dead showed that they can defy the impossible, so even if it was an ambiguous ending, you’d still be able to believe that they’ll be together again. But this mess just ruined the chemistry. Ugh. I really miss the first half of the drama.

Overall Impression

I’m mad about how chaotic the last few episodes were. While the beginning of the drama wasn’t without its flaws either, it was still very promising and intriguing. The beginning of the drama felt like they knew where they were going with the story, even if you didn’t completely like the direction that it went. So yes, I echo the other critiques saying that this drama had a strong beginning and a weak end.

When I got to episode 35, I thought, how bad can this get? When I got to episode 42, I was still holding out hope that maybe other people were just harsh and maybe I’ll actually enjoy it. But no, the final 10 episodes are really as bad as everyone says it is.

The romance, which was the only reason I stuck to the drama, also felt a little underdeveloped. I wish we got to see more scenes of them pre-episode 30.They were so cute then. Everything post-episode 30 was just them being constantly worried about each other.

At least there was no angst. And the comedy was great. So there’s that.

I give this drama a 7/10 for the characters and the premise. The plot is not worth watching due to terrible editing, pacing, and consistency, but it’s also a drama that won’t take you long to watch since you could skip most of it anyway and just go to the scenes with the leads. It’s my first drama watching Bai Lu and Xu Kai, but I’m def now interested in more of their work, like Arsenal Military Academy.

#招摇 #the legends #bai lu #xu kai #cdrama #白鹿 #许凯 #zhao yao #cdrama review #cdrama rant

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scarlet--wiccan · 4 years

Note

(1/?) The MCU is going on a specific direction and might touch Wanda's history of mental illness. Maybe talk about that when you have the time? Wanda was going on a nice direction before all that happened.

Whew! Sorry it’s taken me so long to answer this— I have several super-long message chains like this one in my inbox and they’re hard to parse through and harder still to write a real answer for. I’m gonna try through a couple of these today.

Well, I think you hit all the important points here-- the optics of a mixed-raced family of first- and second- gen Holocaust survivors committing mass acts of terrorism, becoming rulers of a fascist, supremacist regime, and then, finally, committing pseudo-genocide, are, you know, not great. These are complicated characters whose representation can easily swing in either really positive or really, really negative directions, but this goes beyond the pale for me, especially given the proximity to 9/11.

The portrayal of Wanda's mental illness during this time, while not wholly unsympathetic, is wildly inaccurate and generally played as a horror motif. I'm not an expert on schizophrenia, but I think we can all agree that it's high time we moved past exploiting sick and disabled people's experiences for cheap scares. It's especially frustrating because Wanda, as a character, does have ground for poignant stories about mental illness-- she's had numerous traumatic experiences, starting with generational trauma and a lifetime of violent discrimination, and ending, at that point, with the deaths of her young children and the abrupt dissolution of her marriage. Her mental health should be addressed, but not in a way that demonizes illness or characterizes sick people as villains. One thing I appreciate about Robinson's Scarlet Witch is that it represents her mental illness in a very human, matter of fact manner and gives her the power to take control of her own wellness. She has realistic symptoms and pursues realistic treatments, instead of, you know, making hallucination constructs and getting mind-probed by Charles fucking Xavier.

Wanda is simultaneously infantilized and vilified in these stories-- she's denied agency at every turn, and yet, Wolverine and the other "heroes" of this saga view her with unbridled contempt, and most of them are immediately ready to murder her in the name of justice, even before the "no more mutants" spell was cast. You wondered how Bendis was able to inspire such a long lasting hatred of Wanda, and I think the simple answer is that almost every character in House of M hates Wanda. The characters you root for, the characters whose perspectives dictate the tone of the story, direct palpable fury towards her, and even those who aren't out for her blood don't extend any actual empathy towards her-- most are ambivalent to her wellbeing, while Xavier and Strange are incredibly paternalistic.

The final spell, "no more mutants", has baffled me for years. You're spot-on in saying that Wanda here represents a self-hating minority, but it's really hard for me to understand how she could have reached that point. It's not consistent with her previous characterization, nor is it thematically connected to the factors which led to her breakdown. Bendis places the onus of her condition on Erik, alleging that he abandoned and abused his children in his fanatic commitment to the mutant cause, which, besides being a willful misinterpretation of canon, has nothing to do with Wanda's current circumstance-- she's like this because Agatha Harkness altered her memories, because the Avengers continuously gaslit her, and becaue Mephisto killed her kids in the first place. It has nothing to do with Magneto, and Wanda's breakdown has nothing to do with mutant politics. She and Pietro were raised in a loving family until their adoptive parents were killed by racists. Erik didn't knowingly abandon them, and while he did mistreat them during the Brotherhood days, it wasn't parental abuse because he wasn't a father figure to them-- neither party had any idea they were related. Bendis is evoking specific forms of trauma that never actually happened, while ignoring the ones that did, and the effects of the spell itself are vague and seemingly random.

~~~~~

Young Avengers does call back to Wanda's circumstances in Disassembled and HoM, but it doesn't execute the concept of reality-warping in the same way. The driving force in YA is the spell which Billy casts, and Loki tampers with, in the first issue. It is a spell which distorts reality, but it has specific parameters, and neither party is characterized as "crazy" the way Wanda was. The spell was intended to bend space and time so that Billy could pull Teddy's mom from the past, before she was killed, into the present-- it's not dissimilar from how Wanda "retroactively reincarnated" her kids. Due to Loki's interference, however, the spell was hijacked by an interdimensional parasite called Mother. The Mother virus appears primarily as a construct of Teddy's mom, but as her influence over the Earth-616 dimension grows, she's able to create constructs of other dead parents, and even mind-control living adults. All of the ways in which reality is being warped hinge on the specific conditions under which Mother was summoned, and while it is Billy's magic that's fueling these constructs and distortions, they aren't symptoms of psychosis-- Billy doesn't lose control of his magic because he's losing his mind, he loses control because he's too young and inexperienced to protect himself from predatory forces. Those forces do take advantage of his depression and anxiety, but his condition is never the cause.

Loki's magic is wrapped up in the spell, too, but rather than conjuring dead parents, it emerges as a construct of their former best friend, Leah. Loki, in Young Avengers, is a mashup of two personae-- the reincarnated child Loki, and Ikol, a phantom of their past life who is carrying out the previous Loki's evil will even though their heart isn't in it. Ikol has mostly overshadowed Loki, who has been reduced to a ghost that torments Ikol by acting as a constant reminder of their guilt. Ikol is haunted by their past, but it's important that this haunting is a nuanced metaphor and not literal hallucination, as Wanda's condition was in HoM. Because Loki's power is part of the spell, Kid Loki's ghost is able to hijack the reality distortions to summon the construct of Leah, who, in turn, is able to summon the Young Avengers' other exes, the same way that Mother, in the form of Teddy's dead mom, can summon other dead parents.

Loki does raise the question of whether or not Billy might be subconsciously influencing Teddy with his powers, but this is clearly illustrated as a manipulation tactic and disproven several times. Loki's original goal in summoning Mother was to draw out Billy's full magical potential so that they could steal his power for themselves. Driving a wedge between Billy and Teddy, and causing Billy to question his own sanity, were devices to make Billy more susceptible to having his power stolen, and they worked-- Billy is not able to divest his magic from the spell and banish Mother from Earth-616 until he overcomes his self-doubt and start exercising mindfulness. Loki, in turn, is not able to divest their power from the spell and banish Leah and the other exes until they own up to their guilt and admit everything they've done. Both characters are experiencing symptoms of exacerbated mental illness-- Billy's depression and suicidal ideation, Loki's disassociation-- but their mental illness is not the source of their magic, but a challenge which makes it harder for them to live as their fully realized selves... just as it would be for any normal person.

I know that was a long-winded explanation, but I wanted to illustrate what sets Gillen's take on "reality warping" apart from Bendis's. It's based on clearly though-out ideas of how magic works and what defines "reality" in a world populated by parallel universes and living myth-forms. Gillen affords Loki and Billy a degree of sympathy without denying them agency, and Loki is held accountable for their decisions without being painted as a total monster. Bendis, meanwhile, characterizes Wanda's magic as delusion made real, and completely vilifies her for her illness in spite of the fact that she's given no control over her actions.

#bee text #Wanda maximoff #scarlet witch #house of m #Young Avengers #robintext

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hellyeahheroes · 3 years

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Let Molly Punch Wolverine: Why I’m worried about X-Men appearance in Runaways

I want to preface this by saying that I have strong trust in Rainbow Rowell and while I am behind her series due to financial and pandemic related reasons, I trust her to deliver the best story she is allowed to. The worries I express below come from the fact I do not trust X-Men editorial and Jonathan Hickman enough to believe they will allow her to tell the best story.

The way I see it, Runaways are the quintessential Millenial comic in that it perfectly captures Millenial generation’s disillusionment with world and society built by Baby Boomers. A disillusionment that was to be expected in face of failiure of American defenses to prevent 9/11, the government and mass media wholeheartely embracing islamophobia and homophobia in it’s wake and American war crimes in Afghanistan and Iraq, on top of myriad other problems that were already present in the 00s and only got worse as we went ahead.

This is not seen just in the core premise of the original series, the idea that the parents kids are taught to respect and look up to are actively evil and damning the world for their own benefit. But also in the general potrayal of adults and adult superheroes in the series, who are mostly useless or outright malicious in case of Doc Justice. Sole exception being somewhat Spider-Man, who himself is portrayed as having gone through what Runaways have and so having insight and empathy other adults lack.

While that theme has become more gray over the years, as Runaways managed to gain a good footing with teachers and students of Avengers Academy alike, and Nico and Victor were on Avengers offshot teams, even then it was clear that the older heroes are not these perfect ideals too look up to, but flaved in their own way. Entire Avengers A.I. is about fixing one of Hank Pym’s screwups and A-Force’s premise is the team doubles as a support group, every member having gone through traumatic experience in the past and being on different stages of healing process (not to mention how it crashed and burned due to mistakes made by Carol in Civil War II). Even X-Men themselves started as outright antagonistic to Runaways under BKV. And then uder Yost went into the mutual “MAYBE they aren’t THAT bad” relationship with Runaways. Every meeting so far had Molly punch Wolverine.

In current series most of the team moved from teenagers to young adults and their experiences still reflect those of late Millenials. There is this feeling in current series of powerlessness, Runaways making it to the adulthood only to find all it gets you is more problems and all ability to fix the world have been systematically wrestled from your hands by the very people who broke it just so that you cannot fix their mess. It is a story about trying to live in a messed up world with that realization and how your found family can help you carry on whatever it will throws at you. I think in this way is why I can turn a blind eye on things like Nico in Strange Academy - it makes sense she would want to at least try to help kids who are going through what she did to not have as much a hard time. And, you know, Strange didn’t invite A NAZI WHO ACTUALLY WORKED AT AUSCHWITZ WITH MENGELE to help him run the school.

I do not beleive X-Men editorial can play along with that. Right now X-Men and their fandom are at the height of drinking their own kool-aid, portraying their stupid sex island as the msot perfect and best thing ever, to the point they ignore the blatantly fashy things happenning like making up new minority groups (precogs and clones) to oppress, or abovementioned inviting of Nazis, mass murderers and islamophobic crusaders who want to “take back Jerusalem”. They are so into the “mutants are a minority” metaphor that they outright demand that every other book touching on it portray negatively anyone who does not immediatelly bows down at their feet. Something we have seen in X-Men interactions with Fantastic Four, where Sue Storm’s legitimate complaints about X-Men’s current position are caricaturized to cast her in a “uniformed homophobic mom” stereotype just to keep the metaphor working. Even in Fantastic Four’s own book. In wake of this I can somewhat see why the infamous “Franklin is not a mutant” retcon took place.

I cannot beleive that current X-office could allow X-Men to be shown in a way that adheres to themes of Runaways. I mean for Pete’s sake, look at their treatment of New X-Men Academy X - another Millenial at heat series. And another one that tackles disillusionment of that generation with Baby Boomers’ run world with its own 9/11 equivalent in form of a terrorist attack that killed many of its students and traumatized the rest. It is a known secret editor Jordan White considers this a “mistake” because it made old X-Men look bad. And under him in particular X-Books had a history of undermining and derailing NXM kids to show them as inexperienced, dumb kids who never had any hardships and do not know what it really takes to be an X-Man, who see it as all the glamour and no work. All in spite of the fact they may have suffered more than all their elders except Karma, writers’ favorite punching bag. Now the books are outright lobotomizing the surviving kids while bringing back dead ones not to explore any stories with them or how such return could affect the ressurected and their friends alike and maybe allow a possibility to heal. No, this is done solely to erase that massacre from ever happenning because it make Jordan White’s heroes look bad.

I’m supposed to believe this editorial will allow Cult Sex Island to be shown as imperfect or not a place that would “obviously” be much better for Molly? That it will allow Runaways to not be cast as “bigots” for not wanting to handle Molly to “real family” (as determined by genetics) same way X-Men treated Fantastic Four? As things stand now X-Men, a franchise and fandom that is ever entitled to special treatment to the point it cried Marvel wants to bury them when having “only” four books a month. One that has demanded for Kamala Khan to be handed over to them and made a mutant just to spite Inhumans over some perceived slights. A fandom that has wished death members of every superhero team with a mutant who refuses to hand the mutant over and celebrated brutal murder of a kid with a reprogrammed Sentinel. This blind entitlement is not jsut a fandom thing but also infects creatives working on it. Need I remind you how Jason Aaron made a big deal out of making Firestar join the X-Men? He took a character who canonically didn’t care much for the team and wanted to do her own thing and retconned her to be a total fangirl who dreamed of joining but was never before truly “worthy” of this “honor”. Right now we have more and more evidence every franchise interacting with X-Men needs to bow down and play a secondary role to it. but the respect here is a one-way street, Jonathan Hickman outright complains about having to adhere to work of other writers. I have absolutely zero trust that editorial will not try to force the story in Runaways to also be worshiping the ground X-men walk on. Worst case scenario they insert themselves like they did with Fantastic Four, becoming recurring plot thread and casting rest of Molly’s family as evil for not wanting her to join what is effectively a cult.

I wish I’m being wrong here. I do not want Runaways to become a glorified advertisement to a bigger franchise that has become souless and vile and whose fans turned into bullies. I have faith in Rainbow Rowell but that faith is outweighted by my distrust in Jordan White and Jonathan Hickman and their egoes. I hope I’m wrong. All I want is a story that ends with X-men fucking off and Molly staying with her real family, the Runaways. And of ocurse, her punching Wolverine. Which I do not trust White and Hickman to allow either.

PS: Some of you are probably already typing some sort of “if you don’t like the X-men, just don’t read them” response. To you I say: I would be glad too. Too bad they keep forcing themselves into things I actually like. Like a mold. Which is a good metaphor for what this old, gross thing the franchise has become.

-Admin

#Runaways #X-Men #Molly Hayes #Marvel

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completeoveranalysis · 1 year

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[4]

I LOVE the visual here with Syaoran’s here swept up. It brings in a dramatic look that we don’t see often - but it also makes him less look like the Syaoran we recognise. It makes this action that he’s being instructed to do is one that is markedly distant from anything Syaoran should naturally do, or would ever want to do himself - and it’s also using magic that doesn’t even belong to him. The entire thing is stolen effort from unwilling sources beaten into submission by Evil Wolverine from afar.

And I love THIS page because it shows all the forces in play in a single panel - with Syaoran sandwiched between Sakura and Evil Wolverine, and the big Tsubasa mural underpinning it all, since that’s the crux of the whole thing. It’s concise and really effective, especially with the level of panicked emotion Sakura is dealing with. She stares right at Syaoran, since that’s her primary goal, while he looks straight ahead, unaffected, and Evil Wolverine looks levelly off to the side - but down, at the opposite angle to Sakura. His hair is also at sharp angles where hers are soft curls, and while her face is in the light his is mostly shrouded in darkness, and this same shadow is on Syaoran’s face, since he’s in his control. All their angles are different, but they all play into the natural flow of the reading direction as the dialogue moves through each of them and into the next page.

Which is dramatic for sure.

Oh and I didn’t even talk about what Sakura is SAYING. If Lava Lamp dies that’s IT. “It’s all over,” is vague on its own, but we can extrapolate enough to know that this is a central moment in whether or not time and space will collapse. That bit we could already guess, but when she says, “You and I will be over too,“ it’s so much more personal.

She NEEDS Lava Lamp to survive, otherwise she has no way of saving Syaoran, and anything they had is gone forever. Perhaps Syaoran dies as soon as Lava Lamp does, perhaps he doesn’t, but Lava Lamp’s survival is the ONLY way they can fix anything at all, and it all depends on this moment.

The other thing this confirms is the opposite of what she says here - that she CAN save Syaoran, and she knows this, and she perhaps knows how. She CAN do it, and she’s seen the possibility of the future they can have, and she just NEEDS this moment to go the right way, or it gets snatched away from them both forever.

And I think this is the first gleaming confirmation that Syaoran actually definitely CAN be saved and might still exist in the future, somehow, if this all goes to Sakura’s plan. Whatever that might be.

#Or at least she THINKS he can #But she can see the future so she’s KNOW if he couldn’t #I’m taking this and running with it ok #SYAORAN CAN BE SAVED HE’S STILL IN THERE #HE JUST NEEDS TO NOT STAB LAVA LAMP TO DEATH #Liveblogging the reservoir chronicle #Tsubasa #Vol 177 #Syaoran #Lava Lamp Guy #Sakura #Evil Wolverine #And the NO DONT STAB #BAD SYAORAN STOP STABBING

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aion-rsa · 3 years

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Invincible Episode 7 Improves Upon Its Already Great Source Material

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This article contains spoilers for Invincible episode 7.

Amazon’s animated adaptation of Robert Kirkman and Cory Walker’s comic Invincible was always a great idea. The property has just about everything that streaming services and their audiences are looking for currently: superheroes, ultraviolence, and jaw-dropping twists.

One big question facing the series, however, was how could one show possibly fit in all the story of the comic’s lengthy 144-issue run? Invincible episode 7, “We Need to Talk,” is the first season’s penultimate installment and it reveals how the show is set to approach this logistical challenge. With so many comic book issues of plot to get through, Invincible seems perfectly happy to accelerate through that plot as efficiently as possible. To that end, “We Need to Talk” features a truly staggering number of climactic moments.

This might actually be the most charmingly chaotic and jam-packed episode of TV this year (at least before next week’s finale). So much happens in “We Need to Talk” that it runs the risk of overwhelming the viewer. With that in mind, let’s break down the important plot points of this hour and examine the major ways in which they differ from (and even improve upon) the comic.

Robot’s True Identity

The reveal that the entity known as “Robot” isn’t who he claims to be might be the most shocking Invincible twist thus far. And that’s saying a lot for a show whose first episode concludes with the story’s Superman equivalent straight up murdering the rest of his Justice League.

That Robot (Zachary Quinto) is really a malformed genius named Rudolph Conners isn’t a surprise to comic book readers, but its positioning this early in Invincible’s story is a surprise. Robot’s work with the Mauler Twins to create a new body for himself doesn’t happen until after the events of Omni-Man’s confrontation with Mark in the comics (more on that later). The show, however, shrewdly decides to present this moment in the same episode as Omni-Man’s fall – just so there’s never really a moment for viewers to catch their breath.

But now the truth has finally arrived. Robot, the orange hunk of metal with a fixedly bemused expression, is actually a machine being operated remotely by Rudolph Conners. Rudolph, or Rudy, is a small, damaged man whose body isn’t capable of surviving Earth’s environment. For many years Rudy was content to exist in his own life-giving tank of fluids while operating his superheroic “Robot” remotely. Everything changed, however, when he met the hero known as Monster Girl.

Rudy couldn’t help but identify with Monster Girl (Grey Griffin), a fellow soul who has made the best of a flawed body. Everytime Monster Girl transforms into a monster, her human form de-ages several more weeks. Theoretically at some point Monster Girl will become an infant and then waste away into nothingness. Before any of that happens, Rudy wants to fix her…and he wants to fix his own broken body so that the pair can be together.

From Battle Beast to Titan, The Invincible Rogues’ Gallery is Taking Shape

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To that end, Rudy sprung the mad genius villain team The Mauler Twins from prison to create a cloned body for him to transfer his consciousness into. What makes this whole thing even stranger is that the genetic material Rudy chose for his new body belongs to his Teen Team and Guardians of the Globe colleague Rex Splode. The new Rudy appears to be played by Rex Splode actor Jason Mantzoukas with his voice altered to sound younger.

Does that mean Zachary Quinto is no longer a part of the series? Let’s certainly hope not as he may have been the best performer of the entire cast. And why did Rudy choose Rex’s DNA (and without Rex’s consent, it must be said)? Because Rex is hot, basically. Rudy chose a human form that Monster Girl was already comfortable flirting with.

This is…a lot. And the fact that Rudy has to introduce himself to his teammates while they’ve all gathered for an “apocalyptic event” just adds to the madness. But what of The Mauler Twins? The disappointment of Rudy’s double-crossing doesn’t last long. For, after Rudy is forced to abandon his efforts to reincarcerate the Mauler Twins to return to the Guardians home base, the twins get back to their important task at hand. And that leads to the return of another important Invincible character…

The Immortal is Immortal After All

Back in Invincible episode 1, Mark Grayson’s dad Nolan a.k.a. Omni-Man (J.K. Simmons) made short work of the Guardians of the Globe. Darkwing? Dead. War Woman? Dead. The Immortal? De….wait a minute. How can someone called “The Immortal” die?

Well, it turns out that death for The Immortal (still voiced by Ross Marquand) is only temporary. Omni-Man removed The Immortal’s head, which is pretty much universally lethal across all genre stories. But The Mauler Twins theorized that if The Immortal’s head were returned to his body, he would spring back to life.

Sure enough, that’s exactly what happened once The Immortal’s noggin was reattached. Unfortunately for The Mauler Twins, their dreams of forming any sort of alliance with the resurrected hero are quickly dashed as he immediately flies off to confront the man who killed him.

Omni-Man v. Cecil Stedman

And that takes us to Omni-Man. In the comic, Omni-Man’s confrontation with The Immortal is what leads Mark Grayson (Steven Yeun) to discover that he’s got a Darth Vader situation on his hands. The show borrows that moment from the comic because any time you have the opportunity to make a character watch his father tear a Wolverine-looking dude in half, you’ve got to take it. That comic book moment is surprisingly abrupt though. In one panel Omni-Man is doing his usual Omni-Man thing and saving a group of citizens from a faulty roller coaster and in the next panel, The Immortal is all over his ass.

The Amazon Prime series dramatically improves on what is already a pretty great moment simply by drawing it out and building serious tension. Nolan’s wife Debbie (Sandra Oh) and the entire Global Defense Agency led by Cecil Stedman (Walton Goggins) are already well aware of Nolan’s treachery and have decided to finally take action. In speaking to Den of Geek and other outlets prior to Invincible’s premiere, Kirkman (who’s onboard as a writer and producer for this adaptation) revealed that Cecil Stedman would be getting an expanded role earlier on in Invincible’s story.

“Cecil Stedman is a character that we get to know a little earlier in the show and definitely we get to do more with him,” he said. “I think that’s a lot of fun. There’s definitely some differences to his character and working with Walton Goggins on him has been great.”

Cecil really is a fascinating tool for Invincible. Many superhero stories have a Jim Gordon-style government liaison for its heroes to interact with. This person usually represents the interests of the planet’s “normal” citizen and is particularly impressive for being able to cut it in the world of the super-powered. By having Debbie and the GDA uncover Nolan’s guilt first, Invincible creates a wonderful opportunity to display both Cecil’s competence and depict the absolute horror of we puny humans trying to keep a super-powered god in check.

Many times throughout Invincible episode 7, Cecil admits that there is nothing they can do to stop Nolan. The best they can do is slow him down for a bit until Mark is able to intervene. The first roadblock that Cecil presents is the explosion of an entire suburban city block with Nolan at its epicenter (R.I.P. Donald).

“Best it will do is maybe knock him on his ass for an hour or two,” Cecil says. Then when the smoke clears to reveal an unharmed Omni-Man, Cecil grimly adds “Or maybe not hurt him at all.”

Cecil then throws the “hammer” at Nolan, which is a powerful blast from a weaponized satellite.

“$400 billion for the world’s most expensive nosebleed,” Cecil quips when Nolan takes the weapon out with ease.

Then we get a sense of how many moral shortcuts Cecil is willing to take to keep the Earth safe. Mad scientist D.A. Sinclair’s (Ezra Miller) wounds from his confrontation with Invincible haven’t even healed yet but Cecil already has him using his evil technology for noble purposes. Sinclair’s “Reanimen” technology is now being used to reanimate recently dead U.S. soldiers, who are sent in to slow down Omni-Man. Unfortunately, that is also unsuccessful.

Why Amazon Prime’s Invincible Had to Be Animated

By Alec Bojalad

Invincible Review (Spoiler-Free)

By Bernard Boo

Finally, Cecil is forced to head out into the field armed with nothing but a teleporter to confront Omni-Man himself. When that inevitably fails to slow Nolan down, the GDA sends a monster that Nolan already conquered, only this time it’s been robbed of its weaknesses and fear. And that’s where Mark finds his father, just in time for The Immortal to arrive and deliver one hell of a surprise.

There’s something to be said for the suddenness of the comic’s Omni-Man moment with Mark. Mark witnessing his dad’s evil act truly comes out of nowhere even though we know it’s inevitable as Nolan has been practicing this conversation all issue.

What the show does with the moment is a masterstroke, however. By centering the focus on the human characters of Invincible’s world, we get a chilling sense of just how terrifying this all is. Omni-Man’s heel turn doesn’t just have personal implications for Mark, it means that Earth’s unbeatable protector now seems to hate Earth. More terrifying than that is that the only person we think can defeat him is Mark Grayson…who, it must be said, has done nothing but had his ass absolutely handed to him by lesser enemies over and over again for the past three episodes.

Amber and Mark

It probably feels anticlimactic to address Mark and Amber’s lover’s spat after breaking down Omni-Man’s reign of terror. But it’s necessary to see how far-reaching the changes (and in this case improvements) are in episode 7 in comparison to its original text.

Mark and Amber’s relationship thus far has been all about frustration. Mark is facing an annoying problem with a seemingly easy solution. Amber (Zazie Beetz) is upset with him because he is absent in their burgeoning relationship. He’s absent in their burgeoning relationship because he’s a superhero. Therefore, the quickest, easiest solution to this dilemma is to tell her that he’s a superhero.

So in this episode, that’s exactly what Mark does. He gets suited up and flies right through Amber’s window to deliver the exciting news. The problem is – she’s not that excited.

“Ugh, I know you’re a superhero,” Amber says. “I’m not an idiot, I figured it out weeks ago.”

This is not how things go down in the comic. That version of Amber is a bit more…let’s say “bubbly” and when confronted with the fact that Mark has lied to her for weeks she responds with an excited “My boyfriend is a superhero?!?!?”

The show, however, is smart to not let Mark off the hook so easily. Of course Amber knew that Mark is Invincible. Because, like she says, she’s not an idiot. Anyone who spends an inordinate amount of time with him is bound to figure it out sooner than later. So what Mark thought was a problem with an easy solution becomes yet another difficult lesson on his path to maturation.

“I think that Amber is important in terms of holding Mark accountable,” Beetz told reporters prior to the show’s premiere. “Mark is still struggling with what his identity as a super person is. And she shows him that (powers) are not what make you good or special ultimately, it’s what’s in your character.”

It turns out that the people close to you don’t appreciate being lied to. Though human beings all look like particularly vulnerable ants from Mark’s perspective high up in the sky, we certainly don’t appreciate being treated like insects to be protected and manipulated by the powerful among us.

Mark and Amber’s relationship is an excellent indication that nothing will come easy for Mark Grayson on this show. Every decision has an equal and opposite reaction. It’s important that he learns that lesson before he enters into what is sure to be the most stressful and morally confusing moment of his life next week.

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Invincible’s season finale will be available to stream Friday, April 30 on Amazon Prime.

The post Invincible Episode 7 Improves Upon Its Already Great Source Material appeared first on Den of Geek.

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#aion-rsa #Den of Geek

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dalekofchaos · 4 years

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Batman should not and should never kill The Joker or kill in general

The most annoying thing about being on tumblr is the fact that people keep insisting that Bruce should kill The Joker and the fact that they were cheering it last week on Batwoman.

You. Miss. The. Entire. Point.

Bruce Wayne lost his parents to crime and Bruce Wayne is a child who died alongside his parents and was reborn as a creature dedicated to insuring it never happened to any other child. He made a vow never to reduce himself to the criminal scum’s level or to Joe Chill’s level. He never kills for a reason.

Batman not killing is what makes him so compelling, if he kills criminals, there is no moral conflict, he is no better than the Punisher, Wolverine or any other dark edgy hero. Hell, if he starts to take a life, Batman is no better than Ra’s Al Ghul.

In the Daredevil Netflix show, Frank Castle told Daredevil this “That’s not how this works. You cross over to my side of the line, you don’t get to come back from that. Not ever.” That alone is why Batman should not kill, not even The Joker. Bruce Wayne is not Frank Castle, stop trying to make him Frank Castle. I mean...Stan Lee was absolutely disgusted when someone called The Punisher a hero, Frank Castle is a murderer, not a hero. How is this so hard for people to understand?

I don’t want to hear that Batman killed in the old comics and I don’t want to hear Elseworld stories. It’s an established fact that Batman does not kill and it’s a big part of his character.

Guess what? We already got a Bruce who killed The Joker, it happened in the Burtonverse/Schumacherverse and he was disgusted with himself. “So, you're willing to take a life.” “Long as it's Two-Face.” “Then it will happen this way: You make the kill, but your pain doesn't die with Harvey, it grows. So you run out into the night to find another face, and another, and another, until one terrible morning you wake up and realize that revenge has become your whole life. And you won't know why.”

A huge part of Bruce’s character is that he doesn’t kill, no matter what. Same with Clark. But edgelord writers from the New 53, DCEU and the Injustice abominations think it’s cool to make heroes kill. Heroes should not kill. You can’t be a hero and a killer. IT DOESN’T WORK THAT WAY!

Guess what would happen if Batman kills The Joker? The Joker wins. The Joker and Batman are each trying to prove a point to society - and really to us, the readers. The Joker wants Batman to kill him because he perfectly embodies chaos and anarchy and wants to prove a point to everyone that people are basically more chaotic than orderly. This is why he is so scary: we are worried he may be right. If the Joker is right, then civilization is a ruse and we are all truly monsters inside. If the Joker can prove that Batman - the most orderly and logical and self-controlled of all of us - is a monster inside, then we are all monsters inside, and that is terrifying. The Joker is terrifying because we fear that we are like him deep down - that he is us. Batman is what we (any average person) could be at our absolute best, and the Joker is what we could be at our absolute worst. The Joker’s claim is that we are all terrible deep down, and it is only the law and our misplaced sense of justice that keeps us in line. Since Batman isn’t confined by the law, he is a perfect test case to try to get him to "break.” The Joker wants Batman to kill a person, any person, but knows that the only person Batman might ever even remotely consider killing would have to be a terrible monster, so is willing to do this himself and sacrifice himself to prove this macabre point. Batman needs to prove that it is not just laws that keep us in line, but basic human decency and our natural instinct NOT to kill. If Batman can prove this, then others will be inspired by his example (the citizens of Gotham, but again, also the readers), just as we are all inspired every day to keep civilization running smoothly and not descend into violence, anarchy, and chaos. This ability to be decent in the face of the horrors and temptations present all around us is humanity’s superpower, the superpower of each of us. The struggle of Batman and the Joker is the internal struggle of each of us. But we are inspired by Batman’s example, not the Joker’s, because Batman always wins the argument, because he has not killed the Joker.

Batman not killing matters. Batman stories to me are the ultimate tale of turning pain and suffering into something positive. That is a story that everyone can relate to because let's be honest here. The world can suck. I've experienced and probably will always experience feelings of fear of depression of anger of angst. It's in my nature as a human being to experience those things. It's in all our nature it is what we choose to do with that pain that we all feel that defines us. Batman chose to turn all those negative emotions, he feels into a symbol that can bring people. Hope that Batman will save us from pain but more importantly hope that we can all be Batman. Why do we fall? And Batman Begins explains this best “Why do we fall sir? So that we can learn to pick ourselves up.”

Yes, Bruce Wayne is a flawed crazy person. He is at times mean stubborn and even abusive but he is still good. He is still someone we can aspire to be. We can try our hardest to be Superman but no human being can fly, but we can still try to be Batman We can all try to turn our pain into something good when I see Batman killing people or fans saying he killed before and he should kill The Joker, It pains me. It actually hurts my soul. Batman is not about finding a way to kill evil. But try to redeem it. His mission is an impossible task. Maybe he should kill people. Maybe he should kill The Joker, but what makes him fascinating what makes him a hero Is the fact that he has that moral code and stopped himself from crossing that line That's why I always looked up to Batman even as a kid despite all the adult subtext or mature themes superheroes are for kids. And killing is not Batman and it is not Bruce Wayne. This is why I hated the portrayal in the DCEU and the Burtonverse and why I really hated the implication that Batman killed The Joker in Batwoman. A Batman who kills is certainly not Bruce Wayne, that is an interpretation of Bruce Wayne that completely misses the point of Batman. It's easy to kill. Batman does not make the easy choice... Batman does not kill.

#Batman #Bruce Wayne #Batwoman #The Joker #Joker

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thecorteztwins · 4 years

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@lgbtincomics - A pre-Marauders reading list for Shinobi Shaw! X-Factor (1st series) #67 - First appearance, kills his father (good for him) Uncanny X-Men (1st series) #281-283 - Bisexuality first implied. Tries to offer Fitzroy help with the Upstarts competition, Fitzroy responds by cutting off his finger and throwing the decapitated head of Donald Pierce in his bed. In revenge, Shinobi accidentally rescues Trevor Fitzroy from X-Men, thinking he’s in fact sabotaging Fitzroy killing the X-Men and gloats about that Uncanny X-Men (1st series) #299 - Other Upstarts are fighting, Shinobi just goes for the liquor cabinet while scolding “boys, boys!” X-Men (2nd series) #21-23: Shinobi invites a Japanese crime boss, Lord Nyorin, to his penthouse late at night. Nyorin is greeted with what I can only describe as an upskirt shot of Shinobi in a tiny towel, surrounded by scantily-clad men and women. Shinobi then stumbles around drunkenly while trying to convince Nyorin to kill the X-Men for him, saying “this is about your wants and my needs” and Nyorin calls him “unsutble”. Draw your own conclusions about that. He then attends a meeting with other members of the Japanese underworld to tell them just to leave his mother out of their schemes (what his mother had to do with this is never revealed) and then later Beast and Gambit burst in on him while he’s in the bath to interrogate him about the Upstarts. New Warriors (1st series) #43-44: Recruits Justice of The New Warriors as a lackey to do his dirty work because Shinobi is so damn lazy even other villains make fun of him for it. Justice takes him up on it in X-Men (2nd series) #29: Shinobi invites Archangel to attend a Hellfire ball. The invitation is written in loopy pink ink and has a lacey border. It’s also perfumed. Jubilee makes a “Liberace” comparison in case we’re still not getting it. We learn that Shinobi and Warren were childhood friends (well, friends from Shinobi’s POV, Warren just remembers him as this kid who was always tagging along after him) and now Shinobi wants him to be his White King. A confrontation ensues between Archangel and Psylocke, who came along, revealing in Psylocke’s powers revealing Shinobi’s traumatic childhood at the hands of his abusive father, and they leave Shinobi alone in the Hellfire Club basement. This one broke my heart, you guys. X-Force (1st series) #32: The Younghunt contest has begun among the Upstarts,in which they compete to kidnap other mutants. Not being one to do his own work, as mentioned, Shinobi asks Justice to bring him Firestar. Firestar is Justice’s girlfriend, but Shinobi points out that at least with him, Firestar is safer than she would be with the other Upstarts. New Warriors (1st series) #45 - Justice delivers Firestar to Shinobi, who promises him that they’ll use Firestar just like they discussed: as bait to get them inside the assassination parlor, and from there to use the other captured young mutants to overthrow not only the Upstarts but the Gamesmaster himself! Shinobi also makes the hilarious claim that he’s not an idiot. It’s hilarious because he absolutely is. X-Force (1st series) #33 : Shinobi once again gets ambushed and interrogated in the bath, this time by X-Force. They also throw Bantam, Fitzroy’s sidekick, in there with him. Bantam says he hopes Shinobi is wearing swim trunks...and I don’t think he is. [X-Men Annual (2nd series) #3: Being an X-Men villain, Shinobi of course has to try to brainwash Storm into joining him. Also he grows drug plants in his apartment penthouse, which surprises me zero, Shin absolutely strikes me as a pot-smoker at the least. Generation X Annual 1995: Cordelia Frost shows up in lingerie at the Hellfire Club trying to get Shinobi to give her Emma Frost’s former position of White Queen. Shinobi, who regards her as a child (and rightly so, she’s sixteen here) refuses, and she tries to buy her way in by offering him a powerful mutant, Mondo. This also does not work, and Shinobi lazily drinks his champagne as a bunch of other bad guys burst in and kidnap Mondo while Cordelia screams at him. It’s hilarious and I love them, I wish they had been a baby Hellfire Club together! X-Force (1st series) #62: Hearing that his father might not be so very dead, Shinobi fearfully begins funding a machine that can deprive mutants of their powers. As test subjects, Karma’s younger siblings are used. This is the first time I think we see Shinobi be truly evil/heartless---previously, he never actually hurt anyone in the Upstarts besides his abusive dad, and he comes off more as trying to make friends in a weird way. Likewise, his conflicts with the X-Men were from botched recruitment attempts. But this is straight-up hurting children because he’s afraid of the man who hurt HIM as a child. Also features the sole appearance of Mindmeld, his gender-ambiguous bodyguard. [X-Necrosha #1, X-Force (3rd series) #21-22: Poor Shinobi, it seems his father got him after all, because he turns up as one of the zombies that Selene resurrects during Necrosha. He comes after Sebastian, but alas does not succeed in killing him again. Uncanny X-Men (5th series) #20: Randomly alive again with no explanation, Shinobi and the other Upstarts kill the Nasty Boys so they won’t be manipulated by Emma Frost, and Shinobi kills himself for the same reason. No, it doesn’t make any sense and it’s very upsetting. X-MEN ‘92 (second series) This series, which was published in 2017 but takes place in 1992, is an alternate universe setting that nonetheless captured a lot of true Shinobi-ness in this portrayal, hence why I list it in addition to his 616 appearances #2: First appearance in this series, drawn with Wolverine hair because the artist seems to have mixed him up with MATSU’O TSURABAYA who was another Japanese X-Men character from the 90s. I wrote in about this and he was drawn probably ever since. I’m not saying it was definitely because of my letter but I like to think it was. #8: Shinobi Shaw and Trevor Fitzroy were presumed dead, it turns out Shinobi decided to fuck off on a Thailand cruise for weeks and bring Fitzroy with him and I LOVE THIS IDIOT SO MUCH. In his own words, “Who wants to spend all day thinking up ways to kill the X-Men when you could be playing shuffleboard with Miss November?” And then Cassandra Nova and Apocalypse crash on to his boat. #10: The Upstarts join the X-Men to save the world. Shinobi, the voice of reason for once in his life, asks his teammate whether anyone has thought about what happens when this is over, and the X-Men remember that they have been trying to kill them. Shinobi is a delight and a personal fave of mine! He’s definitely a product of the time he was written in, and has done a lot of very bad things, but he’s also very much a stupid, harmless villain who is too dumb, cowardly, and traumatized to really take seriously as truly “evil” so much as very messed up and emotionally stunted due to abuse. At least that’s how I feel about him. But by all means, read and decide for yourself!

#shinobi shaw #xmen #x men #xmen villains #lgbtincomics #masterlist #reading list #out of cortez

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andrewmoocow · 3 years

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Steven Universe: The Fantastic Mutants chapter 6: Frightful Finale (originally posted on April 7, 2021)

AN: It's been far too long since I entered the world of Marvel Gems. What with Steven Universe: Alternate Future, the holiday season and my return to college, I've just kinda got distracted from my big crossover universe. But no longer! I will resolve Fantastic Mutants and maybe get to work on the next stories in this trilogy, no matter the cost.

Also, one disclaimer before we start. My deepest concerns go out to the family of Tom Kane, who I imagined voicing Magneto in here in a reprisal of his role from Marvel vs Capcom 3 and Wolverine & the X-Men. Keep in mind that I came up with the cast long before he had that possibly career-ending stroke. Anyways, let's get a move on at last.

The moment that the Blackbird landed in Doomstadt, the Ultimate Alliance immediately charged to Castle Doom, ready to rescue Steven and stop Doctor Doom & Magneto.

"Hang on Steven, we're coming!" Connie yelled while riding atop Lion. Deadpool was behind her on the big cat, hoisting a boombox over his head that blasted 'I Need A Hero' as the heroes drew closer to the castle.

However, armies of Doombots dropped from the tops of the castle walls to defend their master from the invaders. The robots began firing lasers while setting up protective shields around the entrance to their namesake's palace, to keep them from breaking in.

"Oh great, Doombots." The Thing groaned, but then began getting himself pumped up. "But then again, I've been waiting this whole adventure to say this! Y'all know what time it is?"

"It's only 2:50 pm, Ben. Why?" Pearl answered quizzically.

"Dumbass, he's gonna say the thing!" Deadpool yelled excitedly.

"You got it!" Ben grinned as he turned to the Doombots. "IT'S CLOBBERIN' TIME!" Right off the bat, the ever-lovin' blue-eyed beast began tearing Doombots apart, which excited Amethyst greatly.

"Now this is more my style!" Amethyst cheered, and she joined Ben in tearing the robots apart.

"Good, you two keep them distracted while we break down the doors!" Wolverine commanded as the rest went to beat down the entrance. However, with every Doombot taken down, more began popping up.

"They don't seem to be stopping!" Amethyst said. "Can this get any worse?"

"As a matter of fact, it possibly can." Garnet predicted with her future vision, just as the castle entrance went down and the Frightful Four emerged from behind it.

"The doctor has ordered us to keep you from getting in his way." The Wizard announced. "But it seems we might have our work cut out for us with this many intruders."

"Just as long as he still does whatever he wants to do with that dumb kid he had captured." Mole-Man responded.

"We'd rather die than let you harm Steven!" Peridot yelled, taking up arms with the remains of some Doombots nearby to form a massive sword.

"Ah, who cares?" Trapster shrugged. "He's got more where they came from anyway."

Even more Doombots emerged to fight the Ultimate Alliance, and they seemed stronger than those before them.

"Garnet, Amethyst, Pearl, and I will take care of these villains!" Connie began planning. "The rest of you take on the rest of the Doombots!"

"You got it!" Lapis obliged. "Hey, where's the Professor?"

"I am staying behind in the Blackbird, but I shall assist in any form I can from here." Xavier announced from the plane using his telepathy.

With a nod to each other, Connie and the primary Crystal Gems prepared for battle against the Frightful Four.

All around the operating room that Steven was forced into by Doctor Doom, various medical devices surrounded the boy as Victor experimented on his hybrid nature. Doom had taken blood samples, X-rays, extractions of saliva, but it was nothing short of a breakthrough.

"There has to be something I could use." Doom muttered to himself as he examined his gathered data. "I've been working tirelessly, yet still nothing is working!"

"You'll never win Doom." Steven said weakly. "No matter how hard you try, my powers will never be used for your evil deeds."

"Famous last words Steven." Doctor Doom scoffed scornfully at the boy, but then he began gazing upon his gem. "Wait, that's it! I'll just have to take out your gemstone! I have yet to decide on what to do after that, but I believe I just made a breakthrough!"

A dull thud sound was then heard throughout the operating room.

"What was that?" Doom asked quietly.

The thudding got even louder and louder until finally, Juggernaut's fist broke through the wall and allowed Kitty Pryde & Mystique to leap through the hole.

"Kitty!" Steven cried happily. "And Mystique?"

"No time for questions." Mystique said to Steven. "Creed, now!"

On Raven's command, Sabretooth leaped into action and used his adamantium claws to break Steven free from the operating table he was restrained to.

"Wait, why are you helping me?" Steven asked the Brotherhood members as he lifted himself off the table.

"It's because of you, squirt." Sabretooth answered. "Magneto was all like, 'Ooh, we can't let him harm a fellow mutant even if he promised to help us with our cause', all thanks to you. But then again, he did basically have the same endgame as your X-Men friends anyhow, just with more violent extra steps."

Back outside the castle, Garnet, Amethyst, Pearl & Connie were all pitted against the Frightful Four, one of them fighting one member each.

"So what's your origin Wiz?" Amethyst asked the Wizard. "Were you laughed at because of your poor fashion sense?!"

"Oh haha, very funny." Bentley Wittman scoffed. "I'm merely jealous of the Four's fame, especially that infernal Human Torch!"

"Oh, so classic jealousy then?" Amethyst replied before using her whips to tie up the Wizard and spin him around. "Geez, grow some dang humility!"

Meanwhile, Pearl was pitted against the Puppet Master, who had decided to defend himself with animated statues of his current boss.

"My puppets are unstoppable!" the Puppet Master boasted, but Pearl proved him wrong by cutting them down with her spear. "What?!"

"You should consider thinking before you speak." Pearl snidely replied before the statues simply put themselves back together. "Wait, how?!"

"It's puppetry, I don't have to explain it!" Phillip Masters shrugged.

"Kinda like how no one can explain your girlish features!" Deadpool jeered the puppeteer's appearance, which caused a puppet to punch him in the face.

"So your gimmick is that you have this gun you use to trap people with?" Connie asked the Trapster while expertly dodging his special glue.

"Yeah, I mean, it's in my name." Petruski replied and aimed his paste gun at her.

"Didn't you go by a different name in the past?" Connie remarked, making the Trapster frightened and then furious. "I think it was Paste Pot Pete, right?"

"SHADDUP!" the villain formerly known as Paste Pot Pete yelled angrily, and he wildly fired his paste gun everywhere he could point it at, covering random spots with his glue. "DON'T CALL ME PASTE POT!"

Connie thought quickly and just as Pete was about to fire his paste at her, she cut the gun in two, disarming him.

Finally, Garnet was pitted against Harvey Elder, aka the Mole-Man, who despite his abnormal height and poor vision, he was able to keep up with her with a fighting style resembling bojutsu that he used his staff for.

"We won't let you keep us from Steven!" Garnet yelled while the leader of the Moloids ran circles around her. "Why are you throwing your lot in with Doom, anyways?"

"He promised us things in exchange for our services!" the Mole Man declared. "Very special things, riches, glory, our own castles!"

"Well, my future vision tells me he won't actually give you those things." Garnet informed Harvey. "Instead he'll just run and hide once defeated while you're left to be arrested."

"WHAT?!" Harvey exclaimed in shock, leaving him open to get punched in the face.

"I thought I could trust you Erik!" Doom exclaimed as he stared down the master of magnetism. "Now you dare turn on Doom for that boy?!"

"He is essentially a mutant, just like I." Magneto boldly declared as he defended Steven and Kitty. "And I refuse to allow you to do him any harm."

"This is my land you mutated ingrate!" the doctor roared. "I can do whatever I please here, and you are powerless to stop me, lest you incur the people's wrath for endangering political immunity!"

"When has political immunity ever stopped the Brotherhood?!" Magneto boomed, floating up as a show of power. "Men call me Magneto, master of magnets! And I welcome you to die!"

Using his mutant abilities, Erik made everything in the operating room float in the air with a raise of his arm, and threw that arm down to launch them all at Doom. "Go children, find your friends! I shall handle things from here."

"Right." Steven obliged before he and Kitty fled the battle, leaving the leader of the Brotherhood to combat the king of Latveria.

Doctor Doom burst from the pile that Magneto had trapped him in, and retaliated with a powerful electric shock and that sent Magneto flying into a wall.

"Damn you!" Lehnsherr growled, creating a barrier around him to defend from further damage and unleash electromagnetic shocks from the barrier.

"Come here!" Doom roared, lunging at the mutant terrorist.

"The Gems have got to be outside the castle!" Steven exclaimed as he and Kitty ran from a slowly growing army of Doombots chasing them down.

"How would you know that?" Kitty asked.

"I remember when the Doombot said that the castle had intruders, that must be them!" Steven reminded his mutant pal while a Doombot tried to grab him. Suddenly, that same Doombot was stabbed through the neck by Lady Deathstrike's claws.

"Can't believe we're resorting to this." Deathstrike muttered before turning to the children. "I suppose you are looking for those Gems, correct? Go, we'll handle things from here."

As the pair continued running, Avalanche and Pyro appeared beside Yuriko to fight. With a confident nod, Avalanche stomped his foot and caused the castle to cave in on the robots, crushing them to bits.

As for Pyro, he was busy melting more Doombots into liquid metal, which gave the Blob an opening to run them all over with his immense girth.

"Oy, wait up ya squirts!" Juggernaut yelled as he bolted through the wall, covered in Doombot remains. Behind him, Toad and Mystique joined the massive mutate as Steven & Kitty finally reached the front of the castle, where the Crystal Gems, the X-Men, the Fantastic Four, the X-Force, Spider-Man, Scarlet Witch, and Quicksilver were waiting.

"Steven!" Pearl yelled excitedly as she wrapped her arms around Steven, and Garnet, Amethyst & Connie followed suit. "We were so worried sick, are you alright?"

"I'm fine." Steven answered. "He just took some samples of my blood and saliva, that's all."

"Steven, long time no see!" Spider-Man cried, giving the half-Gem a high five.

"Peter, Wanda, Pietro!" Steven replied, seeing the web-slinger along with Scarlet Witch and Quicksilver.

"Ah, so you brought my children along?" Magneto asked as he suddenly appeared behind Steven with the Brotherhood behind him. "How quaint."

"Magneto!" Wolverine yelled, and he and the X-Men got ready for a fight, but then Xavier strolled in on his wheelchair. "Uh, Chuck?"

"Erik." Charles politely greeted his archrival.

"Charles." Erik replied in kind. "It seems we are once again at a point where we must align our interests for a common good."

"Indeed it is." The Professor examined thoughtfully.

"Uh, I guess this is pretty common, right?" Amethyst asked the pair of elderly mutants.

"Quite so Amethyst." Xavier declared. "Now then, what brought you to turn on Doom?"

"It was that boy there." Magneto revealed while pointing at Steven. "He convinced me that I could never allow a fellow mutant to be harmed, and I allowed him and Ms. Pryde to flee while I contended with Doom."

On that topic, the Frightful Four rose up to strike back against the Gems. "Et tu Magneto?!" the Mole Man yelled. "Well, we'll see who has the last laugh when the doctor comes for you all!"

Just then, loud mechanical wheezes and groans came from deeper within the castle. Everybody gathered turned back to the front gates and decided to go inside, hoping to see what was up.

"That helmeted fool shall rue the day he ever crossed me!" Doctor Doom muttered hatefully to himself as he tended to a massive machine until a security screen brought up the Ultimate Alliance making their way through his castle, now joined by the Brotherhood of Mutants. "Excellent." Doom purred before he pressed a few buttons on one of his metal gauntlets, causing the machines to turn on. "If Steven won't let me have that gem, I'll rip it from his corpse!"

Four gigantic purple and blue robots slowly stood up straight as their eyes began glowing four different colors, blue, red, green and white. The Sentinels Victor had been waiting to complete were finally ready, and he couldn't be happier to unleash them on his foes.

Phew, so glad I finally finished this! This took ages to write, since I intended to finish this chapter in February but then Alternate Future and college got in the way, plus I'm starting to get a little burned out since I have to balance two massive Steven Universe fanfictions. Hopefully I can at least get the next story started in the summer. But I'm getting ahead of myself, sorry to keep you waiting!

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