#so that way they can still portray the characters without the writers sullying the original series but rather expanding upon it | Explore Tumblr Posts and Blogs

whentheynameyoujoy · 3 years

Text

Women in SPN—Seasons 2 and 3

Previously on Joy Obsesses over a Show That Creatively Expired in 2010

Tessa

Introduced back when the Winchesters dodging the coffin actually qualified as an episode, she follows in Meg’s tracks by continuing to make monsters seem more approachable and less a malevolent force of nature. Starts off with a completely flat affect but gets annoyed with the Winchester bullshit real quick—a sure-fire sign of an SPN character with a brain. A powerful being capable of returning one’s memories by a smooch which is… convenient. As is the fact that bad guys keep using her for their ebul plans. Serves the typical secondary-character function of a springboard for a main guy’s development. Plants hints of the “natural order”, “destiny”, and “inevitability” which will become major themes down the road and be explored by characters with deeper writing.

Status: Alive as of s5

Importance: Minor, remembered primarily because she keeps popping up.

On her own: A nice addition to the lore.

Jo Harvelle

Originally Dean’s love interest until she got written out for the crime of having tits around the fandom’s husband. Driven by a wish to honor her dead father and become a hunter, she’s held back by the unfortunate fact of not being all that good at it. Cheerful, temperamental, and a pretty skilled hustler, she’s mortally wounded when charging in to protect Dean. Ends up sacrificing herself so that others can escape and attempt to end the Apocalypse.

Status: Dead as of s5, dragged back and disappeared again in s7

Importance: Major

On her own: A soldier going out in a blaze of glory. I bawl every time.

Ellen Harvelle

Unlike her daughter, very good at what she does. No-nonsense authority figure, she’s one of the few in the show to pull off a combination of a hand-wringing mama bear and a pro-active badass with a life outside her family. Not perceived as a threat because fans don’t know the meaning of MILF yet, and so is allowed to stick around for the season 2 finale. Dies to make Jo’s plan to obliterate Meg’s hellhounds work, though it’s strongly implied she mostly refuses to survive her kid.

Status: Dead

Importance: Major

On her own: SPN’s Molly Weasley, sullied by the implications of her death

Lenore

A head-strong leader of a nest of vegetarian vampires, she’s deliberately contrasted with Gordon’s Terminator schtick and to a lesser degree with Dean’s black-and-white monsters vs. humans kill-everything grief-cope in order to further cement SPN’s ongoing crusade of challenging who in fact is the monster around here. Has a crowning moment of awesome when she refuses to feed while covered in Sam’s blood. The entire point of her is her determination not to give up her humanity even when no longer human. Would be shame if the show decided to later abandon this essential part of her character and twist it for cheap drama…

Status: Alive as of s5, annihilated in every way in s6

Importance: Minor in the overall narrative, major in the episode and the boys’ development

On her own: An effective mirror to Dean’s stroll down the slippery slope

Diana Ballard

TheGoodCop manipulated by her professional and romantic partner, she has a surprisingly functional tension with Sam. Luckily for Linda Blair it goes unnoticed because the fandom doesn’t view older women as competition. Noteworthy mostly because she actively participates in uncovering the episode’s mystery which automatically elevates her above the standard clueless civilian, man or woman, who needs the duo to save them. Despite fewer appearances arguably more memorable than Henriksen, precisely because of her active involvement.

Status: Alive as of s5

Importance: Minor overall, a major player in the episode

On her own: Interesting take on the usual boilerplate cop

Ava Wilson

To present a very, very generous interpretation, she foreshadows Sam’s eventual turn to the dark side. Spirited, a little bit airheaded, and freaked about her Azazel-given powers, she gives enough of a damn to prevent her visions of people dying from coming true, though she clings to her intention to lead a normal civilian life. Does a complete switcheroo off-screen to become a villain because… power is awesome? Ends up the most advanced special child in season 2’s battle royale, the very concept of which is just… eh? Still gets dispatched no problem because… why not?

Status: Dead

Importance: Minor

On her own: A prime example of why the special children subplot is just…wot?

Molly McNamara

Memorable primarily because of the experimental (for SPN) narration which frames her as the duo’s partner when in fact she’s one of the things being hunted. For plot reasons spends her episode switching between being terrified, worried for her missing husband, and heartbroken. Can be somewhat tortuously argued to fit the theme of (not) overcoming grief and letting go, one of the few detectable threads in the directionless slog that’s season 2.

Status: Dead

Importance: Minor overall, major because she’s arguably the main character of her episode

On her own: Torture porny. Very torture porny.

Madison

Intelligent, educated, and with an endearing love of soaps, she’s responsible for one of the three watchable sex scenes in the entire show. Has a nice theme of personal growth and healing from trauma going on, although it’s cut short and undermined when she’s revealed as a werewolf and euthanized by none other than Sam himself. Her death is filmed as a narrative-changing tragedy before it goes on to become a joke in season 4.

Status: Dead

Importance: Major

On her own: No matter how you look at it, she’s a diseased dog that needs to be put down for her own good while the menz wallow in their manly manpain. A rare example of a storyline I don’t think can be tweaked to be even marginally less awful.

I believe maestro may have wanted to portray sadness here.

Tamara

Told to be an excellent hunter, she’s shown as needing to be saved in order not to end up like her husband who’s literally forced to gargle bleach. Introduces the notion of growing hostility against the Winchesters in the hunting community. Full of wrath to fit the episode’s one-off seven deadly sins schtick, she’s emphasized as emotional and not in control of herself to such a degree that it overshadows how she’s in fact fairly competent in the second half of the episode.

Status: Alive as of s5

Importance: Minor

On her own: Wouldn’t stand out this much if she weren’t one of the few POCs in the blinding whiteness that’s SPN’s Americana.

Ruby

Doesn’t have the most organic introduction (A cool intriguing sexy French fries loving not like other gurls sassy badass, with a superdooper special knife? How 2000s cringe can you get?) but quickly becomes one of the show’s most distinctive villains allies. She’s an ally. Totally. Don’t worry about it. A sarcastic smartass jerk who breathes lies and manipulation, she’s resourceful, thinks on her feet, and throws herself into the thick of action without hesitation—a trait that gets especially interesting in retrospect as it suggests a fanatic devotion to her real goal. Sadly, her motivation doesn’t get fleshed out beyond “she really likes Satan, I guess” (which, hey) as the writers prioritize the surprise of the revelation over her further character development. Has the second watchable sex scene in the entire show; the fandom weeps itself to sleep. Gets killed by her own weapon when the writers decide that a character who’s smarter than both protagonists combined could well do with a bit of the good ol’ lobotomizing.

Status: Dead

Importance: Supermegadoublemajor

On her own: The stupid nature of her demise and occasional wooden acting do their best but never overshadow the awesome that’s Ruby.

Lisa Braeden

Dean’s past fling who becomes a living symbol of his desire for the white-picket fence. Is implied to possess mad financial skills as she owns property on a yoga teacher’s salary while a single mom below the age of 30. A blank slate the likes of Cassie, she’s salvaged by better acting. Frequent frowning suggests the presence of an inner life though it doesn’t tend to manifest itself on screen or affect the plot. Her single established trait—blow-out assertiveness the moment things get too far—is exercised mostly in service to her son. Exists solely to give Dean something to pine for.

Status: Alive as of s5

Importance: Major

On her own: A tertiary character who so-so sustains her own episode.

Bela Talbot

The best expansion of the show’s lore after the host of heaven, she’s unequivocally a bad person who nevertheless evokes huge amounts of sympathy. A cynical self-serving dealer in supernatural objects who mirrors Dean’s cracking tough guy persona, due to her abuse and the resulting trauma she refuses to open up and rely on anyone out of principle, or be indebted to them. Her pride makes her clinically unable to ask for help until it’s too late, and even forego mentioning personal history when it’d actively benefit her by softening the horrible impression others have of her. Switching between being an antagonist and the duo’s reluctant ally, she manages to outwit them roughly 90% of time. The fact that she has sexual tension with Dean while Sam lusts after her to the point of literal drooling sends fans apoplectic.

Status: Dead

Importance: Major

On her own: A complex character brought down by her own flaws.

Casey

A demon, she’s torn between wanting to enact the Apocalypse and just chilling with her soulmate. Definitely a fanfic reader because her idea of dealing with danger is to shut herself with her enemy in a room and have a lengthy theological debate. Very outspoken about humanity’s propensity for evil. Outcomplexes Lilith and to a lesser extent Ruby as she’s allowed to openly address her life philosophy. While the dialogue format of her scenes is designed to give Dean space to talk about his feelings regarding his impending demise, it’s more or less an equal push-pull exchange. She’s smart, captivating, capable, and in love, i.e. things SPN just isn’t interested in keeping around.

Status: Dead

Importance: Minor in the overall narrative, major in the episode and Dean’s development

On her own: Could have been so good if allowed to stick around

Gertrude Case

A rich elderly creep whose gropy ways are played for laughs because she’s a woman I guess. Either can’t read social cues or doesn’t give a fuck about people’s obvious discomfort. But don’t worry, it’s hilarious. She’s a woman, you see. What harm have those ever done.

Status: I’m going to assume dead by now, otherwise alive as of s5

Importance: A major figure in Sam’s life since she sexually assaulted him. Otherwise minor.

On her own: Sexual harassment is fun, kids

Lucy

Take Molly McNamara, strip her of any pretence at thematic relevance, minimize her importance while playing up her suffering, and then remove her like a broken Christmas decoration while making sassy remarks—voilà, you’ve ended up with the exact simplistic image that pops into one’s head when the words Supernatural and women are mentioned in a sentence.

Status: Dead

Importance: Non-existent

On her own: Just… why

Astaroth

Approaches awesomehood as her demonic business operation is built around preying on bored suburban hausfraus and taking their souls in exchange for magical powers, which they then use to secure benign materialistic keeping-up-with-the-joneses crap and devour one another like a bunch of assholes whose death you can’t help but eagerly anticipate. Srsly, eff those ladies. Stands out as the only (implied) lesbian in the Kripke arc.

Status: Dead

Importance: Minor, not even the real monster of the week when compared to the coven

On her own: There’s probably another discussion about Doylist sexism hidden around somewhere that I’m not really interested in having. Go Astaroth.

Nancy Fitzgerald

Sugar and spice and every other cliché about kindness combined in a pretty sweet package. Plot demands her to be a virgin for some reason, even though this aspect of her character doesn’t amount to anything in the story and only serves to contrast Nancy’s… purity with Ruby who we’re being constantly told is a “slut” and a “whore” and I have no idea how that’s supposed to work. Then again, Nancy’s virginity is framed as a valid personal choice in a rather empowering moment so that’s good. Has standards because even after deciding to let go of her chastity vow, she won’t settle for just any loser who happens to stand around converting oxygen into CO2. Her “cause manpain out of nowhere”-type death is one of the few of this category in the show which actually work because the cruel pointless nature of it is precisely the point (and at least she’s not the only one who doesn’t survive, please ignore how the episode literally says her demise is the most tragic because she never got laid, barfs).

Status: Dead

Importance: Minor

On their own: A textbook definition of a cinnamon

Lilith

An overarching menace that doesn’t spend too much time on screen, she’s a prop rather than her own person. This gets highlighted the moment the show stops casting her as a clichéd creepy child who likes to larp as that Twilight Zone kid, and turns her into the standard hawt chick in a will-they-won’t-they episode. No interiority as she goes along with a plan which requires her obliteration, without at least allowing her to explore her religious motivation. Ruby does all the heavy lifting in this partnership.

Status: Dead

Importance: Major

On her own: For the life of me I can’t make sense of her actions in s4. But the clichéd creepy kid is adorbs so points for memorability.

Maggie Zeddmore

The straight man to the Ghostfacers’ utterly delightful douchefacery. Manages to keep up with Harry and Ed in terms of hilarity because not only is she exactly as out of place as them, she decides to role-play her childhood-friends-to-lovers fanfic in the middle of a haunted house as the best sister that she is.

Status: Alive as of s5

Importance: Minor

On her own: Love at first geek

Next, season 4 and 5 before I try to figure out what this all adds up to.

#spn #spn critical #supernatural #supernatural critical #sexist writing #tessa #jo harvelle #ellen harvelle #madison #ruby #bela talbot #lisa braeden #nancy fitzgerald #lilith

10 notes · View notes

vincent-marie · 5 years

Text

The Oft Overlooked A BUG’S LIFE

A BUG’S LIFE…

What can I really say about this movie that other animation fans on the internet haven’t already? It was critically dubbed Pixar’s most mediocre film before the horror that is the CARS franchise.

I was about nine years old when this film came out, and I really liked it then. Honestly, I still kind of do, but admittedly some of it is nostalgia on my part and I’m well aware that it could have been better.

Like I said, this film has been talked about by other online critics about how it is okay, at best. That it was just the Pixar placeholder in between the first two TOY STORY movies. However for the purposes of this article I would actually like to highlight some of the good things about this movie, or at least my reasoning for why I still have a fondness for it.

Now before I continue I do feel like I should address two big elephants in the room: Namely, John Lasseter and Kevin Spacey. Knowing what we know now about them, if you can’t watch this movie without feeling uncomfortable, I totally understand. I’ll admit it makes me a wee bit uncomfortable to watch the film now, and more so the behind-the-scenes featurette on the DVD. (Wish I could blur their ugly faces when they’re being interviewed…)

However my opinions of this film on its own have nothing to do with them or whatever they contributed to the film, so they are irrelevant to what I have to say here. As far as I’m concerned if they hadn’t been involved in the film someone else would have taken their place, and those other people would have done just as good a job, if not better. Not to mention they would have been able to do it without being complete and utter creeps. To conclude, Lasseter can go suck a jellyfish and I hope Spacey rots in hell.

I’m going to primarily talk about the things I like about this movie, both then and now. But before I get to that I’m going to talk about why I agree with most critics who consider this one of Pixar’s lesser films.

A big problem with the movie is primarily the story and characters being a bit weak.

Part of that problem is the story’s initial structure. It’s clearly a retelling of Akira Kurosawa’s SEVEN SAMURAI; village is being attacked by thugs, one villager leaves to get help in the form of warriors, villager brings back help, and they successfully fight off the invaders.

Probably the biggest difference in story is SAMURAI ended on a bittersweet note due to casualties among the samurai themselves, whereas BUG’S LIFE didn’t have any real casualties on the heroes’ side. That said, though, it’s funny that the ants seemed so damn certain there would be.

Initially modeling an original story off of a classic isn’t a bad thing in of itself. Back when I was in college it was something a lot of my writing and animation professors encouraged: learn from the classics. Not just film, but also literature and mythology.

The thing is SEVEN SAMURAI as a film was three to four hours long. It had time to accommodate for its fairly large cast, while still keeping its focus on a select few.

BUG’S LIFE, however, was only maybe an hour and fifteen minutes long. The writers probably could have stood to trim down some of the Bug Circus and take time to polish the story rather than try to give EVERYBODY an opportunity to have a funny line.

Having a couple ensembles in place isn’t a bad thing. They had that in TOY STORY with Andy’s toys, the Little Green Men in the claw machine, and the mutant toys. The groups, however, were smaller in that movie, and in the case of the Mutant Toys they had no speaking lines and had to convey everything with silent acting.

However something that’s been pointed out is that with Pixar films there was always a real progression in technical quality. That with each movie they got better and better with the tool of their trade that was CG animation.

Let’s look back at TOY STORY. The reason they made the characters plastic toys was because that’s just what their character models at the time always looked like. It would be a long way before they could even consider rendering complex fur textures for MONSTERS INC., and more complex still Merida’s tangled head of hair in BRAVE. It’s why the human characters in TOY STORY also look a bit weird and plasticky by today’s standards.

With TOY STORY they accomplished lively character animation in 3D. With TOY STORY 2 they managed to make better looking, less stiff human models like Al of Al’s Toy Barn, and slightly nicer fur textures on Buster the dog. MONSTERS, INC. had the aforementioned complex fur textures for Sully and some pretty decent early snow effects.

So what did BUG’S LIFE accomplish on a technical level?

Two words: textures, and lighting.

The last time I watched BUG’S LIFE I was absolutely FLOORED by how beautiful the set pieces were.

Take this scene of Flik giving Dot a pep-talk.

All that detailing in the blades of grass in the background, the pebbles on the ground, the textures on the pebbles, the textures on Flik’s contraption, and even the textures on the characters. It blows my mind trying to imagine how long it took to create those models, differentiate between the more see-through nature of the grass blades and the opacity of everything else, and arrange them in a way that makes for a convincing bug’s eye view of a patch of grass.

Then there’s the scene of the grasshoppers breaking into the anthill.

TOY STORY had some decent lighting that helped establish the needed atmosphere, but I don’t recall it being nearly this crisp.

Once again, there’s the textures on the objects and characters. As a kid, while I was aware the film was CG animated, I found myself speculating if the grasshoppers’ muzzles were made of foam rubber.

These were all things I took for granted as a kid, because I did not yet have the experience to know just how much work and skill it takes to make 3D animation.

This is a still from a minute-long film I made in a 3D computer animation class. I was given maybe only a couple months to make it. That included having to navigate my way through these complex computer programs I was completely unfamiliar with, and technical difficulties like the textures not grafting onto the models right. Let me tell you, it was a pain in the ass.

I look at the backdrops for BUG’S LIFE and I’m left to ask: “How many computers CRASHED trying to render all that?” Because, believe me, that happens. A lot.

Also, here’s the thing. When technical elements of a film are done well, such as lighting or camera focus, the audience LITERALLY doesn’t notice it. They’re too swept up in the story because the visual storytelling keeps up the illusion for them. The audience only notices important technical details like this when they’re done BADLY, hence a lot of people outside the film industry really take for granted just how much work and skill is taken into making a film that looks good.

(It’s why I think everyone should watch FOOD FIGHT at least once in their lives, especially animation fans.)

Okay, while it is inevitable that I would bring up Dreamworks’ ANTZ, I’m not going to talk too much about it. (It’s like the Cola Wars; everyone inevitably picks a side.) All I’ll say for now is I’ve always preferred BUG’S LIFE because it’s nicer-looking design-wise and its content and execution is more family-appropriate. (Also, in 1998 we didn’t know at the time Kevin Spacey was a creep, but everyone and their DOG knew Woody Allen was. Nice job, Dreamworks!)

It’s been pointed out that there’s a distinct casting difference between ANTZ and BUG’S LIFE. ANTZ had a cast of recognizable movie actors, while BUG’S LIFE had a cast of recognizable television actors.

For BUG’S LIFE that’s not necessarily a bad thing. One of the things that bothers me about celeb casting in animated movies is that oftentimes it feels like a flimsy attempt at star-power when said stars don’t have the power to elevate the characters. Actors who might be good front of a camera but bring nothing to a recording booth.

However for the most part Pixar has been really good at casting well-known actors who actually fit their characters and add some personality to them. BUG’S LIFE was no exception.

In fact, quite a few of them had loaned their voices to animation before this film, and some damn good performances too.

And I can name at least one BUG’S LIFE alum who graduated from funny performance to heartfelt performance with Pixar…

(… I’m not crying! YOU’RE crying!)

But I digress. I consider the casting for this movie pretty solid. (With the obvious exception of Kevin Spacey.)

What’s more, growing up I remember a lot of the TV spots for Pixar films usually down-played the celeb cast and let the product speak for itself. The celeb casting was less of a selling point for the films and more like a fun little Easter egg for the parents who had to take their kids to the theater.

Earlier I stated that the story and characters in BUG’S LIFE are a bit weak, and I stand by that. However there are a couple characters I’d like to highlight here as I’ve always found them interesting and memorable in their own ways.

First, let me talk about Hopper for a minute.

(I’ve already stated that Kevin Spacey can rot in hell, so there will be no more of that.)

I’ve heard criticism about Hopper as a character that he was a very bland, one-dimensional villain. To be fair, they’re not wrong.

But the thing I always liked about Hopper is that his one and only goal is to hold dominion over the ant colony. To keep them under his foot, both literally and figuratively, and he wasn’t afraid to use deadly force to do that. He was willing to kill a few of his own goons just to illustrate a point. That’s how threatening he was.

In a lot of children’s media I had seen up to that point, there were several bully characters that were often portrayed as the bigger kids who would demand your lunch money. They were usually ineffectual doofuses like Bulk and Skull from POWER RANGERS, or kids with serious insecurities like Binky Barnes from ARTHUR. While not the first of his kind, Hopper was one of the first characters I had ever encountered as being a prime illustration of not just a bully, but one who had the makings of a dictator.

With his rather one-note motivation, I can see why audiences found him bland, but given his violent means of staying in power, I’m glad they didn’t try to make him “complex” or give him any sympathetic character traits.

Frankly, we live in an age where horrible people are romanticized in the media as being “misunderstood”. I feel like, unlike those media outlets or the upcoming JOKER movie, BUG’S LIFE gets it. They don’t deserve to be portrayed with humanity. These people are monsters. Nothing more.

Maybe if Pixar hadn’t felt the need to rush the production maybe Hopper is one of many characters that could have been polished up a bit in the writing process. Give him some more distinct, memorable traits as a character. Maybe hints at a backstory of Hopper having a long-standing history of using and abusing others, and always getting away with it.

(When I put it that way, we can just say Hopper is the John Lasseter Story. Just draw a pair of glasses and a tacky shirt on the guy and it’s a spitting image.)

The other thing I’ve always liked about this movie was the portrayal of Princess Atta.

Besides being the first Pixar Princess, I always liked how, unlike the Disney Princess pantheon up to date in the late 90s, Atta actually had a bit of a character arc related to the fact that… well, she’s royalty! She’s going to have to take over the colony eventually as queen.

We see this from the beginning as she’s overseeing the harvest and going into a panic when things go even slightly wrong. Also, I find it interesting that it’s a guy that screws everything up when Flik accidentally destroys the food offering, yet she’s the one who gets blamed for it. (Ironic commentary coming from the studio led by an egotistic creep who wouldn’t let women in on meetings.)

But what I loved about her as a kid was that her personality and approach to things was a lot more real and down-to-earth than your average glamorous Disney Princess. She felt less like fairy tale royalty and more like a woman up for promotion at a big company. From a pragmatic standpoint that can be just as scary, stressful and daunting.

(It also feels appropriate in hindsight considering her voice actress Julia Louis-Dreyfus would later star on VEEP…)

My friend @baxterfilms and I have had a lot of discussions about this movie, and we agreed that Atta should have been the protagonist. She actually has a character arc of her own of being unsure of herself at the start of the film, taking charge in the second act, and eventually standing up to Hopper in the third.

Remove Flik entirely, and have her go on a journey to find reinforcements against the grasshoppers. Have her realize that Hopper’s demands are impossible, she’s sick of having to adhere to him, and have her sneak out to get help. When she finds out she literally brought home a bunch of clowns, she understandably freaks out. She has to figure out a resolution because there is a lot of pressure on her to make things right and free the colony from bondage.

Strangely enough, with that version of the story you could still probably have all the indulgent fun of the celebrity cast. It’s just the very core of the film’s story needed some serious tightening up, and maybe Dave Foley as Flik would have fared better as a comic relief sidekick.

With all that said, I thank you for taking the time to read this. I really do think that this film is highly under-appreciated in the animation community. There might have been trouble in the writing room, but the technical achievements in this film were still there and helped Pixar hone their craft into making their animated features as stunning as they are heartwarming.

I have to say, though, I find it funny that there’s almost a pattern to these insect-driven animated movies. Going all the way back to MR. BUG GOES TO TOWN, they usually have rather weak leading characters, and the supporting cast winds up leaving more of an impression.

Weird, huh?

#a bug's life #pixar #animation #review

10 notes · View notes

waddlesdpig · 5 years

Text

TOP COMICBOOK WRITERS OF 2018

The following is a quick write up about my personal favorite writers for 2018, spoilers and bad jokes ahead.

Wow, will you, wow, just look at, wow all that time wow. 2018 came and went like my dad after McDonald’s McRib was back in season! Tragic loss of delicious parents aside, we can’t look ahead to the new year without reviewing what the things that came before!

In this case the Top Comicbook Writers of 2018. I mean you knew this was coming, you read the title. Y-You can read the title right? Oh god all those people with Can’t-Readitis are going to be so lost!

2018 was crazy, but for comic books it was like a good crazy. Kinda like when you eat at a Chinese restaurant and find out they sell pizza, but like actual pizza. And not just in the movies, with Marvel and DC digging deep to revitalize and strengthen their IP’s, we got some of the best comics from the big two in a long while. At the center of this movement has been fresh and exciting writers taking these titles in new directions. So now being the leading authority in basement dwelling blogging hogs, i felt the need to highlight some of my favorite Comic book writers of 2018. First examining those wonderful folks at Marvel Comics.

(Side note, not only am i the world’s greatest blogging hog, i am also a huge flithy casual of the highest order and as such any of my lists for 2018 will not include any indie titles even though there be a great many fantastic non-big two comics.)

MARVEL

DONNY CATES

Whoo boy, i don’t think it’d be a exaggeration to say that Hank Hill’s next door neighbor has had a stellar year comics-wise. Coming out early in the year with the stellar “ Thanos wins” story arc that pushed the big man Grimace himself into new territory in fantastic fashion. Something that would only carry forward with his brand new OC introduced in the run, that being “ Cosmic Ghost Rider.” Which is like the regular Ghost Rider but in SPAAAAAACEEE! Suffice to say he’s a very cool character, with his spin-off title living up to the hype.

These two runs in themselves would be deserved feathers in anyones cap, however with the Marvel Fresh Start initiative, Cates provided what is the crowning achievement of his work this year. This being Venom. Without a doubt since he and superstar artist Ryan Stegman have taken over, the title has become one of the most entertaining books Marvel has been pushing out.

Cates has done a wonderful job of balancing the tone, knowing when to lean into the edge associated with the character and but also not depraving the title of brevity or more light hearted moments. This coupled with the epic reimagining of key aspects of Venom’s backstory and building to climatic moments that i hate are going to be sullied in the next Venom movie ( Dem Chinese audiences enjoying something that mildly annoys me ;-;).

In Venom however we find more than big action, grand stakes, and epic concepts, as Cates has made it a point to consider introspectively Venom and it’s host relationship with each other. At some points wholesome, at others disturbing, but always engaging and because of that it has propelled Venom to a title worthy of standing alone from it’s Spider-Man origins.

CHIP ZDARSKY

I love Spider-Man, you probably love the fashion model dating luckless webhead yourself in one way or another. Whether it’s the original Lee/Ditko comics, the 1980’s animated show, MCU movies, or this guy, one way or another Spidey has found a way to web himself into the hearts of generations of people all over the world. So i can almost guarantee you love Chip Zdarsky and you didn’t even know it. (Think about all those valentines you missed out on sending to the man!)

Chip’s run on Peter Parker: The Spectacular Spider-Man didn’t start in 2018, but it ended this year so i’m still counting it. While the first few issues were enjoyable in their own right, for me it wasn’t until Spectacular Spider-Man 6 ( #296 legacy number because Marvel never learned counting in pre-school) that things really started kicking into gear. As readers we are well aquatinted with the quipping more ridiculous side of the menace, but from issue 6 onward Chip makes it his focus to remind us that the Man matters just as much as the Spider.

He portrays Spider-Man as he should be, the everyman hero that anyone can look up too. You still got your jokes and your villains and your good times, but more than ever Chip’s Peter is willing to lift the mask and show that he just that, a man. So many times throughout the title we find Peter allowing himself to be vulnerable, not just to friends and comrades but to those who have sought his end so many times. Giving us a Peter who is a hero, not just through his heroics, but also because he is willing to look for the good in others and not afraid to empathize with those around him. And in that way Chip has given us, in many respects, the Spider-Man we’ve always known and love. And for that he has my thanks.

In addition to what will probably become a fan favorite take on Spider-Man which already warrants use of the “ Spectacular” adjective, Chip also helped bring the Fantastic Four ( or at least The Terrific Two) back into the spotlight with Marvel’s Two-in-One. ( A title name which might excite and immediately disappoint fans of Chip’s earlier work at Image.)

Marvel Two-in-One focuses on the two remaining members of the splintered Fantastic Four, primarily how the main duo deal with assumably losing the rest of their family and just how far both are willing to go to regain them. In this book particularly i feel Chip did a magnificent job exploring the character drama, you can really feel the longing and grief that these two are experiencing, but at the same time manages to balance this with fun reality jumping shenanigans that never overstay they’re welcome. All in all another incredible title that made 2018 an absolutely amazing year for Chip, with 2019 looking to be a another stellar year for him. ( Can’t wait for his run on Red Batman!)

Side note it should be no surprise that my top two Marvel writers for the year had a part in this hot spider on spider strip here.

AL EWING

BOO! Scared you? Probably not ( scary amount of cringe if anything ). Now if you want some real spookums Al Ewing is just the guy for you as 2018 saw the release of The Immortal Hulk, one of if not arguably the best comic of the last year.

The Hulk has always been a mixed bag for me, i love the premise of the character: Quiet on the streets, radioactive green giant in the sheets. There’s an inherit struggle that can make for some compelling story opportunities in the right hands. But that’s just the thin, for me personally i hadn’t read anything that spoke to that idea i have for the character. Don’t get me wrong in the 57 years of the characters existence there have been some pretty good Hulk stories. ( Some of which i’m still getting around to reading)

But none have appealed to me quite like Al Ewing and Joe Benett’s run on the title. The two masterfully has given this tale a fresh start by ironically taking the character back to his roots in the horror genre. The creative duo manage to achieve this through turning Hulk from misunderstood hero to essentially a wandering monster bent on exacting his own sense of justice on the scum of the world. This change in the status quo is excellently executed effectively through the artwork. No longer standing proud in defiance of those who would doubt him for the hero he is, Joe Benett pencils depict the hulking giant now as a grotesque monster lurking in the shadows ready for his next victim.

This would all be for nothing if not for the strong voice Al Ewing has for this title. The Immortal green bean is not scary only because he can snap you in half like a brittle wishbone, but because he instills fear with the scariest thing known to man.. emotional insecurities. (That’s right folks we got a bitter beefed up Dr.Phil serving justice up like it’s a buffet.) Not content to beat you dead, Hulk now tortures those unlucky enough to be his targets by holding up a mirror to the horrors that haunt them. This applies to more than those Hulk seeks to punish, the real genius of The Immortal Hulk isn’t that he is the thing keeping scum up at night, no it’s that he is the never ending nightmare of Bruce Banner. Throughout the run Hulk haunts Banner in showing that they’re only two half’s of the same coin. Leaving Banner and the reader with eerie thoughts that linger on whether the mad beast is right all along.

This is all too say that The Immortal Hulk is pretty dang good, your probably reading it already, if not you should probably read it. ( You know as long as you don’t have can’t-readitis) And if issue 11 is anything to go by 2019 is looking horribly wonderful for Al Ewing and the jolly green giant.

And that’s it, my top three Marvel writers for 2018. In all honesty last year was crazy for Marvel, i’m leaving out so many amazing people making their mark in the comics industry and all things considering here’s hoping we’re in store for even greater things in 2019.

#marvel #comic books #spiderman #venom #immortal hulk #shill_ler's list #McRibs are McMurder

0 notes

clockworksampi · 7 years

Text

‘Squeeze’ Commentary

Longer works always present a problem for me, which is why I so seldom write them. They exist in a separate formula entirely from the academic technicalities of one-shots, and it’s a formula I have zero insight on how to balance. Therefore, I took a lot of time and asked more people than usual to pre-read this to make sure I perform to the extent of my abilities. Theme and pacing are the two things I’m the worst at. The only thing I ever set out to do is write some gags and make some people laugh. Every time I consciously attempt to write something with a theme, it just looks preachy. Whenever I attempt pacing, it all seems slow and uninteresting. And I don’t know if the characters I write can sustain attention for longer than ten minutes. I still try, because the art of storytelling is one that is truly wonderful when done correctly. Even if I’m a long way off from doing that. I don’t want to be the pontifical asshat edifying the blithering masses because I’m so much worldlier than everyone else on this ball of mud floating in space (which is aggressively untrue), but theme and revelation are vital aspects of storytelling. Every story, even Touhou fan-fiction, needs emotional and intellectual engagement to be great. I tried to make the theme a pretty simple and transparent one. In the immortal words of the venerable Mitch Hedberg: “I’m not a fuckin’ genius for christsakes, y’know, fuckin’, just tryin’ to tell some jokes. Shit! Who the fuck are you!?” I try to live my life by that shining ethos.

The ending fight scene with Mokou and Flandre was originally very, very different, in the sense that it didn’t exist and involved pocket dimension snowmen. It was changed several times to arrive at what it currently is. Not even joking. You can figure out for yourselves how the narrative arrived at that. I’m not sure myself. A shame, considering the original draft was rather well-written; too bad it made absolutely no sense whatsoever.

Fun Fact: Remilia calls Yorihime ‘Yo-yohime’ because I, me the writer, actually forgot what Yorihime’s name was.

This work marks the first thing I’ve done where characters are actually in a relationship. I usually don’t like shipping, for the sole reason that very little of ships across the Internet are predicated upon the canon of the primary source. Although I will admit I am not without my predilections, hence why Hecatia and Junko are implied to have crushes on each other in Judgement Call. As far as I’m concerned, the only pairing in the Touhou Project that could be construed as canon is Miko and Tojiko, as they are based on two real life people who were real life married. Mokou and Keine are a thing in this because Mokou having a strong relationship with a human (well, sorta human) is an important motivation point. I pray you can forgive me for shipping.

Of course, here am I acting all high and mighty about canon with all the liberties I took with the characters’ powers. If there’s one thing I learned from super hero comics, bending the rules and giving people power they should not have either goes over mediocre, or disastrous with little middle ground. Since progression and iteration, and the benefits and dangers that go along with them were some of the major themes of the story, I felt compelled to give the characters a little more. I did try to connect the more outlandish of things to official sources, or give them what I thought to be appropriate buildup. These things need to be sold, and I hope I sold them well enough. But maybe I’m wrong on that, and I will capitulate fully to anyone disagrees. I know Touhou canon is held extremely sacredly in fan works.

That was sarcasm, but this is one thing I do want feedback on. Let’s get into some of the more interesting choices I made for the characters.

Can Flandre destroy abstract concepts? Probably not, but I went with ‘she can, but hasn’t figured out how.’ And I’m pretty sure I misinterpreted how the whole ‘Eye’ thing works. I did make Eyes of abstract concepts fundamentally different than Eyes of physical things, because they are different, and they should be different to destroy.

I agonized over giving Remilia a resistance to rain, but I hope I sold it well enough. She has shown several times in canon that she has an aversion to it, as a vampire should, and is something cataclysmic to Flandre in the work. By all accounts, this resistance should not exist, and I will admit that. However, Remilia has also shown that she has been building up a tolerance to sunlight and claims that her body is not weak. I don’t think it’s so far-fetched to assume that she is not entirely powerless to water.

Remilia Scarlet is my favorite character, hands down, in all of Touhou. I therefore had to make doubly sure she was not given much in the way of favor. Which was a little difficult because in this work she played a puppet master, exposition style character who set up the plot of the story and, as a result, knew everything that was going to happen because of her broken-tier power. She seemed built for the role. I really don’t think I succeeded in pulling her out of the spotlight as much as I wished. Lessons for next time. I based her part largely on Archchancellor Mustrum Ridcully and Lord Vetinari from the Discworld series, as the one who commands sensibility with an iron first, can be bullheaded at times and embodies the central theme of whatever story, with Sakuya being the Ponder. I’ll be honest, I don’t think I pulled the archetype off as well as the late Sir Pratchett. Here, I would probably make a joke about how his legacy living on in a fan-fiction of a bullet hell video game with an entire cast of little girls is exactly how Sir Pratchett would have wanted it, but I respect the man too much to sully his name like that.

I think Keine got the short end of the characterization stick. She really doesn’t feel like much of a character me, more than she is a vessel to push the plot forward and exist. She’s somewhat stiff. She has a few jokes, but they’re few and far between. I don’t think I did a good job with Keine.

I am likewise unsatisfied with how I portrayed Sakuya. She comes off as a little too serious, I think. But at the same time, she was understandably frustrated with serving Cirno.

Speaking of Sakuya, I’ve always been a fan of the theory that she started as a vampire hunter who Remilia defeated. It strikes me as a very Remilia thing to hire the people who tried to kill you because it makes your life interesting. Have you ever noticed how Remilia’s two greatest defenders command silver knives and the rain? Makes me wonder if Meiling didn’t try to take a crack at Remilia back in the day.

Also speaking of fan theories, I rather like the idea of Mokou smoking (don’t smoke, kids, it’ll kill you). But I even more like the idea of hand-rolled cigarette over ones from the pack; rolling your own just has a certain class to it I can’t help but admire.

Why can Meiling make rain? Isn’t her ability controlling qi? Yes, it is. However, she is also (according to the interpretation I chose for her) a rainbow dragon. Rainbow dragons can probably control the rain, right? Flandre has the ability to destroy anything, but she is still a vampire, with all the strengths and weaknesses that comes with. Besides, don’t Meiling’s danmaku patterns revolve around plants, rainbows or rain? It seemed like a logical thing.

I don’t know what Cirno’s accent is. This is why it changes every ten seconds.

There are five things I specifically want critiques on: Did I go too far with artistic liberties? How was the pacing? How was the theming? Were the characters interesting throughout? What was your favorite pun? My favorite pun? Definitely a toss-up between vampires not being predisposed to reflection and Mokou solving the Incident before it got into later stages. Equivoques galore! I especially like the second one because it’s very Touhou specific. Which one was your favorite?

Also my first time doing a multi-chaptered thing. Hopefully I got the formatting down on the first go.

#fan fiction #commentary #touhou

3 notes · View notes