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soveryanon · 4 years

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Reviewing time for MAG183!

- I’m not sure I can manage to put it into words quite right but: sounds-wise, this episode’s domain didn’t feel mind-blowingly new, it wasn’t something that felt “Oh! I’ve never heard something like this before!”? But the echoes, grinding and scratching were timed so well, giving so much strength and gravitas to the conversations, that it perfectly scratched an itch. I could hear that there was something close to Jon and Martin, that it was big, and mostly deserted, that it stood eerily in the overall wasteland, that they were two people alone against a whole world, a whole machine with gears and a mechanism ready to crush anyone?

- I LIVE for artist!Martin giving his commentary and overall throwing shade at the Fears’ taking of artistic licence liberties:

(MAG183) MARTIN: Oh, bugger off! ARCHIVIST: Everything all right? MARTIN: Oh, no, what e–, what e–, what even is that? It, it’s like Escher ate a bad cathedral and threw up everywhere.

He had shown interest in the Stranger’s carousel upon learning that the statements had been a poem, but shots fired for that tower, uh.

- Jon and Martin were so cute starting the episode! Their quick banter was adorable!

(MAG183) ARCHIVIST: It’s a building. A tower. … In a sense. MARTIN: Oh yeah? A–and what sense might that be? ARCHIVIST: [FAINTLY OMINOUS] … The Tarot sense. MARTIN: [SPLUTTERS WITH LAUGHTER] Really? ARCHIVIST: Wha–? No? Sorry, it… felt like a good line…! MARTIN: No, no, it was, I just… I dunno, I… [FOND EXHALE] You did the look, and…! It’s fine, sorry.

Martin being IN LOVE and appreciating Jon’s cuteness! The return of Jon showing that he’s an occult/horror nerd! We had seen in season 2 that he was generally very knowledgeable about anything related to the supernatural, and in season 4 that he was into Neil Lagorio’s movies, I’m happy to get another trace of it!

(MAG076) MELANIE: So I came here to dig a bit deeper. ARCHIVIST: Really? Our… our library is extensive, but it’s hardly focused on the Second World War. MELANIE: No, but the most detailed description of the crash that I could find came from the report of a man called William W. Hay. And later in life William Hay… ARCHIVIST: Became a noted occultist, whose memoirs and researches were only ever published in a heavily edited form. And we have unexpurgated copies. MELANIE: Exactly.

(MAG136) ARCHIVIST: [INHALE] Statement ends. Hm. Neil Lagorio… You ever see any of his work? DAISY: No. Not really into films. ARCHIVIST: Oh, they were… Well, let’s just say that it’s not a complete shock there was something unnatural to them. Didn’t know we had copies in the Institute, though; let alone original cuts. [CHUCKLE] Records indicate they [PAPER RUSTLING] ended up in… Artefact Storage. DAISY: Probably best that they stay there. ARCHIVIST: … Yeah. Yes, of course.

But SOB x2 since:

* Tower-in-the-tarot-sense meaning ominous stuff… and change. (While Jon knew they would soon come face to face with the choice to take the route through Martin’s domain.)

* Crying over the fact that we’ve seen and learned quite a few outside-of-the-job aspects of Jon this season, comparatively to the previous ones? He’s cute! He’s making jokes! He mentioned his student days a bit in MAG165, and visiting Upton House as a kid in MAG180! And this is happening when the world has been forked over and Jon&Martin certainly won’t survive together past MAG200, which means they have at most seventeen episodes together remaining. Martin, and we alongside him, are seeing so many different, more casual aspects of Jon, and it’s at the end of things…

- I really like how information bounced around in this episode? It felt even more dynamic than usual, quickly shifting depending on some reaction, or going from an association to another:

(MAG183) MARTIN: What, what’s the deal, though? Parts of it almost look like– ARCHIVIST: The Institute. MARTIN: Yeah…! ARCHIVIST: Yes. [INHALE] It makes sense, after all it was… built on the ruins of what Robert Smirke constructed…! MARTIN: Smirke? … What, no! But, but, surely he’s– ARCHIVIST: Dead, yeah, I mean, yes. [CHUCKLING] Very much so! This place is… an homage, shall we say. A monument. To him, and those like him, who tried to… categorise the world with themselves at the centre. In so doing, constructed the architecture of its suffering…!

Ohohoh about Martin feeling like the tower looked a bit like the Institute, and Jon drawing similarities through Smirke – the Institute being built on the ruins of a Smirke building, and the current domain being dedicated to people like him. The Institute is coming closer and weighing on their minds, isn’t it? I really like that Martin immediately worried about Smirke potentially being alive-ish, since:

(MAG138) MARTIN: “The Eye has marked me for something, of this I have no doubt. My… humble hope is that it may be a swift death, an accidental effect of your own researches, which I once again implore you to abandon. It is likely too late for me, but I will not…” [PAPER RUSTLE] Uh… [INHALE] The, hum… The letter ends there. Uh… Ap–apparently Robert Smirke was found collapsed in his study that evening, dead of, uh… [FLIPPING THROUGH PAPERS] Apoplexy. Mm. I–I don’t know how the letter reached the Archives, I mean… Well, I can guess, but…

… he had read Smirke’s last words before he died. (But Martin has seen enough by now to know that there is always a risk for people to not have actually died; on that front, we’re safe, Jon confirmed! Loving Jon’s chuckle: ah yeah, no, Smirke, “very much so” dead from Jonah.)

(Also loved the “[those] who tried to categorise the world with themselves at the centre” shade: yep! That’s West-Eurocentrism and Smirke’s little gang for you!)

- About the way the world works now since the Change, I’m curious about Jon’s wording as “the architecture of [the world’s] suffering”, since it’s echoing the title of Smirke’s statement, “The Architecture of Fear”: my understanding is that right now, the world is mostly running on a loop of people’s fears => feeding and shaping the landscape => which hurts people by turning those realised fears against them => squeezing the fear out of them => feeding the landscape, etc.

What is quite curious is the status of Smirke’s taxonomy in the current world. Jon went off on a rant about how Smirke and people who attempted to classify had been wrong all along because it was meant to fail… while he himself has persistently been using the very same classifications during this very season:

(MAG166) ARCHIVIST: Look, we can talk about it later, we’re– coming to a… “domain of The Buried”, and [STATIC RISES] I would really rather… […] God, I hate The Buried. [DEEP BREATHS] … End recording.

(MAG172) ARCHIVIST: [SIGH] “Knowing”, “seeing”… i–it’s not the same thing as… understanding. Every time I try to know what The Web’s plan is, if it can even be called a plan, I see… a hundred thousand events and causes and links, an impossibly intricate pattern of consequences and subtle nudges, but I–I can’t…! … I can’t hold them all in my head at the same time. There’s no way to see the “whole”, the, the point of it all. I can see all the details, but it doesn’t… provide… context or… intention. I suppose The Web doesn’t work in knowledge, not in the same way.

(MAG173) MARTIN: That’s the avatar for this place? ARCHIVIST: Callum Brodie, thirteen years old. He guides the children through their fears of The Dark.

(MAG174) ARCHIVIST: I’m not entirely sure what you were expecting, it’s The Vast. The clue is in the name! MARTIN: Yes, all right…!

(MAG176) MARTIN: … Besides, I thought The Hunt was meant to make you go faster. ARCHIVIST: Depends on the type of pursuit. [INHALE] Besides, the chase isn’t… really the point of this particular place.

(MAG177) ARCHIVIST: [SIGH] Bad therapists. Let’s just say it’s the fear of bad therapists, filtered through The Spiral. BASIRA: That’s… a lot more nuance than I’ve gotten used to since everything went wrong. ARCHIVIST: Yes, well. The Spiral is nothing if not insidious. […] You just heard what The Spiral does to people, you can’t… trust her.

“constructed the architecture of [the world’s] suffering” kind of implies that they did manage something, even if it doomed the world? Is it specifically about Jonah using the division into 14 in his incantation? We’ve seen that that one had limitations, since The Extinction also got there anyway… But at the same time, true that at this point, we would still force-apply Smirke’s labels to anything anyway.

- Loved Jon sounding awfully pedantic and (fake-)poetic at the same time:

(MAG183) MARTIN: [SIGH] Bit of a mouthful. ARCHIVIST: Would you prefer I described it as a… “cascading recursion of shifting arrogance and hubristic dead-ends”? [STATIC RISES] [THE DOOR CREAKS OPEN] [CONSTANT HIGH-PITCHED FREQUENCY] HELEN: I would. [FOOTSTEPS] [THE DOOR SHUTS] [STATIC FADES] MARTIN: [SIGH] Hello, Helen.

AND HELEN HAVING THE BEST ENTRANCES. It also cleared up something for me (unless I had already realised it and forgot about it since then): the high-pitched sound we hear when she’s around is the mark of Helen and Michael, not of the corridors – if the door is open or characters are inside of the hallways, we’ll hear some of the usual crackling static, but we heard it rise when Helen arrived and fade when the door shut behind her (and same thing with her departure, it was briefly heard when she opened the door).

- Shots fired, MARTIN PLEASE:

(MAG183) MARTIN: [SIGH] Hello, Helen. Might have guessed you’d be into weird architecture. Very much your area of expertise, no? HELEN: Hmm, depends! Would you describe “petulant poet” as your area of expertise? I am weird architecture.

And Helen went equally incisive on that one, but also UUUUUH WAS IT A SPECIFIC REFERENCE TO PETER’S COMMENT ABOUT MARTIN…

(MAG158) MARTIN: I’m… saying no. I refuse! Game over. [KNIFE CLATTERING ON THE GROUND] PETER: Martin, this is not the time for petulance; there are bigger things at stake, here.

This was the only time someone referred to Martin as (acting) petulant… I mean, Helen not missing one second of MAG158 wouldn’t be surprising (she did tell Jon at the end of MAG157 that she would be enjoying the show), but ;; Little chilling when remembering Elias-Peter-Martin in the Panopticon and Martin refusing to kill Jonah there…

- I was right to suspect that Helen might have been unable to know where Jon&Martin were over their stay at Upton House, and that she wouldn’t be pleased about it!

(MAG183) HELEN: Anyway, where have you been? I’ve been looking for you, but you both just vanished. ARCHIVIST: Aaah… Right, I see…! HELEN: I was so looking forward to catching up after that whole Basira and Daisy thing, but then, pfft! You both disappear. I’d be very keen to know how you managed that little trick. MARTIN: Why, it caught us by surprise too, I mean, we, we actually ended– ARCHIVIST: [FIRMLY] We found somewhere to rest. That’s all. MARTIN: … Oh, yeah. Ah, yes, hm. HELEN: Fine. Be like that. I can appreciate the particular pleasure of a kept secret. ARCHIVIST: I’m sure you can.

* Salesa’s zone seems to be protected as long as you don’t physically find it? I wonder how Annabelle managed to find it, still, since Jon only become aware of that blind spot when they arrived nearby; how did she become aware of it in the first place? Did it feel like a hole in the world’s web?

* Awww for Jon keeping the secret and conveying to Martin that they should keep quiet about it ;w;

* AHAHAHHAHA for Jon’s “aaah”, which was absolutely a mischievous grandpa sound. Jon ready to cause trouble, with a smug smile on his face.

- … I love how Helen could observe that the dynamic of the exchange was slipping out of her control (Jon&Martin knew something that she didn’t, didn’t feel threatened by her, and Jon was amused to keep it out of her reach) and immediately tried to go for the throat again:

(MAG183) HELEN: Anyway. Such a shame about Basira and Daisy. I was really rooting for them to make up. MARTIN: [SPLUTTERS] Since when? What happened to– I mean, how did you put it… a, “a quick shot to the back of her head, and then back in time for tea”, or whatever?

Martin: Forgive and forget? NO, RESENT AND REMEMBER AHAHAHAHAH.

Direct reference to the fact that Helen indeed ~offered her door to Basira~ to quickly get to Daisy and execute her:

(MAG177) HELEN: I can offer a shortcut. Take you right to that murder machine you call a partner. MARTIN: Basira… Jon can’t go through Helen’s doors, we, we couldn’t come with you. HELEN: Basira is a strong, independent woman. She doesn’t need you two holding her hand. Anyway, it’ll be dead quick. Two minutes, door-to-door, quick shot to the back of Daisy’s head, and we’ll be home before you know it!

Laughing that Martin added the tea mention (Martin, you single-track minded tea-aficionado), but I’m glad that he remembered it full well to throw it in her face; it wasn’t even a personal attack towards Martin, it was something Helen tried to do to Basira, I’m glad that Martin is still absolutely offended about it ;w;

- I felt like Jon and Helen had two definitions of “what we want”: Helen potentially talking about quick, short-term wants (even if they turn out to be self-destructive), while Jon was more about well-thought decisions and choices?

(MAG183) HELEN: [EXASPERATED SIGH] Oh, give over. I was obviously just prodding her, trying to make a point. She didn’t want to kill her. ARCHIVIST: What we want doesn’t matter much these days. HELEN: Oh, [RASPBERRY NOISE], nonsense. What we want is the only thing that matters these days. And Basira wanted to join Daisy. ARCHIVIST: She made her choice. HELEN: With your assistance. ARCHIVIST: It was still her choice. HELEN: [SIGH] What a waste. ARCHIVIST: No. [INHALE] It wasn’t.

There have been a lot of discussions about “choices” and “wants” throughout the series (with big moments in MAG092, MAG117 and MAG147), so it felt a bit nice that Jon seems to have reached a point where he could draw a line between both? Jon, Martin and Basira didn’t want this world, don’t want the way it operates and what it inflicts on them; it doesn’t mean they can’t weigh options and make specific decisions – Basira, to honour her promise to Daisy and kill the monster she had become; Jon, to not smite for revenge (and Martin, to face his own domain).

I LOVE HOW JON WAS FIRM ABOUT BASIRA’S CHOICE MATTERING ;w; It once again reminds me of Martin’s line to Simon: “I think our experience of the universe has value. Even if it disappears forever.” (MAG151); the little things, the individual existences and choices, their own stories, still having value in the expanse of the universe…

- Martin! It’s a delight to see him so firm, having faith in Basira although he’s been so worried for her:

(MAG179) ARCHIVIST: Martin, this is what she needs. MARTIN: No, no! I–it’s…! BASIRA: It’ll… MARTIN: It’s completely– […] … We’re not doing this. BASIRA: [SOFTLY] Martin. Please. [SILENCE] MARTIN: … [SIGH] You’d better look after yourself. BASIRA: I will.

(MAG180) ARCHIVIST: How are you doing? About… MARTIN: Yeah, yeah. Yeah. I’m… I don’t know. I’m–I’m not sure how to feel; just… pressing on, you know? ARCHIVIST: I do. [SILENCE] MARTIN: Do you think she’ll be okay without us? ARCHIVIST: Oh, she’s made it this far. MARTIN: … Yeah. I just worry.

(MAG183) MARTIN: Basira is… She’s going to be okay.

And then pointing out that he was involved in the discussion too and that he wanted to know what the other two knew already and not be kept out of the loop:

(MAG183) HELEN: Oh. Is she? Do you want me to tell you what she’s been up to while you were “resting”? Where she is right now? ARCHIVIST: You don’t need to. I already know. MARTIN: I don’t. [STATIC RISES] ARCHIVIST: She’s currently moving through, uh… “The Void.” [STATIC FADES] Hungry shadows drifting in the dark. She’s been there a long time now, struggling to find the path. MARTIN: But she will? ARCHIVIST: I think so. HELEN: Yeah, she does always seem to manage, doesn’t she? It’s impressive. Although a little bit… tempting at times.

I’m not absoooolutely sure about Basira’s status: is “the void” a space between domains, or is it a Dark domain that Basira is having trouble finding the exit of, since unlike Jon, she can’t just “know” the paths? I suspect the latter but I’m not 100% certain. If it’s indeed The Dark, that’s a close to home one for her, since she had a few brushes with it over the course of the show – the Section 31 expedition to save Callum Brodie, leading to Rayner’s death and Basira’s decision to quit the police, her research to find out more about the People’s Church of the Divine Host (as shown in season 3) and her overall worry about them, which allowed Elias to convince her that they would attempt another ritual in Ny-Ålesund, leading to her discovering what “Rayner” was and travelling there with Jon, finding Manuela and the Dark Sun mid-season 4…

;ww; for Jon having faith in Basira, too… And the fact that once again, Basira has it a bit rougher than Jon&Martin (Jon had already told Martin that it had been a difficult journey for her, before they reunited). Helen does have a point that Basira seems to manage to find her way out in general: she had successfully escaped The Unknowing on her own, she had survived The Flesh’s attack on the Institute, she had pursued Daisy in the apocalypse… Basira has already gone through Helen’s corridors (offscreen at the end of MAG143, to return to the Institute), I’m YIKES about Helen implying that it would be “tempting” to grab her. (… But at the same time, why hasn’t she done it already, if she is capable of doing it? It might be a bit more complicated than that?)

- … I love Martin, I love that he was RIGHT to point out that Helen had just waltzed in to try and steer chaos:

(MAG183) MARTIN: Look, Helen, what do you even want? Okay, you keep turning up like a bad penny and, honestly, it, it seems like it’s… it’s just to be a dick! HELEN: Gasp! I am trying to be friends, Martin. Forever is a long time. And I occasionally like to have some company that isn’t… screaming. MARTIN: … What do you even think friendship is? HELEN: I dunno, do I? The only personhood I have is from someone I ate.

It feels like Helen has REALLY tried hard to make up for the weeks(?) she couldn’t find Jon and Martin? She went extra-hard on them: first with Basira, then implying to Jon that he had manipulated her into killing Daisy, then pointing out that Basira was not safe at the moment and still at risk of falling prey to other Fears (including herself), then trying to mock Martin about his domain, trying to guilt-trip Jon for not having told him about it yet, and when she finally managed to get Martin shocked and upset… job done, byebye.

Is it that she’s trying to get Jon so riled up he ends her? “Helen” used to like Jon and to turn to him (MAG101: “Helen liked you so… there’s a lot to consider. But I will help you leave.” / MAG115: “Before, talking to you made Helen feel better.”), before she was absolutely Down With Doors And Murders (MAG146: “We do what we need to do when it comes to feeding, don’t we? … Don’t we, Archivist?”), is it a remnant of that? Or is it really just an attempt at confusing Jon and Martin further, feeding from them Spiral-style?

- More about Martin’s domain later, but the reveal was BRUTAL, and yet not coming out of nowhere; we knew he had one, we knew he had almost been trapped in the Lonely house in MAG170 and the question was whether or not it had been (/was still) his domain once Martin got freed from it, but there was also the question of how Martin was able to walk in the apocalypse unharmed (was it due to Jon’s proximity, Martin’s connection to The Eye as an assistant, etc.), and Basira’s own status after Daisy’s death… so, yay! Answers and clarifications, and as usual, nothing feeling like a plot-twist, just things that make sense, and that we already had most of the information about!

(MAG183) ARCHIVIST: Martin… MARTIN: Are there people, Jon? ARCHIVIST: What? MARTIN: Are there people in my domain? ARCHIVIST: Not many. [SILENCE] MARTIN: Do you need to do your… your thing? Make a statement about whatever’s going on in there? … I could use a moment to think. ARCHIVIST: Sure thing. Yeah, I–I’ll… [INHALE] Yeah. [EXHALE] [BAG JOSTLING] [DEPARTING FOOTSTEPS]

Sobbing a bit about Martin’s priorities (“Are there people, Jon?”) and Martin asking for a quick me-time. It wasn’t ice-cold, Martin turned it into something useful for both of them (expecting that Jon would have to give his statement anyway), but aouch, he sounded absolutely shattered inside while blank on the surface…

- Yes, yes, yes, reminder that Smirke’s categorisation is arbitrary and just like the Doctor’s theory, sometimes just doesn’t work, because it’s trying to force-apply rules and a classification over something that resists it (and because the classification is not perfect from the start), but hey, that’s most theories and classifications out there anyway, so: Escher reference, the functioning of the Tower reminding me of the Great Twisting, and the reasonings sometimes reminding me of Gabriel’s work (MAG126), plus Helen popping by – it was Spiral stuff, right?

Well! I felt like it looks like Spiral, but the Doctor’s fears by themselves:

(MAG183) ARCHIVIST: “But it is not the fall that terrifies him, not the pain of the impacts, but the fact that none of them should be there. That it doesn’t make sense, and it must make sense, there must be a system, there must be, because if there isn’t– [THE BODY LANDS WETLY] He lands with a heavy smack onto rough limestone, and lies still, his body twisted and broken. He knows it will knit itself back together, slowly, painfully, as it always has before. But the thought of starting over, of composing yet another theory, fills him with a deep dread.”

… are more something I would identify as Eye (fear of a truth) and Hunt (fear of having to return to the start, to have to elaborate a new theory from scratch, again and again, of being trapped forever)?

It was really reminiscent of Smirke thinking back over his life, his hubris and the pride of being the one who would have found the answer, to the point where he would reject reality if it didn’t match his taxonomy (refusing to, well… do what you do with a theory: change, or evolve and perfect it when its flaws are pointed out):

(MAG138, Robert Smirke) “I believed then, as I still believe now, that these places I saw were the Powers themselves, expressed in their truest form, far more entirely than any ‘secret book’ can claim. And if, as I came to believe, the Dread Powers were themselves places of a sort, then surely with the right space, the right architecture, they could be contained. Channelled. Harnessed. So yes. Hubris. Not simply in that, I suppose, but in believing that those I brought into my confidence shared my lofty goals. […] Would you have me separate The Corruption between insects, dirt and disease? To, to divide the fungal bloom from the maggot? No. No, I… stand by my work. And thus, we must conclude that the only explanation is a new Power, created from what was once others, yet also distinct. And if such change is possible, how then can any “true balance” be achieved through immutable, unchanging stone…?”

(MAG183) ARCHIVIST: “If they are feeling very confident, they may lean down and stretch a curious tongue beyond their chipped teeth and rotten gums, desperate to add another sense to their observances – more evidence to support their declaration of what the world must be. […] They must simply study and learn, if they are to escape the labyrinth. They will be the first to escape. The one who sits in the central chamber cannot remember his name. But he knows that people called him “doctor”. He made sure of that; to ignore it would have been the greatest disrespect, and he will not be disrespected. […] He knows, for a fact, that this is the central chamber because he is the one sat here. […] They’ll all remember him forever, the first to escape the Monument. His name will be hallowed with the greats: Doctor, uh… Doctor…”

Same old pride, Leitner knew that well too (MAG080: “But I think, in my heart, I dreamed of my work becoming known. That ‘The Library of Jurgen Leitner’ would stand as a symbol of courage and protection. Hubris.”) and Gerry didn’t have many nice things to say about it (MAG111: “Flamsteed, Smirke, Leitner. Idiots who destroyed themselves chasing a secret that wasn’t worth knowing.”). Loved how the statements came for Smirke’s life and was absolutely ruthless about it – but maayyybe a bit too ruthless, even? Jon didn’t express much sympathy for “fools like Smirke” either, and this is a rare case in season 5 where I find that the statement was a bit lacking in empathy for… people who were technically victims. I mean! Insufferable pedantic academics sure are a type, they’re really not having the worst life out there, but it makes me feel a bit weird, with season 5’s overall tone, that the episode had that vibe of “serves them well, they’re insufferable” about people who were technically still trapped in a domain and suffering from it?

… I still laughed a lot about the Doctor vs. Professor rivalry and how they solved their argument:

(MAG183) ARCHIVIST: “The doctor that lies on the floor has recovered, just enough to laugh. ‘You’re still working on mineral theory? How painfully outdated.’ A flash of genuine fear crosses the face of the professor at this dismissal, before he picks up his chunk of granite, and begins to smash the doctor’s head in, yet again.” [SOUNDS OF BRUTAL PEER REVIEW]

Academia unleashed.

(- OKAY, I HAVE TO CONFESS that when the character could only remember his title as “Doctor”, with Smirke having been mentioned earlier, my mind just jumped to Doctor Fanshawe… ;; He had left a strong impression on me, okay.)

- ;w; Over the fact that Martin got his me-time and that it was enough: he was clearly tense, but he came back with direct questions and knew what he wanted cleared up…

(MAG183) MARTIN: Finished? ARCHIVIST: Yes. MARTIN: Good. … I need you to explain something to me. ARCHIVIST: All right.

- I can’t believe that Martin Global Heartthrob Blackwood made The Eye FALL FOR HIM too:

(MAG183) MARTIN: How do I have a domain? That doesn’t make any sense. ARCHIVIST: It’s like I said. [INHALE] Everything here is either watcher, or watched. MARTIN: [SIGH] Subject or object, yes, I know, we’ve been over this. ARCHIVIST: Well, you’re a watcher, Martin. You worked for the Institute, you read statements, The Eye is… fond of you. You’re not getting thrown into your own personal hell, which means…

Jane, Peter, Simon, Elias, Salesa, Annabelle, now Beholding – do you have any limit, Martin.

!! I’m excited over the fact that Martin’s entanglement with Beholding stuff was acknowledged! Comparatively, Melanie had read 2 statements (MAG086, MAG106) and Basira 1 (MAG112). Meanwhile, Martin had read 12; plus, although Tim, Melanie, Martin and Basira had taken (… or tried to take) one live statement each in MAG100, Martin had also taken 3 additional full statements:

MAG084, Adrian Weiss (Corruption) MAG088, Enrique MacMillan (Buried) MAG090, Ross Davenport (Flesh) MAG095, Luca Moretti (Slaughter) MAG098, Doctor Algernon Moss (Dark) MAG100 (live), Lynne Hammond (Desolation) MAG104 (live), Tim Stoker (Stranger) MAG108, Adonis Biros (Lonely) MAG110, Alexia Crawley (Web) MAG134, Adelard Dekker (Extinction) MAG138, Robert Smirke (Eye) MAG142 (live), Jess Tyrell (Buried, Eye) MAG144, Gary Boylan (Extinction) MAG149, Judith O’Neill (Extinction) MAG151 (live), Simon Fairchild (Vast) MAG156, Adelard Dekker (Extinction)

With Simon highlighting that Beholding had compelled him through Martin:

(MAG151) SIMON: Hm! No wonder I’m so sympathetic to The Lonely. You know: this really is a place for self-discovery, isn’t it? [CHUCKLE] “Statement ends”, I suppose! MARTIN: Uh… I’m sorry? SIMON: Oh! Nothing, just my own hubris. I should have known. When I came here, I said to myself: “Simon,” I said, “you’re going to answer this young man’s questions, but you’re not going to give The Watcher a statement. You’re better than that.” But it’s a hard one to resist, isn’t it? You get in the flow of talking about yourself, and it all just… tumbles out. MARTIN: Mm, does seem like it.

Elias might have been eyeing him as back-up Archivist, too (although since then, we’ve learned of his bet with Peter which would have already been running at the time – it might have been that Elias mostly wanted to ensure that Martin wouldn’t die during the Unknowing because he’d be needing him afterwards):

(MAG116) ARCHIVIST: [SIGH] What about Martin? MARTIN: What about me? ARCHIVIST: He should stay behind. MARTIN: What?! ELIAS: Really. MARTIN: Why? ARCHIVIST: Too many people might attract attention. MARTIN: No, no, I can help, I’ve been reading the statements! ELIAS: … Quite right, er, probably best he does stay behind. BASIRA: What, so you have a backup if Jon doesn’t make it? ELIAS: I’m sure that won’t be necessary.

Martin did a lot of research, read these statements aloud, took live statements, was hinted as a potential replacement; tape recorders have spawned around him like they do with Jon, even outside of statements, and Martin had been exceptionally kind towards them on multiple occasions; there had been that little moment of Martin somehow knowing that Jon was alive back in season 3 (MAG088: “It’s the not knowing, you know? I mean, Jon’s still alive. Not sure why, but I’m sure of that. But Sasha, I…”), shortly before we had learned about Jon’s own Knowing powers developing; we don’t know why and whether that was Beholding or The Web or something else, but Martin had been able to know how to get Jon out of the Coffin in season 4:

(MAG134) PETER: What does puzzle me, though, and I mean that genuinely, is… why you were piling tape recorders onto the coffin, while Jon was in there. [PAUSE] It’s a question, Martin, it’s– it’s not an accusation. MARTIN: I don’t know. And I just… felt like it might help. He’s always recording, I thought… it–it might help him… find his way out. PETER: Interesting. Were you compelled? MARTIN: [SULLEN] … I don’t know. … M–maybe? I–I, I definitely wanted to do it… PETER: But? MARTIN: I’m… I’m not sure where the idea came from. PETER: You should watch out for that. Could be something dangerous. MARTIN: Sure.

… And Peter’s whole plan relied on the fact that Martin was initially touched by Beholding:

(MAG134) PETER: [BREATHES] I’m still working out some of the kinks. But I believe I have a plan. However, it requires this place, and it requires someone touched by The Beholding. Elias was, perhaps unsurprisingly, unwilling to help.

(MAG158) PETER: It’s quite simple, really…! I want to use the powers of this place to learn about The Extinction: what it’s doing, where it’s manifesting. Then we can stop it. MARTIN: And you need me for this? PETER: Correct! Without a connection to The Eye, any attempt to use it would likely end… very messily indeed! But thankfully, it just so happens that you hold such a connection. MARTIN: So that’s it… Both “lonely” and “watching”. PETER: You must admit you’re the perfect candidate. MARTIN: I suppose I am.

Beholding baby!! Now coming in an additional Lonely flavour.

- Mmmmmmmm… The way Jon put it, it seems that Beholding is consciously rewarding its servant and:

* It could be Jon trying to make sense of something else, that he doesn’t understand? Gertrude didn’t think that the Fears were able to “think” at all (MAG145: “Sometimes, I think They understand us as… little as we understand Them. We don’t think like They do.” “I’m not actually convinced they “think” at all.”); reward&affection could be primitive enough feelings for a blob of terrors to work out (Martin fed Beholding as an assistant by reading statements => Beholding grants him things in the hope of getting fed even more?), but I don’t know, I can’t help but wonder if this is just Jon humanising the Fears a bit too much? It’s curious that Beholding got “fond” of Martin precisely when Jon himself fell in love with him – could Jon’s feelings have influenced Martin’s position in the apocalypse, could Jon be having a bit more power over the landscape than he realises?

* … If Beholding is rewarding its servants, that doesn’t bode well for Elias. WELL, no, I mean: it might mean that Elias is having a Great Time as a Beholding acolyte, which means it doesn’t bode well for my desire to see Elias get absolutely wrecked and wrong about being the “king of a ruined world”. I want him to have miscalculated, damnit! x’D

- I’m having so many feelings over Martin himself being unsure of what he wants, whether it’s better to know or to remain ignorant…

(MAG183) ARCHIVIST: It’s like I said. [INHALE] Everything here is either watcher, or watched. MARTIN: [SIGH] Subject or object, yes, I know, we’ve been over this. ARCHIVIST: Well, you’re a watcher, Martin. You worked for the Institute, you read statements, The Eye is… fond of you. You’re not getting thrown into your own personal hell, which means… MARTIN: [QUIETLY] That one of them belongs to me. But that’s… Ho–how can I be a “Watcher”? I, I didn’t even know it existed! ARCHIVIST: But you’ve suspected for a while now, haven’t you? MARTIN: Maybe? But that’s not “watching”! ARCHIVIST: Do you want me to tell you about it? MARTIN: No. … Yes. N–no, no, I don’t know, I don’t know. [SIGH]

Is it a remnant of his discussions with Tim in season 3? He’s basically gone the reverse of Tim about it:

(MAG098) MARTIN: Y’know, I think he thinks that the distance keeps us safe, you know? Like, like, if he just makes sure that we’re not involved, we’re somehow fine. TIM: He’s an idiot. Look, we didn’t know what that door was, and it still trapped us. Ignorance isn’t going to save anyone. MARTIN: No, I mean, you’re right, I guess.

Martin has seen enough to know now that ignorance doesn’t protect anyone, but also that knowledge can be used as a weapon – that the horrors are just made to hurt. I feel like, in his situation, noping out of Jon’s statements was one of his only ways to assert his boundaries (which had been denied from him — and from others — for a long time)? But here, the situation is different; it’s about Martin’s own involvement, he knew the knowledge would hurt anyway… but it’s also his load to bear? To at least face what is happening, since he’s benefitting from it, since he’s been made complicit (without ever wanting to)? It still goes perfectly with the exploration of exploitative and oppressive systems: Martin, unknowingly and unwillingly inflicting hurt, still being in a better situation than others… while not being directly responsible for it, not wanting to benefit from it. It really makes me want to see Jon&Martin find a way to reverse or improve things, to get people out of the domains or giving them the keys to escape them, and I don’t know if I can even hope something about this ;; (On the Jon&Martin front, things are so good; but it still feels so unfair for… everyone else.)

- Martin having a domain and being classified as a “watcher” finally explains why he hadn’t been impacted by the apocalypse since the Change! He had been able to get out of the domains’ grasp even when he wasn’t around Jon (he had fallen behind at the end of MAG163, he wandered around in the Web’s theatre, he left Jon alone for most of the statements), and there was still the question of… how he was still surviving without eating, and at the same time wasn’t (at least as far as we knew) trapped in a domain:

(MAG161) MARTIN: [MIRTHLESS HUFF] What about food? ARCHIVIST: What about it? When’s the last time you thought to eat, o–or even felt hungry? MARTIN: [FAINT] What…? Wha… Uh… I don’t know. ARCHIVIST: No. Whatever is sustaining us now doesn’t need us to eat. MARTIN: That… that can’t be possible– ARCHIVIST: It’s a new world, Martin, the natural laws are whatever they want them to be. And I suspect they don’t much care to keep humanity fed and watered.

I was wondering if it was Jon’s influence, or Martin being “trapped” in Jon’s domain, and Jon had also alluded to the possibility that they were themselves trapped in their quest towards the Panopticon:

(MAG169) ARCHIVIST: “Free” doesn’t really exist in this place. MARTIN: Apart from us. ARCHIVIST: I suppose. I–in a sense, though… [CHUCKLING] how much of that is because we are trapped in our own quest to– MARTIN: Okay, let’s, let’s not dive into another… ontological debate right now, not here. ARCHIVIST: Fair enough.

And Jon had even specifically told Martin that he had a domain, shortly before Martin got almost imprisoned in the Lonely house:

(MAG167) ARCHIVIST: We all have a domain here, Martin. The place that feeds us. MARTIN: Oh. [PAUSE] Where’s yours? ARCHIVIST: [MIRTHLESS CHUCKLE] I mean, we’re… traveling towards it. MARTIN: Oh! Right, obviously. [CHUCKLING] Duh. Hum… What about me? ARCHIVIST: … Would you… like me to… ? MARTIN: No, no. Don’t tell me. I don’t want to know. ARCHIVIST: … Okay!

(MAG170) ARCHIVIST: I, I didn’t want to… look too ha–, I–I–I promised I wouldn’t… know you, and, and with the fog in all–all the rooms, I’ll, I just, I lost y–, I… I–I’m sorry. MARTIN: It’s okay. ARCHIVIST: … No, I… I tried to use the… to know where you were, but… it was… You–you were faint. It was so strange, i–it took me so long just to find you…! [RUSTLING OF CLOTHES] MARTIN: Jon, it’s… okay. I promise it’s okay. This place tried, it really did, and honestly I… I wanted to believe it. But I didn’t. ARCHIVIST: This… “place”, i–it… [STATIC] My god…! […] I, I just… I wanted to make sure that you knew what this place was. MARTIN: It’s The Lonely, Jon. It’s me. ARCHIVIST: [INHALE] Not anymore. MARTIN: Hm! No. [LONG INHALE, EXHALE] No…! Not anymore.

And alright, that finally answers it: the Lonely house wasn’t his domain, wasn’t meant to be (but he was susceptible to it, got almost trapped in it as a “watched” although he eventually managed to reject and break free from it). His own domain was elsewhere, and Martin himself was amongst the “watchers” all along; Martin is living a bit like Helen in this apocalypse, having a fixed domain, but able to navigate elsewhere.

Aouch for Martin, since he had been encouraging Jon to smite domains’ rulers as soon as he discovered that Jon could do it; it was already murky territory for Jon himself (if the “avatars” and “monsters” just deserve to die, what about Jon?), it was awful with Callum (Martin himself drew the line at smiting a kid)… but now, we know it was directly including him, too, and that he had been fed through people’s pain all along. No wonder Helen had encouraged the smiting so hard, if she already knew they were kind of neighbours…

… Double-aouch for Jon, because he had offered twice the option for Martin to stay elsewhere, permanently:

(MAG170) ARCHIVIST: M–Martin, if you… did; i–if you wanted to forget… a–all of it, stay here and just… escape. I… I would understand. MARTIN: … N–no…! It’s comforting here, leaving all those… painful memories behind, but… It’s not a good comfort, it’s… I–it’s the kind that makes you fade, makes you… dim and… distant.

(MAG181) ARCHIVIST: I’m sorry, I… It would have been nice to stay. MARTIN: [WISTFULLY] Yeah… I’d almost forgotten what it was like, you know? A bit of peace, eh! ARCHIVIST: I mean, you could have… MARTIN: No, don’t say it, Jon. You know I never would. I–I can’t just “forget” about all the people out here! Besides, I’d rather be trapped in a post-apocalyptic wasteland with you than spend one more moment in paradise with her.

And Jon probably didn’t know what Martin’s domain was exactly, back then, since we heard the knowing static kick in when he described the domain in this episode? But he probably knew, already, that Martin having a domain didn’t mean that he belonged to it as a victim, but as a ruler, and that it would hurt Martin so much. (“No one gets what they deserve. Not in this place. They just get whatever hurts them the most! … Even me.”, indeed ;;)

- I AM HAVING SO MANY FEELINGS OVER THE DESCRIPTION OF MARTIN’S DOMAIN…

(MAG183) [STATIC RISES] ARCHIVIST: It’s a small domain. A swirling mix of The Eye and The Lonely. Inhabited by a few lost souls whose fear is not of their isolation or their agonies, but that no-one… will ever know of them. That they shall suffer in silence, and be mourned by nobody. That’s why you can’t really see it. It’s why even if we do travel through it, you won’t be able to see… any of the people trapped there.

… It reminds me so much of what Martin probably experienced in his own flat, when Prentiss besieged him for two weeks and Martin was unable to contact anyone, and nobody came to check on him? Did Martin’s domain grow from his own old fears…?

It also reminds me a bit of Naomi’s brush with The Lonely:

(MAG013) NAOMI: The fog seemed to follow me as went and seemed to swirl around with a strange, deliberate motion. You’ll probably think me an idiot, but it felt almost malicious. I don’t know what it wanted, but somehow I was sure it wanted something. There was no presence to it, though, it wasn’t as though another person was there, it was… It made me feel utterly forsaken.

Overall, the description is extremely… typical from what we’ve seen of The Lonely: there was Naomi’s misadventure, Ethan disappeared and nobody even claimed his backpack (MAG048), Yetunde Uthman had “disappeared a year ago. And nobody noticed” (MAG150)…

(But from that description alone, it doesn’t sound very Beholding, despite what Jon said? I’m curious about the Eye aspect of it…)

- Can’t believe that Martin canonically turns out to be the Lonely Eyes love(hate)child, gdi. It really was a custody battle in MAG158.

- Extra-sad that Jon warned Martin that there was meaning in the fact that Martin didn’t know anything about his domain, and wouldn’t even be able to see people in there… It’s just so cruel, both for them, and for Martin, to learn that he’s been unknowingly contributing to their misery (because they fed him and he didn’t even know about them)?

Pretty sure that Martin will stay with Jon to hear that statement, at the very least ;; (Or could he ask for something more? We’ve seen Jon extracting Breekon’s statement in MAG128, I wonder if he could put something into someone’s head like Elias had done, allowing Martin to give that statement himself…)

- I’m wondering about Jon’s own domain, too, now! He said they were heading towards it, so it’s either the Panopticon, the Institute or the Archives, or a mix of those… or something close to it, on their way to it. If Martin’s domain is a mix of Lonely&Eye, is Jon’s pure Eye? A mix of the 14/15? A Web&Eye mix, given Jon’s own personal fears?

I know that Jonny (lovingly) called out the obsessive classification in this episode through Jon, who went off on a rant about the “neat little boxes”, but he’s still using the Smirke classification this season:

(MAG183) ARCHIVIST: It’s a small domain. A swirling mix of The Eye and The Lonely.

(AND IN THIS VERY EPISODE… Jon…)

- On the one hand: feeling directly called out by Jon’s rant about how the divisions between avatars/monsters/humans/victims wasn’t and isn’t working, that reality escapes that division because it’s much more complicated than this:

(MAG183) ARCHIVIST: [HEATED] Avatar isn’t a thing, Martin, it’s not–! It’s just a word. A word used by… fools like Smirke to try and sort everything into neat little boxes, to reduce the messy spray of human fear into a checklist: Human, avatar, monster, victim. Only now, now, there’s a binary. There’s finally a clear dividing line and… [SIGH] Well. I’m sorry you’re not happy with which side you’ve ended up on.

(It felt especially relevant with Callum Brodie: could we really tell that he was an “avatar” when he was still a freshly wounded kid, even if a tormentor himself?)

On the other hand, well, that was still a useful distinction to have to identify servants, and mostly, I’m not extremely convinced by Jon arguing that there is now a Clear BinaryTM in the new world, between the “watchers” and the “watched”, since:

1°) Helen herself explained the dichotomy to Martin (MAG166: “And so, there are now exactly two roles available in this new world of ours: the watcher, and the watched. Subject, and object. Those who are feared, and those who are afraid.”). Given that she mostly tries to confuse them… that’s a red flag.

2°) Despite Jon defending that binary, we’ve run into plenty of examples of things… not fitting into that new classification. He himself acknowledged that Basira’s status wasn’t established yet; we’ve seen Salesa, protected by his camera from the chaos; Jon has been unable to know about Georgie and Melanie, only hypothesising that they might in what-used-to-be-London; Martin, a watcher, could still have fallen prey to another domain… That’s already a lot of special cases around that “clear dividing line”…

3°) Somethingsomethingsomething about how it’s in Beholding’s best interest that Jon believes in a clear, unchangeable, dividing line which serves Beholding’s own interests. If things feel fixed and unchangeable, then there is no point trying to fight against it or find a loophole, right?

Given that a Watcher can get trapped in another domain… does that mean that it could be the case for Jon, too? We got a threat of it in MAG172, when Jon began to give the statement of the following act – if Martin hadn’t interrupted him, would Jon have ever been able to stop?

- Confirmation that Daisy had “trapped” Basira in her Hunt! I was suspecting it since Jon’s first wording:

(MAG164) MARTIN: Is Basira alive? ARCHIVIST: [INHALE] MARTIN: Is she… in… o–one of these places? [STATIC RISES] ARCHIVIST: She’s alive. Out there, not… trapped in a–a hellscape, but… moving. [STATIC DECREASES] Hunting. She’s… she’s looking for Daisy. She’s a few steps behind.

(MAG183) MARTIN: … What about Daisy? Or Basira? ARCHIVIST: Daisy carved through the domains of others. Basira… well… In a very real way she was a sufferer in Daisy’s domain. Maybe the only one. Hunting, following, hurting. Now Daisy’s dead, she’s… free. Sort of. She’s inherited something of Daisy’s ability to move through the other domains. For now, she’ll… feed off what she sees in them. As to whether the Eye ultimately gives her a domain of her own… I don’t know yet.

* And now, Basira seems to have a peculiar status… Is it because she killed Daisy? Is it because she killed the ruler of her domain? Jon explained that a ruler’s death didn’t change much for the domain itself, but maybe it operates differently if a victim kills a ruler (… they become the new ruler?)

* Another reminder that Jon cannot see the future.

* Big Eyeball didn’t immediately give Basira a domain, but Martin got one. I see that favouritism, uh. (Joke, it does make sense given how Martin recorded a lot of statements and had worked at the Institute for years and years.)

- I love how Jon managed to explain why he hadn’t told Martin everything, and how Martin… indeed agreed that Jon had been mostly trying to respect his wishes about not knowing ;; It’s true that Martin had been adamant about not hearing much of the horror:

(MAG163) MARTIN: J–Jon, enough! Enough! [STATIC FADES] … Please don’t tell me these things. ARCHIVIST: I… I’m sorry, I– There’s just so much! There’s so much, Martin, and I know all of it, I can see all of it, and I– It’s filling me up, I need to let it out! MARTIN: I’m sorry, but tough. Okay? Tha–that’s not what I’m here for. [VOICE IN THE DISTANCE: “No… No!”] MARTIN: I can’t be that for you, I–I just can’t.

(MAG167) MARTIN: Oh! Right, obviously. [CHUCKLING] Duh. Hum… What about me? ARCHIVIST: … Would you… like me to… ? MARTIN: No, no. Don’t tell me. I don’t want to know. ARCHIVIST: … Okay!

(MAG183) MARTIN: You didn’t tell her any of that. ARCHIVIST: I didn’t think the metaphysics of her place in the fear ecosystem was something she’d be particularly interested in at that moment. MARTIN: Fair. But you seem very reluctant to tell anyone any of this stuff. ARCHIVIST: [SIGH] I did try, right at the start, but y–you didn’t seem to want to talk about it, so I didn’t push it. It’s hard, I have so much knowledge but… how do I decide what people want me to share, and what they never want to know?. MARTIN: I guess that makes sense.

But Martin seems to acknowledge that indeed, Jon had been trying his best about it…

(And now, I wonder if there is still other stuff that Jon hadn’t told Martin, in the same vein…)

- First choice for Martin:

(MAG183) ARCHIVIST: [SIGH] I was going to bring it up at the crossroads. Inside. I only just realised we would be going this way. […] MARTIN: I guess that makes sense. … So what did you mean about the crossroads? When you were talking to Helen. ARCHIVIST: It’s a maze in there, something between a, a Rubik’s Cube and a Magic Eye picture. I can find us the way through easily enough but… well. For us, there are two ways out. Two paths to London. MARTIN: What are the choices? ARCHIVIST: One would be a long, winding route, we’d see a lot of horrors, but remain… personally untouched. MARTIN: And the other is my domain. ARCHIVIST: Eventually. It’s a shorter path, with faces we know along the way. Including Helen. MARTIN: I thought Helen was her domain, wi–with all the doors and that? ARCHIVIST: She is, but she has a… position within this pseudo-landscape, like any other. MARTIN: O–okay. [INHALE] So, so, I mean, I suppose we’ve got to do that one, right? ARCHIVIST: We don’t have to, w–we–we could just– MARTIN: What, what? We could, we could dodge around it? Take the path of denial? I guess, but… what is it you keep harping on about? “The journey will be the journey”? [SIGH] I mean… It’s pretty obvious that this one is my journey.

! Glad that Martin didn’t hesitate and immediately understood what it was about – that it mattered to do it that way, that Martin had to face it, that this is how this world works. No hesitation about it. He got a demonstration with Basira, but still, he was quick to accept it.

I’m expecting a few episodes before Martin’s domain, so… with the overall rhythm of the season, they might reach the Institute by MAG189? And Hill Top Road during Act III?

- Since Jon mentioned that the path Martin ended up choosing had:

(MAG183) ARCHIVIST: Eventually. It’s a shorter path, with faces we know along the way. Including Helen.

I wonder about those “faces we know”, since we’re running super-low on ~avatars~. Different options:

* Institute staff. Rosiiiie?

* Melanie&Georgie. A bit unlikely, given that Jon had trouble knowing what was the deal with them, I feel?

* Since Helen will be there, people who gave live statements to Jon and were trapped in his nightmare zoo. I’m mostly thinking about this one, especially since Jon’s “No one gets what they deserve. Not in this place. They just get whatever hurts them the most! … Even me.”… (And if it’s about an internal and metaphorical journey, I feel like having to face people that Jon hurt, first unaware (he didn’t know about the nightmare zoo when he signed to become the Head Archivist), then partially unwilling but still doing it (he felt guilty about it but still hid it, still chose self-preservation instead of warning the others about it), would have its place…)

- In the same fashion, who is trapped in Martin’s domain? Unrelated people? Live statement-givers? (;; I’m thinking of Jess, who had the misfortune of being compelled by Jon and of giving a statement to Martin…)

… Given that it’s confirmed to be a “journey” for Martin too, I can’t help but squint at Jon’s wording, because. “Faces we know”. The only thing we know of Martin’s father is the fact that he looks like Martin… (MAG118: “The thing is, though, Martin: if you ever do want to know exactly what your father looked like… all you have to do is look in a mirror~ The resemblance is quite uncanny. The face of the man she hates, who destroyed her life, watching over her, feeding her, cleaning her, looking down on her with such pity–”)

- I’ll be having Annabelle’s words stuck in my head (ha) for a long time but:

(MAG181) ANNABELLE: Don’t worry, Martin. We’ll meet again. Hopefully when you’re feeling a little bit more… open-minded…! MARTIN: I wouldn’t count on it. ANNABELLE: I would. MARTIN: [SIGH]

… Was it a reference to Martin learning about his own domain and about how the world operates, his place in it? I think that Martin might be even more resolved to turn the world back at whatever cost, now that he knows that he is himself sustained by fear…

(LISTEN, THIS IS ABSOLUTELY HOW WEB!MARTIN CAN STILL WI–)

- !! Footage of Martin saying “I love you” for the first time ;w; I love how it was the thing he was certain about, both a slight decompressing joke and a true statement, a reminder that he has faith in Jon, that he has something to cling to?

(MAG183) ARCHIVIST: If you’re sure. MARTIN: … I’m sure I love you. [FOOTSTEPS] ARCHIVIST: I love you too. [FABRIC RUSTLES] Let’s go.

(He had mentioned that he was “in love” in MAG170, I’m happy to hear him telling Jon, too!) And the fabric RUSTLED, SO LONG AND SO HARD, AND AT LEAST TWICE!! I love how the tension from right before and after the statement had faded by the end of the episode ;w; Rollercoaster of little emotions…

MAG184’s makes me think of something Leitner had said (more lore about the Fearpocalypse?), and of Vast and Corruption… with very different vibes. If Corruption, and keeping in mind that Jon has announced that they will be encountering “faces [they] know along the way”, it cooould contain Jordan Kennedy, the exterminator from Pest Control…? Especially given that both Jon and Martin had met him (Jon took his live statement, and Martin pleaded offscreen for him to get them the jar of Prentiss’s ashes to comfort Jon).

(Yessss, I am absolutely aware of the irony of still using Smirke’s categorisation after another episode in which we were told again that it is bollocks, but if Jon himself still occasionally labels the domain as one of the 15, so can I ♥)

#long post/#tma liveblog #mag183 #tma season 5 #the magnus archives #tma spoilers/

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inspector-montoya-fox · 4 years

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#11 - A Tangled Web

Setting: oh, boy...... where do i even start with this one? welcome to your worst nightmare, or as Sly puts it a well-fortified gothic nightmare. if you thought Jailbreak was the embodiment of fear, A Tangled Web is ten times that. i mean, it doesn’t really develop any of the previous Prague characteristics because they’re the same, but the towering buildings really hone the spookiness. developments in the story also add to the fear factor. the Contessa has been ousted from Interpol and is now facing newly-promoted Neyla’s wrath. i’m thinking about what Hitchcock said on suspense and how having a bomb go off is scary, but having the people anticipate the blast is even scarier. that’s the case here. war is about to erupt and the gang is caught right in the middle of it all. although the fighter planes are casually attacking the castle and tanks are roaming the area throughout the episode, the operation establishes that full-out war is the climax for this episode. despite all this, the gang is united again and is ready to take down the Contessa. i absolutely love how there are two areas in this hub: Neyla’s side and Contessa’s side. Neyla’s side is a charming European town, reminiscent of Jailbreak’s hub. Contessa’s side is an intricate maze, full of arches, bridges, stained glass windows, crypts, dungeons and a cottdamn cemetery. similar to The Predator Awakes, i often get lost when playing this episode. the hub’s two areas also highlight the war aspect because it shows how there’s two indefinite sides to the subject, even though both characters (Neyla and the Contessa) are villains. essentially, the gang is a tiny league of their own swept up between a boiling feud. the safehouse is placed upon stairs to show how the gang doesn’t belong on Neyla’s side. as soon as you walk down those stairs, you face the danger of ruthless tanks (one of the game’s most annoying “guards”). the gang is definitely not welcome here. the hub’s architecture comes into play a lot throughout the episode: you have to climb the highest high to get to the Re-Education Tower and crawl under sewer tunnels to get to some of the crypts. some crypts are water-based, some are medieval trap-based, some are full-on coffin-based. and the missions really emphasise this as most of them have the gang traverse through a variety of rooms. fab.

Characters: before i touch upon the Contessa, i just wanna say, Carmelita’s back, after an episode of being completely MIA. yeap, right off the bat we find out she’s being held captive by the Contessa, who wants to turn her brain into mush. things are looking dire. for Sly, this brings back memories of Clockwerk’s lair. we haven’t seen Carmelita this defeated since she was Clockwerk’s hostage. this just further proves what a force the Contessa is. i love Carmelita’s lines in this episode (e.g. Let me out of here and I'll readjust your face!). Sly calls her his violent little princess and honestly that encapsulates everything. A Tangled Web overturns everything we thought we knew about Carmelita. after missing out on an entire episode, she’s being held captive for the majority of this one, and when she’s finally freed, she’s out of control. so we see two new sides of Carmelita: first restraint and then extra-powerful. the latter is due to her taking control of the tank at the end of the episode. she blasts the Contessa’s blimp down and even gets her hands on one of the Clockwerk eyes for a bit. Carmelita’s frenzy eventually winds down when (we’re informed via cutscene) that the gang helps her make a quick escape. so, basically, she’s back. let’s talk about the Contessa. as i’ve said above, the Contessa is an absolute force. i’m so happy to see a female villain surpass the other villains and their brute force. mind over matter, baby. absolute savage Jean Bison can’t follow up the Contessa’s act because he’s just plain muscle. in A Tangled Web, the Contessa is in her prime. i don’t know if she thrives under pressure or something, but she’s reached a divine level, elevating her persona and delivering PRICELESS dialogue such as I'm above all that, above good and evil. this episode is what makes her my favorite villain. SP gave her the “psychology trait” and took that to its full extent by having her psychoanalyze every character, almost drive Carmelita mad, and then try to hypnotise Sly. similarly to Rajan, the hub’s architecture resembles its baddie by having all those arches and tunnels resemble the Contessa’s spider legs. in the end, we get to fight her, head-to-head. it’s a great bossfight, albeit simple. but i want to focus on the dialogue during the bossfight. we have a character that knows Sly. again, only Clockwerk was that familiar with the Coopers. the rest of the villains up until this point (up until Dr M, that is) have been goons and crooks. but the Contessa, having researched Sly and his psychological profile, actually knows him. i know i speak for all of y’all when i say that You're an ignorant child playing dress-up in his father's legacy is A Tangled Web’s absolute climax. because it hits so hard. oof. it all just culminates and gives this marvel of a character an awesome conclusion. so now, we naturally have to talk about Sly. it’s been a hot minute since the raccoon’s had some character development. after being double-crossed, trapped and then had some reconnecting with his friends, he’s back. and he feels kinda different. i mean, he’s still the fun-loving, sarcastic Cooper we all love, but i think he’s started considering the gravity of the situation. Sly 1 saw Sly gradually realize what he was going up against, level after level. in Sly 2, he had to be cocky enough to get betrayed and thrown into jail before coming to the realization that the stakes are high. the episode starts with Sly saying Time for a little payback in full seriousness, and ends with him saying I tried to put it all out of my mind. This Klaww business was spiraling out of control and I knew that my gang was at the center of it. yeap. this set of episodes has definitely changed Sly. and i think having the Contessa mention his dad really pushes him even further. when he says sHE’s GOT THE EYE!?!!!? you really feel it (?). and finally, Neyla. ah, we finally get to see her true colors (at least that’s what we think). the cutscenes’ animation really does a great job in outlining what a war mongrel she really is. stomping around with her Timberland boots and barking out orders, having a hoard of tanks and fighter planes follow her. she’s absent for the majority of the episode but finally makes a grand entrance at the end. and the deception is brilliant. SP presented her as an angry war leader, had her hide in her HQ for most of the episode and only showed her making offensive moves towards the Contessa. so we were all shocked when she sneaked into the Re-Education Tower at the end. it was so un-war-mongrel-like, further proving that Neyla can easily shed her skins and how versatile she is. she’s like the yin to Sly’s yang..... until she gets stuck in a web.... *sigh*

Themes: when i say war, you say theme: war theme ! hear me out, this episode is very character-driven, but the themes are heavy too. having the episode take place right in the middle of a war is a new direction for the series. in the past, every episode had a different location and different aesthetic, but it was usually the gang stealing stuff in the night. here, we’re in an active warzone. the fighting heightens tensions and adds pressure to an already tough situation. the theme also embodies the characters and the hub. if Neyla is the embodiment of war (tanks, planes, etc.) and the Contessa is personified by her gothic estate, it further highlights how the former has the latter quite literally surrounded. tanks have driven the Contessa into her estate, surrounded by water, and the planes keep attacking the buildings inside. all this might and fury places the two villains onto pedestals. the theme is present everywhere: the Prague sky is especially red in order to exhibit the wrath of war, some of the missions take on a destructive nature (Mojo Trap Action, Tank Showdown). we all know war never ends well, and that’s exactly what happens: the gang is forced to flee at the end, barely managing to obtain both Clockwerk eyes. lastly, the fear theme is still present from last episode, but ties in with the war theme. the architecture, the guards and the missions still emit fear, but fear of war overshadows everything else. so, essentially, the war preserves the fear aspect and even sharpens it. and then, there’s the theme of defiance which fits in perfectly with the war theme. we’ve reached the end of this set of great episodes and the characters are fed up. as i’ve mentioned above, after Carmelita breaks free, she wreaks havoc. she’s been warning the Contessa about breaking free and there was doubt, but she succeeds and that shows defiance against her captor. Sly defies Neyla, after she double-crossed him. this is the first encounter between the two after what went down in India and the chase is great. both are defiant in their own way and that’s why their remarks bounce back. and finally, Sly’s defiance towards the Contessa. i mean, she’s been pulling the strings and been suppressing the gang for two episodes straight so it’s only natural for Sly to beat the shit out of her. and again, the dialogue here is absolute gold. there’s even defiance towards Bentley, when Sly doesn’t stick to the plan and goes rogue (lmao). i guess the last theme, or rather motif, here ties into the theme of defiance, because it’s mischief and tricks. i mean, it’s a form of defiance, so there you have it. even though the situation is extreme and the stakes are high, the gang seems to be having as much fun as ever. in Stealing Voices, there’s that great gag with Bentley imitating Neyla. Tank Showdown sees Murray try to fit into that tiny-ass tank in a cartoony manner and then squash all the guards in his way. Ghost Capture has Sly break a coffin in order to unleash pesky ghosts and then try to capture them by taking pictures of them. and i’m sorry, but every time General Clawfoot blurts out gibberish i crack up. there’s contrast between the war’s grimness and the way the gang handles the missions, and it’s great. i guess it’s comedic relief during harsh times.

What I Like: the character development, the themes and the quotes! i mean, analyzing this episode is my favorite thing about it. it’s a reminder that Sly 2 has the best and most well-constructed narrative in the series. favorite detail would have to be the guillotine. it’s so fun cutting the rope and watching it drop. so yea.

What I Don’t Like: i’ll be honest with you - this episode’s missions weren’t the best. they felt like small tasks to build up an excellent, narrative-driven operation. i mean, abducting General Clawfoot was a brief one and Stealing Voices felt too similar to Ghost Capture and Mojo Trap Action. and, sorry SP, but having me drive the tank as Murray twice felt like punishment...

Quote: deciding what gets included here is literally the most difficult thing i’ve ever had to do. how can i pick between utterly ICONIC lines such as Weren't you listening? She was an Evil Wolf Priestess and You're an ignorant child playing dress-up in his father's legacy. the latter never fails to send shivers down my spine. i honestly can’t do it. the whole damn episode is a fucking quote.

#back to regular programming #this took FOREVER to write #this is the most theme-heavy and analysis-thirsty episode in Sly 2 #BUT #this essay is made even more powerful because my last essay was on why Thieves in Time sucks #so my timing is excellent as always #he he he #sly cooper #episode project #let's all collectively bask in this episode's absolute greatness

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wonderfulworldofmichaelford · 4 years

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Psycho Analysis: Rose the Hat

(WARNING! This analysis contains SPOILERS!)

Stephen King really seems to have some sort of vendetta against kids, huh? It seems like some of his most vicious and terrifying creations exist solely to abuse, consume, and eviscerate kids, and almost all of those creatures have serious pedophilia undertones to them. Obviously the most well-known example would be Pennywise, and for good reason; a killer shapeshifting alien clown demon that devours kids and lives in the sewer is going to stick in the mind, in no small part thanks to being brought to life onscreen by talented men like Tim Curry and Bill Skarsgard. But there is another child predator straight from the pages of King’s work who made her mark on cinema: Rose the Hat.

Rose is a sort of psychic vampire, who consumes the shine from children to preserve her immortality alongside a gang of fellow monsters known as the True Knot. Think Dracula, Pennywise, and Elizabeth Bathory all rolled into one. And if that isn’t a terrifying combo, I’m not sure what is.

Motivation/Goals: Rose’s goal is simple: consume the shine from innocent kids, when their power is strongest and the taste is far better. Unfortunately for the kids, eating the shine out of them is horrendously unpleasant and fatal. And unfortunately for one of our protagonists, the young Abra, she is one of the most powerful children Rose has ever seen. After becoming aware of her existence, Rose sends the True Knot after her and pursues her herself to an absurd degree, even after hitting numerous setbacks, from her hand being mutilated to her followers being massacred. Part of this seems to be the implication that those with the shine are rarer nowadays and they desperately need to eat something like this to stabilize themselves, but at some point it does seem like Rose is going out of her way for the thrill of the hunt, though it is also evident she wants revenge for the death of her followers, because there is every indication her affection for them is genuine.

Performance: I’m really happen I got to see the 2010s Mission Impossible films before I saw this, because it gave me a deep adoration for Rebecca Ferguson. She is an excellent actor, and she manages to give Rose a sort of sub-Pennywise sort of creepiness. She definitely has a child predator vibe to her, especially as seen in the opening when she tricks a little girl to her death; seing a female character written as a child predator is not quite as common as the alternative, so it’s interesting to see it. But that being said, she’s honestly the opposite of Pennywise in a lot of ways – where Pennywise is ugly she is beautiful, where Pennywise is uncanny and creepy she is sweet and inviting, where Pennywise’s affection is faked Rose genuinely seems affable at first. It definitely helps set her apart and make her a great, unique villain in her own right. Plus, gotta love that dapper hat she rocks for most of the film.

Final Fate: Rose shows that she has no idea what she’s actually dealing with as she follows Dan and Abra into the Overlook. Now, the Overlook has been established so far in the film and The Shining as a horrendously evil place, with Doctor Sleep in particular noting how the hotel hungers for the shine as much as Rose does. Now, Rose not only has the shine in her, but has also inhaled the stored-up steam from previous victims before entering in an attempt to give herself the upper hand. Can you guess what happens when Danny finally decides to unleash the imprisoned ghosts of the hotel?

Her death is actually a beautiful little bit of karma. After centuries of picking on defenseless children, Rose is made as helpless as a child at the hands of the ghosts of the Overlook. For bonus karma, the way her death is presented is very similar to how her and the True Knot devoured a terrified little boy earlier in the film. She dies screaming and in agony, a truly fitting death for a monster such as her.

Best Scene: I mentioned briefly in the Psycho Analysis for Jack Torrance that there is a scene near the end where she reenacts the scene where Jack menacingly walks up the stairs towards his wife. This here is probably my favorite scene of hers, as it leads into the disturbing sexual assault-esque attack she unleashes on Dan before he reveals that he has her right where he wants her and unleashes the imprisoned ghosts of the Overlook. It’s a great finale for a villain like her, and Ferguson really does a good job at coming off as menacing as Jack Nicholson in her own way.

Best Quote: Rose has a very simple and sweet quote that I think sums up just what’s so great about her: “Well, hi there.”

It’s not flashy, super impressive, or the most memorable line of all time. It is, however, very affable, friendly, and delivered in an inviting tone of voice all the time, masking her true personality under a persona that has led countless children to a grisly end. Yeah, she’s a Stephen King villain alright.

Final Thoughts & Score: Rose is one hell of a villain for sure. A lot of it comes down to Rebecca Ferguson’s stunning performance, which really helps you endear yourself to Rose; she just exudes a natural charm and charisma throughout the film, really selling you to the idea that Rose is a charming, cunning individual who could convince someone to her cause. You wouldn’t think someone like Snakebite Andi, whose entire deal is acting as a honey trap to punish pedophiles, would then join up with a child murdering psychopath, but Rose is just that outwardly charming that yeah, you know what? I fully buy that this kid fell for it.

Of course, even with all that said, I think Rose only ends up as a 9/10. This is mainly because she really Isn’t a household name or a true icon among Stephen King villains like, say, Pennywise, Annie Wilkes, or Jack Torrance. She’s so close, and maybe her score will change if she ever becomes a well-known icon like those others, which I think could happen considering how good the film was. I guess we’ll just have to wait and see.

And aside from that, the fact remains Rose is ultimately not the ultimate, final evil of the film that must be confronted. In fact, she pales in comparison to the true villain, a villain whose presence is felt throughout the movie and is alluded to many, many times before it finally appears. I am of course referring to…

Psycho Analysis: The Overlook Hotel

Yes, I am doing a Psycho Analysis on a building.

The Overlook is not a typical villain, of course. It’s not something that can truly be dissected in the same way as other villains, because there is not one single performance here – rather, there are multiple performances here that are all apart of the nefarious machinations of the hotel. But all of them work together to prey on the weak and frightened, and help build up the Overlook as a terrifying force the likes of which cinema rarely sees in more obvious villains, let alone evil, sentient buildings.

Motivation/Goals: Despite the numerous ghosts all doing different things and despite all the supernatural goings-on, the hotel has one very clear goal, even in the much vaguer Kubrick film: the Overlook wants to drive people to madness and take their power for its own. This is explicitly spelled out in Doctor Sleep, where it is made clear that the hotel was preying on Jack’s weakness as well as on Danny himself, wanting to consume him as much as Rose does. To this end, the ghosts all play a part in pushing people over the edge.

Final Fate: Danny decides to finally allow the fate of the book version of the hotel to catch up to it, and cranks up the boiler and burns the hotel down, opting to stay in and sacrifice himself to ensure he doesn’t become overtaken by the hotel again and allow its evil to spread out into the world.

Best Scene: It’s really weird to think of the hotel having a “Scene,” but if we’re referring to the ghosts… The Shining features the iconic scene of the creepy twins in the hallway as well as the lady in Room 237, both scenes that have stamped themselves into the cultural consciousness.

Doctor Sleep has one that may actually be even better, though; in a scene reminiscent of a scene in the first film, Danny sits at the bar and is offered a drink by the bartender. However, here the bartender has taken on the form (or perhaps even is the spirit of) his father, Jack Torrance. This scene really cements Danny’s character arc and shows that, for all of his flaws, he was still able to overcome his addiction and prove once and for all he is a better man than his father.

Oh, and if you just want something big and fanservicey, every ghost appears all at once to kill Rose. It’s pretty awesome, if I’m being honest.

Best Quote: There are a lot of ghosts in the film, and a lot of them have interesting things to say, but only one quote has wormed its way into the cultural consciousness to any great degree, and that’s the twin’s invite to Danny: “Hello, Danny. Come and play with us. Come and play with us, Danny. Forever... and ever... and ever.”

Final Thoughts & Score: The Overlook is one of the most famous locations in cinema, and as a villain – no, as a force of malevolence – it is utterly perfect. Of course, things are kept rather vague and mysterious in The Shining to fit with the oppressive, terrifying tone, but even then there are so many little touches such as the bizarre, shifting, and even nonsensical architecture (there are rooms there that could not reasonably exist at all) that add to the unnerving atmosphere that when the sequel outright states plainly that yes, the hotel is a malevolent entity with a will of its own, it’s not even the least bit surprising.

The ghosts go the extra mile to making the hotel feel as evil as it is. The woman in 237, Lloyd, the twins… all of them add their own creepy flair to the proceedings. What’s even better is that even in Doctor Sleep it is never entirely clear if the hotel is just empowering the evil spirits or if it is outright creating them based off of the horrendous tragedies that occur there. It’s also interesting how it only ever seems to target people when there’s only a few there, functioning as normal hotel when it’s fully operational. The thing is almost an SCP, with the mysterious and sinister ways that it operates.

Obviously, there’s no way I could give this place anything less than full marks. 10/10 is the easy score for a villainous building the likes of which cinema has never really been able to top. Can you name a single evil building as memorable as this one? I suppose there’s the titular building from Monster House, but as good as that film as, can you say with a straight face that that house comes close to the sheer unchecked malevolence exuded by the Overlook? Rose really didn’t comprehend at all that this hotel is not something to be trifled with.

#Psycho Analysis #The Shining #Doctor Sleep #Rose the Hat #Rebecca Ferguson #The Overlook Hotel #Stephen King

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ty-talks-comics · 4 years

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Best of Marvel: Week of January 22nd, 2020

Best of this Week: Amazing Spider-Man #38 (Legacy #839) - Nick Spencer, Iban Coello, Brian Reber and Joe Caramagna

I can read the headline now: Spider-Man vs. Fake News.

At least that's what it seems like this next Spider-Man arc will be about as the titular hero has to deal with his "biggest supporter," J. Jonah Jameson, and his new job as a clickbait hound in the age of modern online journalism. Who knows what hijinks will ensue?

This issue exemplified the kind of humor that Nick Spencer excels at: the hilarity of hypocrisy when it comes to some of Spider-Man’s supporting cast. This was best shown in Spencer’s hilarious Superior Foes of Spider-Man (2013) as Boomerang did everything in his power to create a new Sinister Six while selling them out at every turn and not learning from his actions as everyone in his sphere suffered the consequences of his betrayals. Spencer channels that same energy as Jameson has to face the fruits of his journalistic practices in the form of Norah Winters and the new Threats and Menaces blog office.

After Jonah launches into a (Boomer) rant about today's journalists, calling them soft, self-obsessed and lacking the edge that made him what he is, Norah tells her team to sound off about the stories they’re working on. Without missing a beat and with faces of malice, thanks to Coello, they tout their intentionally misleading headlines.

Norah explains that in the age of the 24-hour news cycle, they need to get those clicks by any means necessary and that Jameson was the inspiration for this because of his past headlines calling Spider-Man a menace usually without real evidence. She expects villains to repost it to their audiences and heroes to quote it with malice, giving them more clicks.

Everyone likes to take the piss of millennial journalists and can often come off as cringy, but somehow Spencer, Iban Coello and Brian Reber manage to really capture the essence of modern open architecture office spaces filled with young kids and their kooky hair colors. Coello draws a really good shot of this with the addition of a space for video games, two bright green vending machines and tables full of people either on desktops without dividing walls or on personal laptops. Of course, all of this comes after Jonah is nearly hit by a douchebag riding an electric scooter.

Reber colors everything in contrast to Jameson who wears a professional brown suit. The office itself is brightly lit, all of the freelancers and employees are given brighter clothes with striking reds, pinks, blues and purples. Even the basic Threats and Menaces banner is a bright red, kinda signalling how bad this company might be. It’s really fun to see how out of his element Jonah is among these kids and how much more awful they are in comparison to him… aside from creating supervillains.

As all of this is going on, Spider-Man is robbing a bank. One can see how this might be a problem as Jonah is doing his best to defend Spider-Man to Winters who wants him to write a smearing headline about the crime. Coello and Reber introduce us to the act with an amazingly dynamic splash page of Spidey zipping into the sky carrying bags of cash. The webs are slung so hard that they blur, laser gun blasts almost fly off the pages with vibrant red and orange colors and Spider-Man’s posing makes him look like he’s avoiding danger with ease.

We get a sidestory with Silver Sable trying to regain her strength with the help of (former?) Spider-Man villain, Foreigner, as the two are now lovers. After helping her, Foreigner goes to a secret casino where the use of superpowers is encouraged and there’s betting on the battles between superheroes, villains and everything in between.

Foreigner still maintains his supervillain connections, but he seems to be using it towards helping Sable. Minor supervillain and assassin, Chance, has set up the robbery and casino in order to place bets on Spidey's performance and potential property damage. Of course, he also rigs it so that surprise drones appear to make things harder. As things begin to get hectic, lo and behold we get the best shot in the entire book: J. Jonah Jameson riding in to save Spider-Man on an electric scooter.

Coello and Reber make Jonah look like an absolute mad lad as he rushes into danger without a second thought to save Spider-Man. Fiery explosions ring out behind him, his pose makes him look like he came straight out of a Tony Hawk game and Spider-Man is absolutely shocked at all of this. Legitimately, it’s a really badass panel and one that should go down as one of the best out of context shots in comic history.

Spider-Man reacts as we would expect, chastising Jonah for putting himself in danger. Jonah retorts that he and Spider-Man were supposed to be a team after Jonah owned up to his some of his worst actions after a gang of supervillains confronted him and Spider-Man earlier in the series. Though he was supposed to keep it secret at the request of his sister, Teresa Parker, Spider-Man reveals to Jonah that the bank he robbed was a front for a criminal organization and that he needed to run because there were too many bad guys. As Jonah flees, he vows to Spider-Man that he’ll make his life easier one way or another.

Soon after, we get an amazing double page spread of Spider-Man taking down these nameless villains as Chance counts down. He thwips, kicks and smashes these clowns over the head with his signature Spidey style before Chance announces that the house wins after Spider-Man takes them all down.

As far as art showcasing goes, Coello, Reber and Joe Caramagna smash it out of the park here. The panels flow as the action moves between Spider-an acrobatic antics and Chance’s excited facial expressions. Colors are rich and switch between explosive oranges to dynamic blue skies. The lettering is truly amazing as every sound effect is emphasized and given proper placement for effect.

Spider-Man wins, but soon gets a call from Teresa, asking him if he knows what Top Secret means. He questions what’s going on and then sees the headline from J. Jonah Jameson exposing the plot and why Spider-Man is a hero for it, accompanied by Jonah raising his arms into the air with childlike excitement. This is gonna be a wacky adventure.

This book was a lot of fun and I’m glad Nick Spencer is writing it. He’s able to bring the funny and really works with his artists to give each issue and story its own identity. None of them feel exactly the same and that’s commendable. With much thanks to Chip Zdarsky, Nick Spencer continues to build on the relationships established in the Spectacular Spider-Man series with Jameson doing his best to repay Peter for all the times he’s called him a menace after revealing his identity to his former biggest antagonist. At the same time, it’s nice that Peter’s also keeping in contact with his sister Teresa, a character that absolutely has a lot more going on that people might expect.

Iban Coello is an amazing artist and makes every page look so dynamic and fun, combined with Brian Reber’s coloring, this is an awesome looking Spider-Man book. Joe Caramagna as always does a stellar job by placing each balloon so that the dialogue is easy to follow without cluttering up the pages, emphasizing words to give every character a unique voice and placing sound effects so that one can almost hear the pages as they turn. I enjoyed all of this immensely.

If there's any criticism I could level at this book, it would be the drawing out of the eventual conflict between Spider-Man and Kindred. I know Nick Spencer is playing the long game and he's very good at it, making me anticipate it with every issue the creepy villain appears in, but there has to be substantial storytelling in the mean time. Hunted was an amazing story from start to finish, but the 2099 crossover left a lot to be desired.

In between, there hasn't been much to rave about. Even the Absolute Carnage crossover and the Sinister Syndicate storyline have been on the lower levels of Spencer's stories during his time on Spider-Man. Sure they were fun, but unlike the absolute hilarity that is the storyline with Boomerang, they feel a bit disjointed from the rest of the stellar story that Spencer is telling. I get a similar feeling from this issue despite how fun it was.

But don’t let my impatience stop you from buying this book!

#spider man #amazing spider man #j jonah jameson #fake news #marvel comics #marvel #nick spencer #iban coello #brian reber #joe caramagna

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rosecorcoranwrites · 5 years

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Video Games as Interactive Storytelling

As I previously established, video games are a worthwhile form of storytelling, combining the best aspects of books, movies, and comics. They are unique among mediums, however, for being a truly interactive form of media. They are games, after all, and thus incorporate aspects play and choice.

Environment

Because you, the player, control the character, you experience the world as if you were in it, much more than in any other medium. You explore the environment. You fight the boss, and experience the struggle of battle. You help various NPCs, or non-player characters, with tasks. You make friends and allies, and fight alongside them. Although I never like my favorite characters getting hurt in any medium, when people attack my allies in video games, it's personal.

And that's what video games do: offer an incredibly personal experience. Unlike books, movies and comics, where you have to read from start to finish, video games let you meander and spend time in the setting. In games like Zelda, Okami, or Dark Souls, you can discover secrets that aren't necessarily part of the main plot. These can include hidden areas or side quests. Sometimes these add to your understanding of the story or make the main plot more emotionally impactful. For instance, I actually did all those side quests for people in Okami, so the cutscene during the final boss fight was personal to me. I helped those people; they were lending their strength to me.

You can also gawk at the extra details of the world. One of my favorite examples of this is in Skyrim, where you can read books of short stories or admire intricately carved Nordic architecture, neither of which are important to the story or gameplay, but which make the experience more complete and immersive. I like to wonder at the fact that some person was paid to write those stories and design those carvings; they’re neat little details that someone at the studio thought were important enough to put into the game.

Even a game as linear and straightforward as the Ace Attorney series allows for a sort of exploration. Though you can only "move" through a series of set-like locations during the investigation stages, you can click on almost every object in order to hear banter between you and your assistant. While this doesn't generally offer much in the way of world or story building (unless the object turns out to be a crucial piece of evidence) it does let us experience more chemistry between the characters, endearing them to us even more.

Choice

Games in which the player’s choices effect the story obviously offer an interesting experience. Certain games have binary choices—send this character to the safety of the cathedral, or to be experimented on in a laboratory!—while others have branching trees and dozens or hundreds of possible endings. Many games incorporate a morality system, where the more bad choices one makes make for a darker ending, with the best result being the “Good ending” and the worst result, the “Bad ending”; many games opt for multiple bittersweet conclusions.

While some such games have fairly blank-slate, player-insert characters as protagonists (that is, they don’t have too much personality, because the player can fill that in), others have very specific motivations, while still offering choice. My sister was describing her initial frustration, in Red Dead Redemption 2, that she could only make not-so-good choices in some of the side quests. This makes sense, given that you are playing as an outlaw in a gang, but was still annoying in a game that claimed to give one choices. She was later delighted, though, after something important happens to the character (spoiler: they find out they have tuberculosis, which not only makes them sympathize with one of their former victims of the same condition, but also forces them to come to terms with their decisions, as time is running out), and good options start opening up. The way the game presented choices made sense for that individual character while still giving the player the freedom to reject certain choices if they want. Masterful!

Happenstance

I will say, however, that player choice is not totally unique to games, as Choose Your Own Adventure books were and occasionally still are a thing. Programmers can program in more possible choices than can be contained in a physical book, but the storytelling principal is the same. More interesting, I think, is video games’ ability to create random happenstance. What do I mean? Depending on what the player does when, they might stumble onto a part of a game in a different way than other players.

For example, in Legend of Zelda Ocarina of Time, musical themes for each location play during the day, while nighttime has only sound effects. As anyone who has played Ocarina can tell you, the Gerudo Valley theme is some of the coolest, most adventurous music in the franchise, and it starts playing in the canyon, before you arrive at the desert. In order to get to the desert the first time, you jump your horse over a broken bridge, which feels pretty awesome to a first time player. But for me, it was more. I arrived on horseback at the canyon at dawn, rode to the edge as the castanets of the Gerudo Valley theme started playing. Just as I jumped, the sun came over the horizon and the guitar began! I could have sworn there was even a lens flare, but that might have been my imagination reacting to the epicness of what was happening. It was a totally random, unrepeatable event, and I’ll never forget it.

In Okami, I never knew that going through some torii gates led into mystical areas while going around them led to ordinary shrines, because I always went a certain way. Thus, my mind was blown when I discovered, after following a little sparrow girl through a gate, that what had once been a solid wall was actually a pathway. It wasn't until my second play through that I went around the gate of the first shrine, which led to a glowing portal to a celestial world, and discovered nothing but an ordinary statue in a moss-covered cave. I never knew!

In another Zelda example, every player had a different experience of their first Blood Moon in Breath of the Wild. Blood Moons are events that serve to replenish the enemies in the area, but in-game are meant to be the malice of the main enemy infecting the environment and causing monsters to resurrect. They happen at random, and are preceded by the music changing, the light dimming, black wisps issuing out of the ground, and, of course, the full moon turning red. My brother first experienced it while looking at some goats in a pasture outside an inn, while my sister experienced it after climbing up a tower to reach a treasure chest. Never having heard that Blood Moons were a thing, their thoughts, respectively, were, “What the HECK is wrong with these goats!?” and “I’m sorry I’m sorry I’m sorry! I’ll put it back!” I’m sure others have their own fun stories of their initial horror at what was happening.

Social Interaction

Cast your mind back to when this whole diatribe of mine began (many weeks ago), when I mentioned a coworker of mine saying that video games don’t inspire social interaction. Just the opposite is true, and it always has been.

One of the first, if not the first video games was the two-player game, pong. Though not actually a story game, this led the way for more two player, and then multiplayer games. Kids used to go to each other's houses and play Mario Brothers or Bubble Bobble; now, they interact with friends and strangers across the country in online, multiplayer games. There are even games that have “emotes”, special moves you can do to communicate with other players without voice chat. Others let you vote for another player as the MVP of each round to show your appreciation. Lest you think it’s all online, Nintendo is keeping in-person multiplay alive and well with games like Mario Kart, Mario Party, and Smash Brothers.

Single player games, too, invite interaction. Pre-internet, people would spread hints and strategy and cheat codes by word of mouth. “How did we know how to do that move without reading the manual?” my sister asked, recalling some odd special move in an older game. “I think a friend must have told me, and they probably heard it from one of their friends.” Nowadays, internet forums and Let’s Play videos serve the same purpose: a community of gamers helping each other out and spreading information about games.

I myself have talked repeatedly about what my brothers and sister experienced in their playthroughs. Some of this is because some games are too hard for me (like, every game FromSoft will ever make), but a lot of it is just because there was one TV and not enough time for me to start my own game. I’ve never actually played Sekiro or Bloodborne or Last Guardian, but I’ve watched people play all of them from start to finish, so I still have that experience. My brother and I both gasped when we first encountered a Mist Noble and its enchantment in Sekiro (and my advice, “Kill it with fire!” worked like a charm). My sister and I squeed over the griffin-dog-thing’s cute antics in Last Guardian. Unlike books, comics, and movies, which are best enjoyed in silence, video games invite conversation during play.

Online streams offer a similar experience. Even here, choice rears its head. Some streamers play it straight, from start-to-finish, with little editorializing. Others derp around doing a lot of nonsense, or add hilarious commentary, often adding their own layer of storytelling to the mix. Viewers of said streams can type comments in real-time, so that the streamer interacts not only with the game but with his viewers, and the entire experience is like one big conversation. Who said video games don’t inspire social interaction?

Community

Right about now is when I connect this new form of storytelling to something ancient. Books are the new songs and poems, movies are the new plays, and comics are the new tapestries and hieroglyphics. What, then, are video games? As I said before, they take elements from all of these other mediums: video games are the new bard adding their own lyric to a song, or the actor playing a well-known role a different way, perhaps due to choice or happenstance.

But mostly, video games are the new play, that most primal and primordial of all human storytelling. We play as soon as we can think, and play act as soon as we can walk. Children assign themselves roles and act them out together. Humans are communal creatures, after all, who process narratives by interacting with other humans.

To some extent, all storytelling is like this, as it is one human telling something to another rather than keeping it in their head. Video games, though, bring back the communal aspect of storytelling. Wanting to take part in stories—whether as a child going on adventures with friends, or an adult participating in a narrative ceremony, or anyone telling a story around a fire to a group of rapt and responding listeners—is part of being human.

At some point, however, that part of life got chopped off and shunted to the corner, as if adults shouldn’t desire narrative play unless they are writers. Thus, video games are put down as childish, or geeky, or not as valid as books. Oddly, they are stereotyped as being something beloved by loners, which ignores the vibrant and vocal gaming community.

I’m not sure where the animus towards gaming comes from. Why is immersing oneself in an imaginary world while staring at a book is considered high-brow, but doing the same while staring at a screen considered low? I don’t know, nor do I want to. What I do know is that some of the most unique, innovative, and emotional, stories I’ve ever seen have been those in video games, and I hope that in the future, more people give them a chance.

And those, dear readers, gamers, viewers, and story lovers of all stripes, are my thoughts on video games.

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queerbycrs · 5 years

Text

so... i’m not finished writing this yet, but since apparently the idea is So Popular going by @iamalivenow‘s post, i thought i’d... lay out the basis of my the magnus archives good place au? vague spoilers up to current canon of tma (ep 120) and definite spoilers up to the end of s2 of the good place

my basic thought, at first, was that this isn’t a “full” tgp fusion -- it would incorporate elements of tma canon, and involve various kinds of amnesia. so, the characters are tormented by not remembering bits of their lives, or remembering things that line up wrong, or having flashes of memory that don’t make sense.

so, in this au, the characters already knew each other in ways that are similar but not identical to canon. that’s part of the reason elias-as-michael is so confident it’ll work out: that idiot michael just threw together some humans and hoped they’d click perfectly horribly. these people have history, and it’ll torment them or just be informational, as required.

so, elias is michael, obviously. pre-redemption. (my thought for this is that the torture actually works so it never proceeds to the actual plot of tgp s2-onwards, so no need to figure out how it would work with elias. alternately, the humans go off through the afterlife without architectural assistance. who knows)

i’m not set on who janet is, but i might go with the suggestion of distortion? because that sounds hilarious, honestly

and there are def soulmates in this au, because it makes things ALL THE MORE PAINFUL. from most-to-least solidly formed ideas:

basira and daisy. basira remembers a picture-perfect life on earth, fifty years of marriage, dying in each other’s arms.

daisy remembers being a serial killer and trying to hide it for years until basira caught on and daisy killed her in a fit of rage, and spent the rest of her life regretting it.

neither of them have accurate recollections. but according to their first day in the good place, basira is correct, and daisy doesn’t know what the hell is going on or why she’s here, with the love of her life, who she thought she killed in the biggest mistake of her life.

(basira prolllllllllly doesn’t belong in the bad place, but elias prolly just snatched her up for his Evil Plans. no one better to torture daisy with, right?)

next: martin and jon. they remember working together, in... an archive? or something? and martin was in love with jon, and jon was oblivious.

well, the official matchmaking systems of the afterlife have chosen! you’re the perfect match for each other! have fun!

martin is completely blissed out at first! it’s wonderful! he spent all those years in hopeless love, and now he gets to spend eternity with the man he thought could never love him back!

and at first, jon is actually... okay with it? he’s a little nervous, because he’s never had a relationship that didn’t crash and burn (okay, sample size of one, but that says a lot in and of itself) but it feels so easy, at first, and it’s... okay. it’s nice.

but then his memories start to get... weird. he has dreams of the archive where he worked, except it’s... different. he remembers worms, and running, and a man’s body on the floor of his office.

he remembers a tape recorder, and he starts recording here, too. just in case.

eventually, as jon’s paranoia starts to build and build, things start going bad for martin, too: he’s having nightmares too, of worms and crushing loneliness, and jon is retreating and won’t talk to him, and this cute older guy who works at the kayak rental/canoe group/scuba-diving-but-without-equipment-because-we’re-dead-and-don’t-need-to-breathe place keeps hitting in him and he’s kind of into it and he feels Really Bad about it

and then i get to, like, melanie and tim and georgie, and in this version of the au i don’t know what to do with them, so i would probably pair up melanie and tim -- their respective responses to stress don’t work well together, at All, so i guess if the tension started turning up they’d probably torture each other pretty effectively.

which leaves georgie. and i’m thinking, maybe elias just doesn’t know how to torture her. she was added to his carefully-planned group without advance notice (probably as a test, those goddamn suits in the department don’t understand how difficult and complicated this is--) and so he just. tells her that her soul is perfectly complete on its own, and she has the admiral for company, but she doesn’t have a soulmate.

georgie’s like, sweet. she can live her best life (afterlife) and hang out with her cat that will be with her forever! this is awesome.

(the admiral probably died of natural causes a few years before, after living a full and very happy life; it got a lovely afterlife until georgie arrived and they got to hang out again. this is how it is for all pets. don’t @ me you know i’m right and i will not take suggestions)

it’s not perfect, because elias just keeps throwing Problems at her to see what’ll stick. but she’s doing pretty good.

alternately:

basira/daisy, and

jon/tim. tim’s reaction to jon’s paranoia is probably a lot more external than martin’s is, which probably leads to some nasty fights. jon probably thinks tim is turning against him, it’s a whole big mess. tim might get seduced away a couple times to increase his guilt and add some depth to their bad relationship, because this is Literal Hell.

melanie/georgie, because Wrench Thrown Into Plan, had to make some adjustments. there’s probably some memory mismatch and external pressure, but it’s not too bad.

martin is a complete person who needs no soulmate to make his afterlife perfect. not a monk, like jason (elias scoffs at the heavy-handedness, the unsubtlety of that.) just perfectly fulfilled in solitude.

he probably gets fully seduced by peter lukas, aka mr. “kayak rental/canoe group/scuba-diving-but-without-equipment-because-we’re-dead-and-don’t-need-to-breathe place” guy. and then there’s a lot of, “oh god this was a mistake what will we tell our soulmates” from peter (externally) and a lot of “i’m going to be alone for literal eternity and even my hookup doesn’t know about it, because it’s so unusual to not have a soulmate” from martin (internally.)

looking at it now, version 1 does seem better and more thought-out, so if i do actually progress with this i’ll prolly go with that. but hey, if someone wants to run with version 2... (or one, idc really) please do, i will love it.

SO. onto: demons!

you know in the beginning of tgp season 2, when michael is doing the pep talks to the demons and one of them keeps asking if he can bite the humans?

okay, that, but with jane prentiss

she just wants to infect them. just a lil. just a few worms in their houses, even

(elias screams internally. why are his demons so incompetent.)

nikola is a mannequin in the windows of one of the stores in the cute little town. she moves... just a little bit... whenever you look away (like a weeping angel.) she probably shows up in people’s houses in the middle of the night and stands at the foot of their beds. when elias is asked about it, he assures them that it was just a nightmare.

there are so many spiders in this afterlife. martin loves it. nearly everyone else... does not.

jude perry owns a pizza place with a classic pizza oven. it’s... weirdly hot in there? (”she spent all her years on earth perfecting this pizza,” elias explains to someone who feels like they’re dying of heatstroke. “she adapted to the heat. it would be cruel to take it away from her.”)

the pizza is delicious, once it’s burned the roof of your mouth to bloody strips

mike crew runs the skydiving/flying place. the humans don’t understand why it’s so painful and weird when they do it. they’re clearly just doing it wrong! why don’t they try again. and again.

not!sasha is there, and sasha isn’t. (i don’t know, i can’t think of how it would work.) (maybe she kept throwing a wrench in elias’s plans so he didn’t want her in his neighbourhood.) she’s soulmates with some random demon and is probably out there, idk, tormenting people with weird uncanny valley.

she runs a wax museum, like the museum in tgp s2, when the gang goes to the real bad place and it has plaques for the first person to do some petty bad thing (telling a woman to smile, sending an unprompted dick pic, flossing in an open-concept workplace, etc.) the wax figures also move in creepy ways, just a little bit.

i’m sure once i write this i’ll flesh out more of the demons, but one last thing:

who is mindy st. clair, you ask?

my answer is: it’s not one person. it’s gertrude and gerry.

but how, you ask? isn’t that like, a really special, one-time thing?

well, dear reader, for one thing, points and afterlife designations work differently in this au than they do in tgp, for practical reasons of getting all the characters i care about into hell. and also, the system doesn’t make sense.

so gertrude and gerry either a) both evened out the points (and medium places aren’t very uncommon) or b) this is an au where you can be “claimed” by the good place or the bad place at random, and neither place wanted them. either/or.

the thing is, though, that the medium place is not meant to be torture. and for the vast majority of people, being alone for eternity with only the most mediocre entertainment and literally nothing to do? is torture.

for mindy, she was incredibly self-centred; being alone is fine. she doesn’t mind being around other people for short periods of time, and she probably wants to get laid, but she’s okay in her own company.

most people are not. and obviously we don’t actually know much about gertrude and gerry’s relationship, but what i’m going to guess is that they didn’t hate each other, or especially like each other, but they aren’t each other’s favourite person, either.

thus, the best person to spend eternity with for absolute mediocrity, they can both be alone when they want and also have company when they need to not go completely off the deep end.

and that’s what i have so far.

and here’s a bonus if you read this far: i also started writing a tgp magnus archives au, where michael (tgp michael) got the gang together in s3 by sending them all to the magnus institute to give a statement. i have most of eleanor’s statement written. still not sure what i want to do with it, but there you go: fusion-ception, an au both ways.

#anyway i plan to write this but also everybody should write this au #the magnus archives #the good place #nicola.txt #nicola writes things

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joannalannister · 6 years

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Another ask, this time regarding dorne - I was under the impression that the people, in regards to skin tone and appearance, were based of the Spanish? If so, why does the majority of fan art seem to draw them (and lots of fan castings) with an Indian/middle eastern appearance? I noticed that they also have typically Indian clothing (sari and veil) and jewellery - is this true for their intext descriptions?

Hi. So this is a controversial subject, not least of which because GRRM has said in extra-textual comments that he imagined the Martells as “Greek, Spanish, Italian, Portugese”. I think this is a situation where “Death of the author” applies, because I think GRRM’s is obviously wrong here.

I think there is significant evidence in the text that Dornish people, if they existed in the real world, would not be European.

My friend @lyannas has written extensively on this topic, and I highly recommend her posts:

“Dorne’s Not White”

“Dorne is more similar to MENA than India“

These posts on @asoiafuniversity are also good:

POC fans and Western fantasy

A collection of official ASOIAF artwork that portray the Dornish as non-European (this addition by @nobodysuspectsthebutterfly is good too)

The Case for Dorne being Nonwhite

“I’m worried about Oberyn Martell”

Dornish clothing

These posts go through many textual descriptions, so I will leave the quotes to them. I also recommend going through these tags on @asoiafuniversity, because I only linked some highlights above. If you want more, I suggest you look through:

#dorne (there are 14 pages there, go aaaaall the way)

#dornish racism

#racism

Also, many people fancasted Alexander Siddig (who was born in Sudan) as their dream fancast for Doran Martell, loooooong before the show casted him. So that casting / fancast has influenced the way fandom thinks about the Martells.

I’m aware of this comment by GRRM:

In the case of Dorne, yes, Wales was definitely an influence, for all the reasons you cite. But there’s also some distinctly unWelsh elements down there. South of the wall of mountains you have a hot, dry country more like Spain or Palestine than the cool green valleys of Wales, with most of the settlements along the seacoast and in few great river basins. And you also have the flavor given the culture by the great Rhoynar influx led by Nymeria. I suppose the closest real life equivilent to that would be the Moorish influence in parts of Spain. So you could say Dorne is Wales mixed with Spain and Palestine with some entirely imaginary influences mixed in. Or you could just say it’s Dorne….

and I think @lyannas does a good job addressing the “Spain” part in the links I gave above.

(When I think of sandy deserts and armies being engulfed by sand storms, I do not think of southern europe, even if that is what GRRM thinks of.)

Regarding Wales, I’ve talked before about this with my friend @girlwholovesherwords, who is my expert on Wales, and she explained to me that Wales historically had strong female inheritance laws, similar to Dornish female inheritance laws, so I think GRRM’s comment about Wales had more to do with legal traditions than skin tone. (A lot of people like to take GRRM’s Wales comment and use it to whitewash the Dornish, but those people are obviously wrong, when the text describes the Dornish as brown-skinned.)

(@ Gemma, I thought you made a post about this? But I can’t find it? idk if you would like to share your thoughts again if you see this?)

So anyways I think there’s a very strong case to be made that Dornish people most resemble Palestinians, or at least people from the Middle East.

Why do some people imagine the Dornish as southeast Asian rather than Middle Eastern?

Well, for one thing, GRRM told Janina Gavankar, who has Indian ancestry, that she looks like Nymeria Sand. (GRRM fancast Apollonia Kotero, who has Mexican ancestry, as Arianne Martell, so GRRM is kind of … all over the place … with Dorne, and someone needs to tell GRRM that pocs aren’t interchangeable.)

The official art of Sunspear was based on the Sultan Omar Ali Saifuddin Mosque, which is in Brunei (southeast asia), while the domed architecture of Sunspear has been compared to Mughal architecture.

The Dornish paint their silk - painted silk is a tradition that originated in east Asia. “Silk painting in India touched great heights during Mughal rule in 17th – 19th centuries.”

When I was first reading ASOIAF, before I became involved in the online fandom, I personally associated Dorne with southeast asia / India for various reasons:

Dornish subcontinent // Indian subcontinent

Dorne becoming part of the Targaryen empire (elitist/racist white people) // India becoming part of the British Empire (elitist/racist white people)

Dornish desire for independence // Indian desire for independence

(Obviously Palestine also has a history of British occupation, I’m just saying that it was India I thought of while reading, rather than Palestine.)

In India, the British made arbitrary distinctions based on colorism // In Dorne, Daeron I arbitrarily divided the Dornish based on skin color (“salty Dornish” and “stony Dornish” and “sandy Dornish”)

Martell princes retaining royal status under Targ rule // Indian princes under British rule

the Ganges as a sacred river of great cultural and life-sustaining significance made me think of both “Mother Rhoyne” in Essos from which the Rhoynar came, and now the Greenblood which the Orphans go up and down in their boats

When someone asks me to think of a snake, the first one that comes to my mind is Kaa from the animated Jungle Book, this is just who I am, ok, that snake scared me as a child. I know that Kaa is a python and Oberyn called himself a viper, I know these things, I’m just explaining how my mind works

Dornish deserts // Indian deserts

Important agricultural products as exports (British really like drinking tea from India // Westeros really like drinking Dornish wine)

food cooked with lots of spices

I’m not saying these are the best associations, I’m not saying these are even all that accurate. I’m only saying that these were the associations I brought to the text as a reader, and these are the associations that shaped my imagination of Dorne as drawing a lot of inspiration from India. In the words of Ursula Le Guin,

As you read a book word by word and page by page, you participate in its creation, just as a cellist playing a Bach suite participates, note by note, in the creation, the coming-to-be, the existence, of the music.

Your reading experience depends on what you bring with you to the text and that shapes how you imagine it, how you create the world inside the book.

So whatever associations and backgrounds and personal experiences readers are bringing to the text, the important thing to keep in mind is that the Dornish aren’t white people, especially when the text describes the Dornish as dark-skinned and “brown” skinned.

I don’t necessarily think it’s wrong if some people want to imagine the Martells as Moroccan, and other people want to imagine them as Palestinian, and other people want to imagine them as Egyptian, and other people want to imagine them as Indian, and still other people want to imagine them as Chilean. (Pedro Pascal was a wonderful Oberyn Martell.) Different people are bringing different things to the text, and they’re “creating” the world of ASOIAF in different ways, and I don’t think that’s a bad thing.

The other thing to keep in mind is that making quality gifs / graphics / fanart is hard and poc are unfortunately very underrepresented in Western media. Photoshoppers might imagine something really amazing, but not be able to execute it very well, because they’re limited by the movies and tv shows that are already out there. (Fanartists have more flexibility, but they still often need references.) Photoshopping difficulties aren’t an excuse for whitewashing, but it does explain why, for example, gifs/graphics/fanart of Elia often depict her in a saree when she should probably be wearing a more medieval style gown, if we’re going by how GRRM describes Dornish clothing. (The closest thing to a saree in ASOIAF is probably the Ghiscari tokar.)

Finally, I’m white, so my thoughts here might not be the most valuable ones to have in this discussion. I’ve tried to give as many links as possible to poc discussing this topic, but you might want to ask a poc directly what their thoughts are. @lyannas is always very eloquent and insightful, so you might want to send more questions about this to her.

EDIT #1 - Yes, I am aware that medieval Spain was not necessarily white and there was a significant Moorish influence (including people from North Africa) in medieval Spain. That’s why I linked to lyannas’ posts above discussing this issue (did y’all click on all my links??), and that’s why I specifically mentioned Moroccan and Egyptian up above. This ask was in the context of fancasting, ie what ethnicity/race of actors alive today should be fancasted as Dornish.

EDIT #2 - @nobodysuspectsthebutterfly also recommended this post of hers.

@nobodysuspectsthebutterfly replied to your post:

[wales is] only a reference to their guerilla warfare, not their ethnicity

also, for further Wales influence on Dorne: www.westeros.org/Citadel/SSM/Entry/Asshai.com_Forum_Chat

Thanks!

#i received your other asks but i have not gotten to them yet #liashara-river #replies #/#//#dorne #grrm #dornish racism #house martell #lannister thoughts

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i-globalone · 4 years

Quote

This post is part of CoinDesk’s 2019 Year in Review, a collection of 100 op-eds, interviews and takes on the state of blockchain and the world. David Nage is the Principal at Arca, a full service digital asset management firm. “It is always wise to look ahead, but difficult to look further than you can see.” – Winston Churchill Recently Jill Carlson wrote a piece for CoinDesk that inspired me to think through counterarguments to the points she shared. Much of the following is based on 100 in-depth interviews during the last year for Base Layer, my podcast. While I am a strong proponent of diversity in thought and opinion, and Jill is one of the most respected investors and thinkers in digital assets, I disagree with her piece for two reasons. One, I believe the time and scale of review doesn’t properly factor where in the maturation cycle things in digital assets are. And two, I believe it diminishes the work being done in the infrastructure of digital assets to propel adoption. When I talk to my former peers in the family office world, I often discuss parallels between digital assets and past periods of technological innovations. The digital asset ecosystem needs to evaluate its progress (or lack thereof) against the historical diffusion of innovation. Below I discuss some key project updates with releases this year, showing maturation of the technology ecosystem. A quick incidental point first. Jill’s article is titled “cryptocurrency is most useful for breaking laws,” which is apt. As Jérôme Blanchart describes in his book “Crimes of the Future,” criminals have always been early adopters of new technology. For example, the Bonnot Gang, a French criminal anarchist group that was active in the 1910s, were among the first to make use of a getaway car after their armed robberies. The police would pursue them were on bicycles or horseback. Perspective is KeyIn the early to mid-90s, I remember getting my family getting a first home PC, connecting a modem and hearing that horrible dial-up sound when signing onto AOL. It didn’t always connect and, many times when it did, it was painfully slow. I remember ugly hyperlinked websites and thinking “no way am I putting a credit card into this and buying something.” Then in ‘97-’98, when I got to college, second generation websites started popping up with better UI/UX. There was vastly better developer tooling, improved infrastructure, encryption and regulatory clarity. I think a lot of people who question crypto and blockchain now forget, or didn’t experience, these early days. Jill writes about how we are collectively evaluating digital assets and makes a determination that: “I think perhaps we have been judging cryptocurrencies’ success (or lack thereof) according to a false metric. We would not judge a fish by its ability to climb a tree.”Our judgement is marred by our collective time scales and expectations. We have become a society of “now.” Venturing outdoors to rent a movie, buy food or other household supplies has been replaced by a click of Netflix, Postmates and Amazon Prime. We expect to plug in a device or download an app and for it to work perfectly. In the early days, we just hoped we didn’t blow up our computer. Because of our on-demand mentality, we have lost patience.This shift in mindset to “on-demand” has altered our idea of how quickly things should happen, and in my opinion, has negatively affected our perspective on digital assets and blockchains. Most blockchain technology appearing now started as academic theory 20 or 30 years ago. For example, zero-knowledge proofs were first conceived in 1989 by Shafi Goldwasser, Silvio Micali, and Charles Rackoff in their paper “The Knowledge Complexity of Interactive Proof-Systems.” In 1968, Douglas Engelbart gave what is known as “The Mother of All Demos“: a live demonstration featuring the introduction of a complete computer hardware and software system called NLS. The 90-minute presentation demonstrated almost all the fundamental elements of modern personal computing: windows, hypertext, graphics, efficient navigation and command input, video conferencing, the computer mouse and word processing. It wasn’t until the late-1990s that home computers with all of these capabilities entered our homes and workforces. Jill says digital assets don’t provide “marginal improvements” on legacy financial services and systems and that “often blockchain-based systems will fail when compared to more conventional, centralized solutions.” However, in my opinion, there are companies and projects in the works that address problems in the financial system. To paraphrase Marc Andreessen, I believe we just entering the Netscape phase of digital assets. Promising projectsWyre, a company that predominantly uses the bitcoin blockchain, cuts the time and expense of cross border payments. While banks take up to three days and charge between 4-6% for international money transfers, Wyre completes transactions in less than six hours, charging less than 1%.One of the more important developments in 2019 was the mainnet launch of Cosmos, an interoperable blockchain protocol that began work five years ago. It facilitates the transfer of data between existing chains creating an internet-of-blockchains. Prior to 2019, we have had disparate, distributed and decentralized systems being built to handle file storage, query, search and more – components necessary to build robust applications comparable to Web 1.0-2.0. Those components need to talk to each other and, without protocols like Cosmos, that becomes fairly impossible. In a similar vein, 0x is a protocol that facilitates the peer-to-peer exchange of Ethereum-based assets. It released Version 3 to it protocol this year, an upgrade that will deepen liquidity for the DeFi ecosystem and improve the developer experience of building on 0x.Meanwhile, projects are improving how they handle governance: the ability to get distributed groups of network facilitators to work together. Aragon is one of the most important projects in the space and after two years of design, development, and testing, the Aragon Client went live on mainnet for the first time near the end of 2018. By September 2019, Aragon One shipped Aragon 0.8 featuring a vastly improved on-boarding and user experience. This year Parity led the way with a major advance in Substrate, Parity Technologies’ blockchain framework. Substrate’s modular architecture abstracts away as much blockchain development as possible, freeing teams to focus on crafting their project’s unique business logic. It could have a similar impact as Wix, which launched in 2006, making website development simple and easy for anyone. Argent shipped a “radically better crypto wallet,” targeting one of the major pain points in crypto (seed phrases). It has shown that you can be self-custodial/decentralized. Argent uses a system called Guardians, where you can pick any ethereum address to help recover your wallet. Guardians can also lock it and approve transfers over your daily limit. Now, if you lose your phone, you can recover your wallet in a couple of taps.People who claim “nothing has happened yet,” or that digital assets and blockchains only have limited use cases such as breaking laws or social contracts, only see patches of the quilt. Because of our on-demand mentality, we have lost patience. We expect things to work immediately. But this build-out is a tectonic shift, not only for those building and participating in these new applications and platforms, but for the people who will eventually use them. It takes time. Disclosure Read More The leader in blockchain news, CoinDesk is a media outlet that strives for the highest journalistic standards and abides by a strict set of editorial policies. CoinDesk is an independent operating subsidiary of Digital Currency Group, which invests in cryptocurrencies and blockchain startups.

http://m.globalone.com.np/2019/12/blockchain-projects-are-just-entering.html

#SEO #Local SEO training

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twilightpony4 · 6 years

Text

Ola Americano... Turtle?: 16. I Don’t Like This

Jet black walls were trimmed in a once hot pink color that faded with age. The business’ sign was its name in script that resembled mostly of a Barbie font. Underneath it we're rearrangeable letters that spelled out titles in Portuguese. Finding the place was not so hard, but it was a long trek since they had to find their way through the bustling night near the famous Copacabana. Fortunately, the city was very similar to New York with its architecture, thus they were able to travel the best way they knew how. By rooftop. Settled in a more quiet setting, the mutants lurked around the standoff-ish building. With no windows and no easy access to the place alone, they had to settle for the most practical yet revealing way to see through. The door. It was obvious that it was a business for numerous individuals, both rugged and groomed, came through the front doors. The only problem was that there was a good flow of people coming through. Raphael had pointed out that there was indeed a door that was hidden in the dark due to the absence of light around it.

With the ‘ok’, the red brute took out his sai from its back sheath. With its small tip, he jiggled the doorknob as silently as he could. Donatello listened in closely to hear it unlock and nodded when he got it done. With the sai replaced, Leonardo jumped in to open the door for he had a ready and steady hand. His intentions were to just crack the door open. Fortunately, there was a chain lock that only let it go so far in case they accidentally swung it open. He gave a slow sigh after the fact.

The room was dark with ominous, neon lights that lit up in particular spots. The main scheme was a luscious purple followed by some blue and red hues here and there. With the dancing music, it looked like a hangout until they saw that there was a stage to their right. It was reflective, but extremely black. Most of the lights danced around the floor of the stage. Catching glimpses of the light, some skimpily clad women danced together in rhinestones. Leo slowly closed the door up until there was a sliver of space open. As he turned his head away, his innocent eyes were wide with scarring and fear. “Angel didn’t mention this.” He gulped, still trying to get himself together as he sat down beside the door. It just caught him off guard. Raphael, curious to see what got him riled up, leaned over him to crack the door open again. This time, the rest of the mutant gang wanted to peek in as well. Immediately seeing what was going on, they, too, turned around closely and re-shut the door.

“Naw, I’m out.” Raphael shook his head and put his hands up. “Turning around.” A hand stopped him after it snagged him by the hem of his pants. “Stay here.” Leonardo commanded. Raphael scoffed in disbelief. “You’re not serious, Leo.” “I don’t like it at all, but we got to see if he’s in there.” “How?” Donatello chimed in with a shaking voice. Aw, the poor kid. “Time to test how mature you guys can really be.” He said with a newfound confidence. Opening the door some, he tried to scan the dark room. Suddenly, he shut the door. It was almost a slam, which caused the clan to retaliate back at his carelessness. He quieted them with his reasoning. Upon his face, he was severely mortified with widened eyes and a tense posture against the wall. Again? “You know, on second thought, why-don’t-you-two-scope-it-out-first.” His attention was clearly on the two mutant sisters as he spoke breathlessly. Yet another scarring on the honor turtle. “What happened to our fearless leader?” Raphael teased with laughter behind his words. The leader cleaned up his act to roll his eyes. “It’s called ‘respect’.” He snapped back, growling in between.

Pushing past them, Mona tapped them both on the head to stop their bickering. Opening the door, she watched as the boys looked away. Venus just stood by for only one really needed to monitor the scene. The lizard lady sighed out of boredom multiple times. Seeing such a display unsettled her. Ultimately, this was frowned upon where she came up from, but since she also respected that this was how these girls could make some money, she was torn. Sure, some girls enjoyed this work,but she really felt bad for those who had to come to this as a last resort. She could see it on some of the girl’s faces as their expressions gave subtle cues of discomfort. She wished she could intervene on their behalf, but now was not the time. After some minutes, the naked women disappeared and a more modest act began to unfold involving a foreign dancer in traditional cloth. “There’s nothing ‘bad’ going on. You can look.” Mona spoke deadpan to the group. Once again, a little more shyly this time, they all peeked into the room. What they saw was a lot softer. On the stage was a dark skinned, Brazilian woman with short curls. She wore a sky blue rhinestoned brazierre and a long, silky skirt. Her act was belly dancing to Middle Eastern music. The gold accents and chains clinked numerous times as he moved her hips abruptly yet flawlessly. Taking in the show directly was unbelievable. Front row, taking up three seats, were their guys. Cha Ocho, alive, was on one end while another guy sat in the middle. Who could be next to him was none other than the guy they were truly looking for. Dark skinned with a mean mug and a short haircut was the man they were looking for (all thanks to Vincent for sending in a mugshot). Upon being in the front, the dancer paid more attention to them as they sat back and smiled at her. “Yeah, I can hang out with this guy.” Michelangelo slipped out. When he did, there was already a backlash of disapproving looks. He brought his hands up in surrender, but was very calm by closing his eyes and talking smoothly. “I know, I know, ‘Don’t be an idiot’.”

“What’s the plan?” Venus whispered, pulling everybody back out except for Mikey who was too infatuated by what was going on inside. “We bust in and ask Stockman’s friend a couple questions.” Raphael proposed by cracking the knuckles in his fist. A beat down was going to feel good after they did them dirty. “Raph, we can’t go in there.” Leonardo shook his head. “Why the shell not?” Was Leo just being a hypocrite earlier to stay, or what? “Just shake up the place a little bit without anybody catching us.” “No.” He spoke low and firm. “We need more time before the police try to arrive. Its gotta be something a little more subtle than that.” “Someone’s gotta go in.” Donatello reminded. Leonardo understood, but he wasn’t sure how or whom. Meanwhile, Michelangelo was still incognito with his ogling.

“Dang, look at that girl go.” He whispered in amazement. “Mikey!” Donnie whispered harshly. Then, he grabbed him by the shell and pulled him back from the door. “No, for real, she doin’ that belly dancin’ stuff! It’s insane! How her hips do that?” He whispered that last part partially to himself. “Look!” He urged them to see as he pointed. It got the attention of the others. The only one to delay was Leo, who only rolled his eyes and groaned at his childish ways. “Mikey, we don’t wanna…” His voice trailed off just as his eyes once it hit what Michelangelo was talking about. It wasn’t so vulgar of the sorts as the woman dressed in traditionally modern dress and jived with the beat. “wow, that’s pretty cool.” He had to admit as she popped and did a well done shake down. “Her outfit isn't revealing either. She almost looks like a…” Before Michelangelo could finish that thought, his voice trailed off. As if by magic, Venus, Leo, and Donatello all had a similar idea. Slowly, their heads turned towards Mona Lisa. The lizard lady was distracted from their stares for the longest time. Raphael was the first to see what was out of the ordinary as the rest of the group looked on at her. A moment passed until she gave herself a break from the dancing woman. When she looked back, she jumped from their stares. Her hand covered her mouth as she uttered something small.

“Do you need something?” She asked, quite confused and with a raised brow. “You need to go in there, Mona. Pose yourself as a dancer to get his attention.” Leonardo asked of her. The mere thought that he would suggest such a thing surprised her. Then, by the looks on the others’ faces, they were along with it too? Are they serious? “Do I look like a stripper to you?” There was a lot of attitude in her tone. When she asked, her head bounced as she placed her hands on her rocking hip. “You will when you jump on the pole.” The lizard lady glared at the young mutant. He took a step back. “I’m just saying.” “You’ll be fine.” Leo assured. “I’m a mutant.” She fired back. “And human, and you get the upper hand over Venus since she has a shell.” He pointed out. It was true. Mona would have an easier time explaining tail than a giant shell merged to her body if the question arose. “I'm also a minor?” This time, her voice was unsure in a last ditch effort. “But not by that much.” The leader smiled shyly. He was just as unsure as she was. Typical. A sickening feeling in her stomach visited when she took another look inside. Was she really going to do something like that? Putting herself out there like that, all eyes on her, was going to definitely be out of her comfort zone. Then, what was she going to do? Just the sound of the word ‘twerk’ made her cringe and this was a field where it was highlighted. The red clad terrapin took her gently by the arm. He pulled her back away from the door and spoke for her.

“If she doesn’t want to go, she doesn’t need to go.” Raphael argued. It was then Venus had a weird feeling. It started in her face as a current of electricity tickled her nose. The female turtle flared her nostrils briefly, but when it didn’t work, she used her arm to push it down. The feeling subsided some, but it was more comfortable than before. Paying back attention, she saw Donatello reach for Mona Lisa’s hand. Gentle and caring, his pulled it out of Raphael’s grasp. Mona wasn’t the one to be grabbed on, but she was too nervous that she let it happen. Also, who could turn away from those comforting eyes that kept her still?

“Just for a couple minutes so we know where Chapelin and Stockman are.” Donatello encouraged. He gave her hand a slow shake as if it would strengthen his grasp on her. “We’re right behind you.” Then, another hand took her free one. It was Michelangelo this time. She had to admit, behind her concerns, it was pretty cute that the two youngest were trying to comfort the oldest of the group. “The world depends on this.” Venus spoke from behind Raphael. The combination of large brown and blue eyes followed by her sister’s reasoning was putting her own thoughts into overload. The lizard lady sighed, chewing on her bottom lip afterward. Mona removed her hand from the turtle boys’ grasp. “I’m going through the back.” She turned around bluntly. The lizard with a mission brushed past Raphael whose face contorted into multiple, frustrated scowls towards his team members. However, they were not concerned with him

“Whoa, wait up.” The turtle girl stopped her with a hand to her shoulder. Then, she cocked a brow and looked down on her. Mona’s eyes followed the hand that was outstretched to her. “Sports Bra.” She demanded. Repulsed by what she meant, her sister engulfed her chest in her arms defensively. “Venus!” “Hey, you have to sell it. Deception is the kunoichi’s true power, but those” The turtle girl pointed directly at her chest. “are a woman’s power.” Ugh! D**** social norms! It’ll be harder in the future, but this was a girl who couldn’t wait until a woman didn’t need to be sent out as an object for manipulation. Of course, she was trained for manipulating, but this was one aspect she liked to skip. “Fine.” When she pulled the cuff of her sleeve, the brothers looked away as she wriggled out of the tight contraption. They can tell she was really struggling with her disgruntled grunts. Or was that her being upset that she was actually doing this? “You want a world class stripper?” An unusual amount of confidence and baritone came out of the lizard lady. They were still looking away so they couldn’t see a ‘proud’ yet annoyed Mona Lisa put her arms up in a presenting fashion and walk away. “I’ll give you ‘Kinky Kunoichi’!”

Coming up beside them, the boys relaxed as Venus entered their circle. Mona had disappeared into the back. As promised, Venus looked down at her sister’s sports bra confided in her hand. She stared down on it like some type of trophy to get her sister out of her comfort zone successfully. Upon seeing it, Raphael shook his head and rocked his body. “I don’t like this.” “Just a couple minutes. Besides, Mona is a professional. She’s gonna squeeze information from that guy.” Donnie tried to make him feel somewhat better about the situation. Everyone knew Raphael was just as hard to get out of his comfort zone as the lizard lady. “Right after she gives him a lap dance.” Understandably irritated, the family’s eyes turned to glared at the unapologetic orange masked turtle. Shamelessly, his nose was back in the door and smiling at what he saw. The orange tails of his mask were abruptly pulled on. He forced himself not to utter anything as he was pulled back and up on his knees. Hovering over him, Raphael scowled sternly. “Not helping.” He whispered. Then, he dropped him, in which the bottom rim of his shell dug into his large calves. Pouting, Michelangelo muttered. “Should’ve just let me dress in drag and do the hula.” he offered. Donnie raised his brow in disapproval. “That’s an image no one deserves to see.” He commented. Michelangelo gave him a shrug. “Just trying to help.”

#tmntfanfiction #tmnt2016 #tmnt2014 #olaamericanoturtle

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