clash of the villains

7

‘Thor: Ragnarok’ Gets the Lego Set Treatment

Photos courtesy of LEGO

It’s Hulk vs. the God of Thunder when these toys clash.

Thor: Ragnarok may be five months away, but it’s never too early to begin thinking brick-building Thor.

Or so Marvel and Lego think.

The companies on Wednesday are unveiling two new sets that are connected to the movie, which opens Nov. 3 and promises a battle between the God of Thunder (Chris Hemsworth) and the incredible Hulk (Mark Ruffalo) before averting the destruction of the universe.

The first set is titled Ultimate Battle of Asgard and features Thor, Bruce Banner and Valkyrie taking on the villainous Hela, two Berserkers and a Fenris Wolf, the latter which you get to build yourself. The good guys fly the Commodore spaceship that features an opening minifigure cockpit, two dual stud shooters, opening storage compartment and a minifigure-drop function.

Among the highlights for those with an eye for detail: Thor has a new-for-June-2017 helmet and the Fenris Wolf has glow-in-the-dark eye elements.

All six minifigures are new for June 2017 and the Banner minifig has two faces, one of them being his angry transitional state.

The set won’t be available in the United States until Aug. 1 although the rest of the world will be able to begin building June 1 (what’s up with that?). It will retail for $49.99.

The second set is Thor vs Hulk: Arena Clash that features not only the aforementioned characters but also villains Loki and Grandmaster and a Sakaarian Guard.

The arena features a sliding gate, interchangeable wall sections, opening wall section with secret weapons rack (with spear, axe and sword), opening prison cell, two topple-function pillars with translucent floodlight-style elements, smash-function wall, plus a throne for Grandmaster and seat for Loki, each with knock-over function.

The set will go for $59.99 when it is released in the U.S. in August.

Finally able to sit down and babble about the newest chapter, because, guys, this was such a different chapter! We got to see a clash between Shigaraki’s villains and the new guy Overhaul, and the chapter ended on a short moment with All Might…

… but honestly, I don’t even want to talk about that. It’s awesome, it’s great, I can’t wait to see more, but here, I want to talk about this lady here:

Look at this cute, easily excited guy! A real nerd at heart, obviously, and I laughed out loud when I saw this panel. Dark villain-meeting or not – she’s more excited about the prospect of meeting a real yakuza.

I have to confess, I almost forgot that this fangirl is part of the league of villains. I remember her vaguely from the trainings camp, but not more. She’s Magne, or Hikishi Kenji if you want to know her real name, and she gets a few panels this chapter.

See this here? Nothing fangirl-ish here, huh? From what I’ve seen this chapter, Magne seems to be slightly cute and dorky when it comes to things that she likes – why does this remind me of Izuku a bit – but as soon as it gets serious, she has his head back in the game. She is ready to fight that yakuza, be it for Shigaraki as a boss she is loyal to or because she sees her dream getting endangered. Because her dream, guys, her dream – let me just say, this pulled at my heart strings when I saw it:

This is a friend of Kenji. We don’t know her name, and she describes her as shy and timid – and the first thing I thought was: “Is this Tiger from the Pussy Cats?”

But nope, it’s not. It’s not Tiger, but still, it seems as if Magne’s friend is a transgender woman – and honestly, suddenly I wish Magne and Tiger would have had met under different circumstances, with the possibility to talk and get to know each other. Because look at what Magne’s reason for becoming a villain is:

Magne wants to be free of chains. Possibly, most likely, the chains society gives people. And with the fact that one of her good friends (a friend that stays her friend even though she is a wanted criminal) seems to be transgender, I dare believe that Magne means the chain society puts not only on her, but on people who are different – different gender, different sexuality – simply people that are viewed as “not normal” by some dumb people in society.

That’s a big deal, at least for me. A very big deal. Because – what is wrong with that goal?

Exactly. Nothing. Everyone should be free of chains, should have the chance to be who they really are, and there is nothing wrong about that.

Magne’s whole reason to become a villain is because she wanted to give people freedom, and because she couldn’t think of a legal way to achieve that goal, she is ready to fight the whole hero society.

Don’t get me wrong, everyone. Her being a criminal, attacking people, attacking even the students of U.A., is far from okay. And if I remember correctly, she even committed murder before joining the league of villains. That is not okay, and her goal doesn’t make any of that better.

But her deeper wish for freedom – I think there is really nothing wrong about that. Especially not if that wish was born because Magne wished for equality for everyone.

And just when I am this close to melting and basically adopted this lady (never mind the murder part), this happens:

Like… Horikoshi, why do you make me love this character in a few panels when you kill her off right after that? Why? My heart is fragile, you know, it doesn’t handle such pain that well!

Basically, I find a new good character, and she dies right after.

Karma? Perhaps.

Anyway, I now dearly wish for Tiger to find out about Magne’s death and that Magne’s friend and Tiger somehow meet. Not only did the two – Magne and Tiger, I mean – fight each other, and, if I remember correctly, Magne even tried to do some Small Talk during that fight, but also I just… I just want there to be someone who comforts Magne’s friend when she hears about his death. Someone who will protect her in Magne’s stead, you know? I really hope for that.

At least give me that, Horikoshi, after you just broke my heart.

King of the Lost Boys - Anthony Ramos x Reader (Chapter 3)

Summary: There are some new encounters with the other members of the Lost Boys, as well as an introduction to the local villainous gang. Noses are broken. 

Warnings: Quite a bit of swearing, blood and bruising mention. 

Words: 7,176 (can you tell that i’ve just stopped trying)

A/N: It’s really late where I am but I’m so excited for this?? What the heck. Anyway, just a little reminder that @alexanderhamllton and I have made matching aesthetics and playlists for the Lost Boys…coming soon to a tumblr near you…anyway, enjoy. Tags: @daveedsbra @myself-and-the-madman @clamilton @robotic-space @attackonmikaelson @pearltheartist @itsjaynebird

askbox | masterlist


The Pirates were a venomous crew of reptilian proportions, who didn’t play by the rules. They were of the privileged class, people who didn’t bother to think about their repercussions or the damage caused. Boredom is their motivation. Lives where everything is given to you, where money is not an issue, are lives that are awfully mundane. With a craving for possibility and the fire of resources at their fingertips, the Pirates seem to think themselves wonderfully immortal. They are the good ones gone wrong, a budding flower bitten at the stem by a poison with no antidote. In their blind want for something of substance, they chose to take as a method of getting what they want, but do not need. The local gas station cowers after a history of hold-ups. The department stores have lists of clients who are not allowed in; the Pirates are at the top.

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BROKEN TELEPHONE

TODODEKU WEEK: DAY 4

LOYALTY

“I tried my hardest. I don’t know what else to do.” -The Darjeeling Limited (2007), Dir. Wes Anderson

AO3


It’s a beautiful day.

In the middle of spring, Shouto would have expected for there to be large heaps of rainfall, equally dreary clouds, humid air and sticky gusts of wind. There should have at least been a light drizzle.

But it’s sunny today, blindingly bright—it resembles Izuku’s smiles.

The pretty rays and brilliant blue sky distracts Shouto from the pointed metal beam sticking out of his gut, the sharp copper scent of his own blood, and the pool of red seeping through his clothing and sinking into the earth beneath him.

Shouto is dying, but, it’s at least a nice day.

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Writing Prompt

Rusame Superhero!au

An au in which Ivan is a superhero of a city, can be one of a few heroes like Avengers or a solo rider, with a power kinda like that of Thor, where he can control blizzards and storms with his pipe (or something like that). Alfred is also a person with superpowers. However, he is more of an anti-villain/mercenary like Harley Quinn or Deadshot, who really uses his powers for himself or not at all. Alfred can walk in and out of the shadows and can use them to walk through walls, climb/jump from buildings, and even fight others will his shadow as a partner. 

Ivan and Alfred are dating though neither of them knows who the other is(they have even had a few clashes as hero/villain). One day, Ivan’s arch nemesis kidnaps Alfred, in what they expect to be a stereotypical stealing of the hero’s love interest. 

But, as soon as Ivan gets there to save his love, Alfred shocks him by revealing his own powers and they both end up fighting whoever.


alternatively Alfred runs off out of anger/shame/fear of rejection and Ivan spends days looking for him

Thought that just came to me – do you think that there will come a moment where Toshinori has to make a decision between Shigaraki and Izuku?

Think about it, please:

When Toshinori heard that Shigaraki is Nana’s grandson, her family, and that he had hurt him in a fight, he was completely devastated. Even though – or perhaps because – Nana’s family was a villain who had tried to kill his students, kill him, Toshinori felt hurt and guilty and all in all absolutely terrible about it. And afterwards, Gran Torino and Naomasa basically had to talk him out of trying to go look for Shigaraki on his own accord.

Honestly, Toshinori would have endangered himself by going to look for someone who wants to murder him just because that young man is all that is left of Nana’s family. Toshinori would basically give up his own life if it means he can keep Nana’s family save, even though he didn’t even know Shigaraki before, and – I can’t say it often enough – even though Shigaraki would murder him on sight.

And then, there is Izuku, who shares no closer bonds or relationships with neither Toshinori nor Nana. A boy he met completely by accident, but who made such a strong impression on him that he made him his successor on the exact same day not even overthinking his decision or something. Toshinori was so convinced of Izuku’s spirit that he gave him a power he had carried like a treasure for years, after he had been looking for a successor for a long time and had rejected all of the possible candidates. Izuku, however, had nothing promising – no physical strength, no quirk, no relations to any great heroes – he just had the heart of a hero, and for Toshinori, that was all that counted.

And since then, Toshinori and Izuku have saved and helped each other countless times and grew closer and closer together. They have a – rather short, perhaps – history together, and a bond that only grows stronger over time.

Now, the story is set up that Izuku and Shigaraki will undoubtedly clash one day, as hero and villain. And I wonder – will that be the moment where Toshinori will have to decide who is more important to him? Who he would rather save and protect?

That would mean that Toshinori, at one point, would have to decide if he would rather save Nana’s family – his beloved mentor’s family – or if he would rather save his young successor, who has grown so much on him.

Let’s be honest – that would be one harsh decision for poor Toshinori…

inhiding320  asked:

I think "badass" characters tend to be typed ISTP much as villains tend to be typed as INTJ and there's a bias towards feelers as being not as tough or formidable as thinkers. Have you noticed any characters seemingly mistyped as ISTP or another type of thinker for similiar reasons?

I almost typed Perseus from Wrath of the Titans ISTP, and then I watched Clash of the Titans, where his Fi is on prominent display.

I mistyped the villain in season two of The Musketeers ISTP when he’s an ISFP (I mistook his detachment for Ti/Fe but in reality he’s got no rational / Ti-driven reason for his evil). (Haven’t gotten around to retyping him yet.)

Most people mistype Arya Stark as an STP, when her motivations are clearly based in her sense of internal identity / resistance to group integration and driven by her own subjective ethics (Fi).

Dany in Game of Thrones is clearly a high feeler, and she’s tough, formidable, and bad-ass. As discussed (and currently in private discussions), Petyr Baelish from the same franchise was mistyped INTJ by myself (and others) when his methods and downfall clearly illustrate Fe – and as I read through decent arguments on Ni for him, I’m starting to see him as a warped NFJ.

There is an unfortunate bias against feelers in the online MBTI community. This comes primarily from “thinkers” who believe they are more rational than the “feelers,” when that is not always the case. They assume “intelligence” comes with being a “thinker,” when in reality, “intelligence” has nothing to do with thinking or feeling functions. Intelligence goes beyond IQ levels and into knowing how to interact with others for the greatest potential impact, into knowing which battles to fight, into being capable of smart decisions, and in total awareness of your own shortcomings and flaws.

It’s easy to mistype when looking at the overall picture based on stereotypes… but if you start to write a cognitive profile and cannot find anything to ‘defend’ a function (as happened with me and Perseus, causing me to watch the first film; had I typed him Ti and Fe, it would have all been broad, vague generalizations) … you may be looking for the wrong function.

- ENFP Mod

LIKE A PENDULUM

TODODEKU WEEK: DAY 3

FEARS

“Sometimes at night I would sleep open-eyed underneath a sky dripping with stars. I was alive then.” -Albert Camus, “Return to Tipas”

AO3


After particularly harsh training sessions with his father, Shouto would sneak off to the park in the centre of the city.

Shouto would bring a sweater and his phone, jump out of the window from his room, and lightly jog all the way there. He would always leave whenever he was sure his father was fast asleep—he didn’t like to think about what would happen if his father found out about his nightly escapades.

Shouto would sit on the swings and stare blankly at the night sky. After several minutes, he would start swinging.

It was easy to get lost in the mechanical movement of back-and-forth, back-and-forth, back and forth—sometimes, on particularly bad days, he would lean back as far as he can, maybe even let go of the chains a bit, so he could properly gaze at the endless night sky and the stars which always winked at him.

He’s only fallen off the swings once—the few brief seconds in the air had been exhilarating.

He’d felt alive.

But his feet, no matter how badly he wished to remain suspended in air, would always touch the ground, and he would remember that he was nothing but a walking corpse.


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wickedwinterwillow  asked:

What do you think of Viggo´s supposed death? The noise he made when falling and the complete lack of dramatic element regarding it make me think he is as dead ad Dagur. It would not surprise me to watch Hiccup attending that Maces and Talons match only to find Viggo has already won and greets him with open arms and something in the line of "My dear Hiccup, it is such a pity you couldn´t arrive earlier. I truly was hoping to compete against you"against you"

Hello, hello! Thank you so much - I’m doing well! I’m moving into a new apartment and it’s slowly coming together. :)

[Quick note on the damselstrid (continued from this post) before I chat about Viggo: The way I usually see Damselstrid dialogue occur within the Hiccstrid community is that either the individual doesn’t mind or they are very frustrated with the portrayal (I see much more of the latter on my dashboard). So I understand what you mean, yeah! It’s frustrating for all of us. As you saw in my previous post, I agree that it’s something that should be addressed and corrected in later seasons. I also guess I’m glad I helped illuminate the sexism within RTTE? The sad thing is I could continue elaborating with many more points… but I hope that, at least with pointing out some of the things, people can be aware it’s there. As much as I love the show, and as much as I will continue to love the show, it’s always good to be aware of the areas in which the show could use improvement, especially in areas of representation.]

As far as Viggo is concerned, I personally actually really hope he’s dead. As much as I love the mind games that Viggo has, and as much as I think he is a unique villain within the HTTYD realm, I don’t think that bringing him “back from the dead” would be the best choice of narrative. Even though there is a point to be made that his death feels, in many ways, anticlimactic and lacking in drama, I also feel as though it would be a poor choice in other writing respects to bring him back. Here are my main reasons why:

1. Back-from-the-dead tropes get old fast.
2. Viggo might have a disproportionate number of screen time otherwise.
3. Still being alive would be unrealistic.
4. Viggo’s ending is fitting to his flaws.
5. RTTE S4 wraps up basically everything with the Viggo plot arc.

1. Back-from-the-dead tropes get old fast

Fake deaths are a common narrative device in fiction used to build tension and create audience surprise. When done correctly, it can evoke shock, excitement, or a host of other suddenly-jarred emotions. Correctly done faked deaths can really get the audiences excited. When done incorrectly, though, it can feel like a very worn-out plot device… especially since it is a common trope. 

It’s to note that repeating tropes within a single story - especially tropes with these sorts of high-drama elements - tend to wear out and annoy audiences. It’s not a good plot element to recycle and keep redoing; if ever done, it should be done once for optimal effect. Otherwise, you cheapen both the first faked death and the second, make the plot of the story predictable and repetitive, and rely too heavily on tropish plot devices to carry the narrative “forward.”

RTTE writers have already implemented the back-from-the-dead trope once. It’s what happened with Dagur in S3 to S4. We never saw Dagur’s body at the end of his “death scene” in S3′s Family on the Edge, and indeed, he comes back in the fourth season alive and well. Now, if Viggo came back from the dead, not only would we recycle the same overdramatic plot device… but we’d be pulling the same stunt with two characters in back-to-back seasons. At this point, it would feel much like a worn-out, recycled plot device… rather than giving us some new, more novel twists and turns.

I would MUCH more prefer that Viggo - and Ryker - stay dead for that narrative reason alone.

2. Viggo might have a disproportionate number of screen time otherwise.

I’ve always found it interesting how long a character stays an antagonist in the DreamWorks Dragons shows. The writers tend to have a set time frame in which the villain interacts with Hiccup before we move onto some new enemy. To recapitulate how long villains stayed in conflict with Hiccup:

  • Mildew: 1 season (ROB; 2 seasons, counting brief appearances in DOB)
  • Alvin: 2 seasons (ROB and DOB)
  • Dagur: 3 seasons (DOB, RTTE S1, RTTE S2).
  • Ryker: 3 seasons (RTTE S2-S4)
  • Viggo: 3 seasons (RTTE S2-S4)

Now, it is to note that RTTE seasons are half the length of ROB and DOB seasons, and that he only appears visually on screen at the end of RTTE S2… but we still get about the same amount of screen time per villain. At the moment, we have a pretty decent pattern in which the villains come, wreak havoc, but end their plot arcs before their presence gets worn out. We don’t drag out the villain plot arcs in the DreamWorks Dragons franchise.

Now, if we have Viggo return in Seasons 5 and 6, then he would disproportionately dominate much of the narrative throughout the HTTYD franchise. It might feel a little odd that this villain, whose presence has been keenly felt since RTTE S2, would be so prevalent, while the other antagonists would have a disproportionately lesser time being the bad guy.

So purely from a sake of balance, it’d be better for Viggo to be dead, too.

3. Still being alive would be unrealistic.

Race to the Edge is hardly accurate in how it portrays volcanoes. Oh goodness, it is very inaccurate in how it portrays volcanoes. That said, having a character seem to fall down into a volcano still seems like a sure way to perish. We could suggest Viggo grabs onto the side of the cliff or something like that, but regardless, chances of survival are extraordinarily, extraordinarily slim for him. It’s extremely likely he dies here.

Now, people could point out, “We don’t SEE him dead.” Yes, that is true. Nevertheless, would this show actually show a dead character on screen? Would they actually show the character getting impaled or hitting the lava or something else horrendous and graphic like that? Probably not. They’re going to show a character falling down into what should be a sure death without showing their actual death. Sort of like what just happened with Viggo.

Especially given as we see Hiccup watch Viggo fall, and Hiccup’s right there with his eyes glued on the volcano… it makes it a little hard to say that Viggo made it out alive. Look at Hiccup’s horrified expression. It seems he witnessed something directly.

Of course, this doesn’t have to mean that Viggo is dead, but the most they will ever show on screen I believe - for a children’s show like this - is an implied death with the camera focused on the individual (Hiccup) watching it.

4. Viggo’s ending is fitting to his flaws.

One of the things I have always been curious about was how Hiccup and Viggo’s intelligence match would progress. I suspected that, over time, Hiccup would learn how to outmanipulate the manipulator and beat Viggo at his own game - though in a way that demonstrated kindness and mercy rather than a drive for one’s own profit. I suspected that Hiccup would grow from being extremely frustrated about Viggo, feeling as though there’s no way he can beat the villain, to the person making Viggo unsettled and worried. There would be a turn of tides, with Hiccup eventually gaining the upper hand. That was my prediction.

Nevertheless, the fact that this is not what occurred still doesn’t mean it wasn’t an interesting and fitting way to end Viggo’s role as a villain. In fact, Viggo’s ending is fitting to his flaws in multiple respects - both in terms of Hiccup’s interactions, and in terms of Viggo’s character itself.

First, the fact that Viggo never becomes overwhelmingly bested by Hiccup means that Viggo will forever remain as the character who could outsmart Hiccup. Viggo retains his legacy forever, this way, which is actually sort of fitting. We don’t have an all-powerful protagonist who can magically outdo people at their own strengths. We have a villain who still gets defeated, but retains his legacy of his strengths. Viggo’s identity never unravels.

Hiccup still manages to outdo Viggo by throwing away the Dragon Eye, but it’s not an “outhinking”, so much. It shows Hiccup doesn’t have to become Viggo to best Viggo. Furthermore, it shows Hiccup’s growth from being obsessed about the Dragon Eye to the point he endangers his friends (Dragon Eye of the Beholder Part 2)… to being willing to sacrifice it because of the people he cares about - it’s not Hiccup becoming better than Viggo, but Hiccup becoming better at being Hiccup. Then, this event could help Hiccup grow into who he is by HTTYD 2, someone who doesn’t believe he can do everything (since he never got to outdo Viggo at his own game, in full).

Last, what happens is that Viggo’s core identity - that of a manipulator - is what leads to his own downfall. Viggo leads to Viggo’s own fall. It’s Shakespearian. It’s nice. It’s fitting to have him end in the way where his own strengths becomes his undermining weaknesses.

Viggo’s greatest strengths are his control over the dragon hunters, his manipulative abilities, and his desires for profits (which in turn fuels him to hunt dragons, seek the Dragon Eye, and thus clash with Hiccup so adamantly). These are what make him a villain to be contended with against Hiccup. All these things lead to his downfall in RTTE S4.

Viggo’s gripping control is what makes him a leader. But Viggo’s gripping control is what sours his relationship with his brother and turns Ryker against him (debatably - we’ll never know how much of that incident was staged trickery and how much was genuine rebellion). But more obviously, Viggo’s desire for profit and ability to manipulate is what led to his direct end. Viggo tried to manipulate Hiccup with Astrid. That backfired. It led to a situation where Hiccup had to throw away the Dragon Eye. Viggo wanted to get hold of the Dragon Eye - it was his pursuit from start to end of his role as villain - it’s how he could extend his profits as a dragon hunter. But his own drive for the Dragon Eye, the very reason that he was such a contender and dangerous enemy for Hiccup… is what led to him trying to grab the Dragon Eye… and thus falling to his death. 

Had Viggo not wanted the Dragon Eye, he wouldn’t have been an enemy to contend with. But had Viggo not wanted the Dragon Eye, then he wouldn’t have fallen as he did.

So Viggo’s ending is superbly fitting to his character. The reasons why he butted heads with villain and became a dangerous villain are what became his downfall. Viggo brought about Viggo’s own end there at the end of S4. And that’s very fitting.

Now, it’s true that it might have felt anticlimactic in its execution, and I agree, but the concept is really something I can get behind. REALLY something I can get behind.

5. RTTE S4 wraps up basically everything with the Viggo plot arc.

Viggo’s antagonist story doesn’t need to be continued. It is, in many ways, self-contained between seasons two through four. The main plot of Viggo bothering the youths through the dragon hunters and battling over the Dragon Eye is now done. The Dragon Eye is gone, after all. And even the problem of Hiccup needing to best Viggo to save the dragons is finished. Assuming Viggo and Ryker never come back, the dragon hunters won’t harm the dragons any more. The dragon riders have victory in all the areas that they need for the plot arc. They’re not going to be bothered by those dragon hunters again. Story closed.

So there’s no need to extend the plot arc with Viggo. We’ve gotten a full narrative arc with an ending that concludes just about everything that needs to be concluded.

Rather, I would prefer if we spent the next two seasons exploring the new plot device they’ve opened up with Krogan. If he becomes the main antagonist in the next two seasons, then that would make a lot of sense, have room for development, and make for a good lead-in to HTTYD 2 by the end of S6.

Now, the last thing I want to say is that, just because *I* think that it is better plot-wise on many fronts for Viggo to be dead… doesn’t mean he has to be dead. It doesn’t mean that this is the route the writers will take. My comments are not predictive, they’re just what I think would be best for the story were I writing it myself. It’s totally possible for Viggo to make a reappearance. I wouldn’t be all that astonished if it happened. But for me, personally, I want this to be the wraps on the Viggo story arc, for the reasons I outlined above! XD

The Tick - Quill’s Quickies

Hello and welcome to this subtle rebranding, Remember my Reaction blogs? My short, spoiler free mini reviews I write after I’ve watched a movie in a cinema. Well I’ve never been particularly fond of ‘Reaction blogs,’ so I thought I’d change it. Hence the rebranding. Quill’s Quickies. It’s basically the same as my Reaction blogs except the title is now a hysterical innuendo.

Well I thought it was funny! Honestly, I don’t know why I bother with you lot sometimes!

Before this show came out, I honestly had never even heard of the Tick. I didn’t realise there was a whole comic book series or a cartoon or that there was a live action show starring Patrick Warburton. So when this showed up in my Amazon Prime recommendations, I was somewhat bemused. At first glance it looked like a really stupid superhero parody. The kind you’d expect from those idiots that made Epic Movie and Meet The Spartans and all those other shitty parodies. But eventually curiosity got the better of me and I watched it, and I tell you what. I’m so glad I did because The Tick has got to be one of the funniest and smartest comedies I’ve ever seen.

The Tick is set in a world similar to ours except superheroes are commonplace. A traumatised, working class nobody called Arthur believes that evil supervillain the Terror (who everyone believes to be dead) is still alive, and is trying to prove his existence. His actions draws the attention of the mysterious superhero known as the Tick. A man who’s nigh invulnerable and a complete doofus. The Tick is determined to find the Terror and make Arthur his sidekick, but Arthur is reluctant because he’s afraid of getting hurt or killed. The series follows Arthur’s attempts to try and help the Tick whilst trying to maintain a normal life.

The shows plays out as a very surreal satire, but it focuses less on jokes and one liners, and more on telling a compelling and engaging narrative with a more comedic twist. The world of The Tick is clearly meant to reflect the way current superhero movies have gone. Dark, gritty, tragic and ultra serious. But there’s not a hint of pretentiousness about it. There’s a very tongue in cheek, self awareness to it, which is amplified by the Tick himself.

Peter Serafinowicz plays the Tick, and he’s simply magnificent. His performance is very reminiscent of Adam West’s Batman as well as Inspector Clouseau from the Pink Panther movies. The Tick is clearly supposed to represent old school heroics, and most of the comedy comes from these two clashes in styles. The villains talk and act as though they’re in an Alan Moore comic whereas the Tick behaves like the kind of superhero you’d find in Saturday morning cartoon in the 60s. The villains often resort to foul language and strong violence, but the Tick never sinks to that level. He’s just this symbol of pure goodness and boundless optimism in the face of adversity. While he is a total moron and says some very weird things, you never get the sense that he’s being mocked or ridiculed. In fact quite the opposite. The Tick feels like a tribute to the ‘old fashioned’ superheroes of yesteryear. He’s immensely likeable, clearly has a heart of pure gold and you can’t help but smile whenever he appears on screen.

The co protagonist of the show is of course Arthur, played by Griffin Newman. Arthur has the staple traumatic past, but unlike say Batman or Daredevil, Arthur reacts the same way I think most of us would react to trauma. He’s tentative, apprehensive, paranoid and lacking in confidence. He knows the Terror is alive and wants to prove it, but is too scared to take action himself. It’s only through his interactions with the Tick when he starts to come out of his shell and accept his destiny as a superhero.

The growing friendship between the Tick and Arthur is easily the highlight of the show. It’s extremely funny and surprisingly touching at points (particularly in the last episode). Arthur is initially annoyed by the Tick’s constant intrusions into his life, but you can tell he clearly likes and begrudgingly admires the guy. And the Tick clearly likes Arthur selflessly and unconditionally. He wants Arthur to be his sidekick because Arthur makes up for his own limited intelligence, and also because he recognises the potential within Arthur and wants to see him reach that full potential. While the show is called The Tick, the story is really about Arthur and his development. He’s the emotional bedrock of the entire show who grows and evolves the most.

The Tick is a superhero story first and a satire second. By getting us to feel a strong emotional attachment to the main characters, the weird and surreal situations they find themselves actually become even funnier. There are a number of other recurring characters in the show with their own arcs and gags. There’s the Terror obviously, played by Jackie Earle Haley, who’s kind of a cross between General Zod and the Joker. You’ve got his henchwoman Ms Lint, played by Yara Martinez, who bares some resemblance to Harley Quinn. Valorie Curry plays Arthur’s overprotective sister Dot. Brendan Hines plays the arrogant, image conscious Superian, who’s clearly a parody of Superman. Michael Cerveris plays Ramses IV, who’s an obvious pisstake on gimmicky crime lords like the Penguin. And finally there’s Scott Speiser who plays Overkill. A character that’s clearly supposed to parody the more violent, R rated superheroes to have come out in recent memory, such as Daredevil and the Punisher.

The first half of season one, consisting of six half an hour episodes, was released on 25th August on Amazon Prime with the second half due to be released in early 2018. If you haven’t already, I urge you to watch The Tick. It’s a shiny orb of joy that everyone should experience.

title: tongue-tied

word count: 2661

prompt: creator’s choice

rating/warnings: G, no warnings

summary:

Ochako looks so beautiful when she’s talking about her family. Tsuyu feels like floating away, the weight of the secret she’s been keeping rising to the surface and taking her with it.

This is it. I have to say it to her now, Tsuyu thinks.

“Your hair looks nice today,” she tells Ochako.

Well, that didn’t sound remotely similar to “I am deeply in love with you,” but it’s the closest she’s come to saying it so far.

Or, Asui Tsuyu has never had any trouble speaking her mind - except for the one time it really matters.

read on ao3 or below the cut!

Keep reading

THE ORVILLE Review 01.03 - “About a Girl”

In 1992, The Next Generation aired “The Outcast”, an episode where Commander Riker falls in love with a member of an androgynous species who identifies as female.

It wasn’t very good. Although such subject matter was unheard of in the context of family shows like Fresh Prince and freaking Full House, it was still too timid to delve into the cultural and personal psychologies that surround such issues of gender identity, and opted to have a generic “Some people are just shallow and horrible, and we can do nothing about them!” ending.

He fertilized the egg.” (Again, not the actual dialogue, but if Bortus laid the egg, then Klyden had to be the one who fertilized it, right?)

When I read the premise of “About A Girl”, it immediately reminded me of “The Outcast”, and my hopes were not raised. The advance reviews did not help, as basically all of them singled out this episode as a truly abysmal one, describing it as “horribly offensive, self-congratulatory platitudes about girl power and choice”.

After having seen the episode, I can somewhat see where they’re coming from.

ponytail :O

“About a Girl”, where Bortus decides that his child - a rare Moclan female - must undergo a sex change to conform to Moclan society, much to the protestations of the crew, hits many of the same arguments that have been seen before in the gender debate: freedom of action and self, societal norms, comparisons to health disorders, etc. There aren’t really any new statements to be seen here, except when Kelly and Ed decide to go the route of female empowerment, which feels beside the point and ends up just aggravating Bortus.

So on the surface, this episode brings nothing new to the debate, despite obviously holding an opinion on it (If you can’t figure out what The Orville thinks about mandatory sex changes on infants in the name of conformity, you probably know nothing about Star Trek), but like Roger Ebert said, “it’s not what a movie is about, it’s how it is about it”. In execution, what could have been a brief, sloppy opportunity to make an admittedly important statement is instead turned into The Orville’s best character study yet.

I don’t know why drunk bros would want to watch Rudolph the Red-Nosed Reindeer of all things, but I guess it’s better than showing a new dad something like “Of Mice and Men” or any episode of Deep Space Nine with Alexander in it.

Bortus isn’t the villain; he clearly cares about his child, his husband, and their future as a family. His desire to subject the child to a sex change isn’t based on bloated patriotism, but out of concern that a female would suffer greatly at the hands of an oppressively sexist society. He sees the prying curiosities and opinions of the crew as thoughtless moralizing, and despite my agreement with the crew, the show is very effective at showing Bortus’s stress and displeasure with them. Later we encounter some Moclan legal officials, who dedicate themselves entirely to the defense of systemic sexism and oppression, a system which Bortus learns has a much tighter grasp on his life than he initially thought. Here, it would be easy for the writers to throw up their hands and make the crew continually batter at the unassailable Moclan culture, and it would be equally easy for cynical, unambitious audience members to throw up their own hands and concede the villain to be the clash of inherently incompatible societies. To conclude this conundrum, common ground is found, not in the bigger picture but at the individual level. This ending is similar to “The Outcast” but far better in execution, due to the extra depth that has been set up for the pertinent parties.

Actual photograph of California during the drought.

“About a Girl” bodes very well for The Orville. It continues the trend set in “Command Performance” of giving these characters greater depth, and shows that the writers aren’t afraid to be socially relevant, carrying on the decades of Trek’s social progressivism.

4.5 cochranes / 5.

Alara smugly crushing a titanium cube into a sphere is life.

RANDOM OBSERVATIONS:

Brannon Braga directed this. If you don’t know, Braga was a producer and writer during Trek’s 90′s boom. A ton of Trekkies hate him and blame him for the dark age of Trek during the 2000′s, but he doesn’t deserve all he hate he gets, and this episode shows that he’s still got good ideas.

Random Beyonce quote. Pretty corny, but honestly, you can never have too much Bey in your life (#BEYHIVE!).

FAVORITE QUOTE:

Captain Ed: “Captain Vorak, I will not allow that child to be taken off the Orville without Bortus’s consent. Look, I suggest we all just take a B here, let the Admiral sort this out. In the meantime, you can hang out on our ship, we have board games-”
Commander Kelly: “-We have Scrabble, we have Candyland, we have Monopoly, you can be the car-”
Captain Ed: “-Hey, Kell, I’m always the car.”
Commander Kelly: “Yeah, but maybe this one time, since he’s our guest…?”
Captain Ed: “…You can be the thimble.”

SECOND FAVORITE QUOTE:

Alara: “Not bad for a female, huh?”
Bortus: “I am growing weary of my shipmates imposing their will upon my family.”
Alara: “Have you ever stopped to think that maybe they’re right?”
Bortus: “I will decide what is best for my child!”

Things We Know About the Riddler from TheRiddlerSpeaks blog:

·         He considers himself the “information broker of Gotham”.

·         He’s fond of Harley Quinn to a certain extent, but finds her tiring and the company she keeps unsavory.

·         He finds Scarecrow insufferable.

·         His worst fear is losing his intelligence and thus making everything he’s worked for worthless.

·         He’s a coffee drinker (three milk, no sugar) who doesn’t like tea.

·         He can finish any newspaper puzzle in less than 20 minutes.

·         His favorite movies are Forbidden Planet and Dr. Strangelove, and his favorite actor is Peter Cushing, whom he sees as a role model.

·         He flat-out hates the Joker and his methods.

·         He used to love watching late-night horror movies, especially the Hammer Horror films.

·         He swears quite a bit when he’s frustrated or especially angry.

·         His morning routine consists of a copy of the Daily Planet and a large coffee.

·         His mother was a meek woman who often kowtowed to his abusive father and would insist he change his behavior to make his father happy.

·         He doesn’t at all hate people with genuine mental handicaps, reserving his ire for the proudly and willfully ignorant.

·         He considers Black Mask a decent cohort, if not a decent human being, but doesn’t think he has the proper flair that a rogue needs.

·         He has a great deal of respect for his henchgirls, trusts them to take care of themselves, and feels secure enough around them to poke fun at them in their presence.

·         He doesn’t consider killing an emotional endeavor, preferring to look at the bigger picture the death would be part of.

·         He’s thought about pursuing martial arts, but considers himself too old for it these days.

·         He used to be merely a petty thief, but dabbled in blackmail with important figures, one of whom killed himself under his influence

·         He has quite a bit of disdain for the Mad Hatter, thinking he’s a childish one-trick pony who takes the easy way out with his methods.

·         He dropped out of high school and never got a college education.

·         He’s published quite a few of his riddles and get annoyed at how many of these sites and books get the answers wrong.

·         He’s a history nerd who can quote several past rulers and philosophers.

·         He has the following qualifications for henches:

o   You have to have survived in the Gotham underworld for a minimum of four years (eight months for ex-Joker henches.)

o   You have to be able to shoot straight, knock a man unconscious, crack a safe, create and use basic explosives, and answer three out of five introductory riddles correctly.

o   You have to have at least somewhat stable mental health.

o   You have to have some intelligence and common sense with a healthy enough ego not to take remarks personally.

·         He jokes that his dream pet is a robotic spider with the brain of Albert Einstein.

·         He regards golf as “where testosterone goes to die”.

·         He used to use “the Fish” (in reference to Einstein’s logic puzzle) as shorthand for the answer that must be found, but had to stop after the girls started making “fish stick” jokes.

·         He hopes that after his death his brain will be preserved for a clone or robot body; if the brain is unsalvageable, he’s told his henchgirls where he wants his ashes scattered.

·         He did appreciate his secretaries while he was a private detective and is still fond enough of them to keep in touch.

·         He quit being a P.I. after he got bored and sick of not getting any more respect than he did as a criminal.

·         He’s more scared than he cares to admit of Poison Ivy and avoids her at all costs.

·         He gets his suits and masks from “Paul the crime tailor”; he has suits based on seven different basic designs and prefers black slacks because they show less blood.  He also prefers domino masks and three-piece suits.

·         He’d been working odd jobs at 19 years old and making money on the side winning crossword puzzle contests until he was blacklisted by the New York Times.  His first girlfriend convinced him he was better than the Minnesota education system and gave him his first access to someone else’s private records, which he sold for all the money he needed to get to Gotham.

·         He likes purple because it’s a royal color and green because it’s the color of ambiguity and tends to stimulate critical thought

·         He used to be a hardline atheist, but now is more of an agnostic.

·         He sees sex as an inevitable fact of life, but a pointless and pleasureless one; he subscribes to the “Tesla method” of keeping it from being a priority in his life.

·         He finds Victor Zsasz’s methods pretty genius in their own way.

·         He doesn’t like villain team-ups, viewing the clashing egos as a hindrance to accomplishing the task at hand.

·         He thinks the Baker Street Irregulars were an ingenious use of resources and considers them one of the best parts of the Holmes stories.  He looks down on Moriarty as a rarely-used plot device.

·         He doesn’t listen to music very much and sticks to classical on the rare occasions when he does.

·         He was subjected to chemical injections that gave him crippling migraines and a near-death experience under Lock-Up’s reign of terror and was too ill to attend the famous hearing.

·         He does enjoy travelling, though he rarely has the occasion, and went on a national tour outside of Gotham City during No Man’s Land.  He’s also “unashamedly a town mouse”.

·         He’s had his fair share of experiences with groupies and can spot them on sight.  He once hacked a database and put Condiment King at the top of a popularity poll just to see how many fangirls grouped to him at the Iceberg the next night.

·         He tends to mail back fan mail with grammatical corrections, commentary, and the occasional letter grade.

·         He claims to have written part of the Evil Overlord List and says that several of the points are impractical in real life.

·         He’s been inside The Pandora’s Box S&M club and didn’t think it was that shocking.

·         He’s a Leo—he doesn’t put much stock in astrology, but he finds horoscope descriptions fascinating in how broad and scam-like they are.

·         He thinks fetish gear is ridiculous.

·         He has a scar on his shoulder from Query.

·         He denies that his pursuit of Jessica from his “Joker’s Asylum” story ever happened.

·         He has no desire to get involved in any Gotham turf wars, preferring to wait until all the rogues kill each other and Batman off and rise to the top in their absence.

·         He does believe in multiple forms of intelligence, but believes that certain forms and applications are more valuable than others.

·         He doesn’t put much stock in modern art, especially interpretive dance and mime.

·         He despises the “Why is a raven like a writing desk?” riddle and feels similarly toward the riddles in The Hobbit.

·         He never sleeps with his henchgirls, considering them too close to himself in intellect and personality.

·         He has a thing for “striking brunettes”.

·         He’s a big grammar Nazi.

·         He’s “crazy good” at Tetris.

·         He regards loyalty as the greatest weakness a person can have and doesn’t think family is important.

·         He’s very sarcastic and is practically incapable of not taunting people, even when he’s in no position to be mouthing off.

·         He used to have a bit of a crush on Catwoman, but has become more disillusioned with her since the “incident in Rome”.

·         He doesn’t like being called “Mister”—he thinks honorifics are a bit pretentious.

·         He felt a bit sorry for Enigma, but was largely ambivalent to her, regarding her as more of an interesting case than any kind of valuable relationship.

·         He doesn’t have any tattoos or piercings.

Why I love the Henshin Hero genre

I’ve been thinking about this for a while and I think I understand why I love the henshin hero genre. That includes Power Rangers, Super Sentai, Kamen Rider, Ultraman, Metal Heroes, etc. Forgive me if this gets a bit rambley

I think it’s the basic premise that any person can transform into a mighty hero. We have had secret organizations dedicated to protecting humanity specifically select the heroes, we have had heroes be chosen by chance or fate, we have literally had heroes stumble into their role. But in the end they all accept the power and the role that comes with it.

To the public the heroes could literally be anyone. Any race, any sexuality, any religion, any age, any person could be their heroes. And no matter their background they still defend them with their lives.

Picture the following scene: it’s a normal day in the city when the forces of evil attack, the civilians flee from the latest monster but just as it raises its weapon there’s a burst of sound and a flash of light.

To the innocent it is a symbol that their protectors have come to save them. To the guilty it is a symbol that their executioners have come to enact justice.

The heroes announce themselves to the world and leap into action. The forces of good and evil clash and good prevails once more.

Sometimes the fallen villain rises and grows to gigantic size and in response the heroes call forth metallic titans to once more defeat them.

Think about it, we have had heroes defeat those who call themselves gods and devils, evil that destroyed worlds and conquered galaxies cannot stand against the might of the heroes.

It’s not easy, heroes have given their lives to save the innocent. But even when given the chance to retire, to enjoy the peace they all fought so hard to protect, they are all still willing to join the battle whenever they are needed.

So yeah, like I said this might be a bit rambley but I think it gets my point across (I hope).

Does anyone remember when the plush toy line Yoohoo and Friends got a cartoon and it was about the type of cutesy show about being eco-friendly that you’d expect, you know like if Captain Planet had Care Bears in it, but then they dubbed it in English and changed it so that the main characters were actually evil corporate executives that got transformed into cutesy animals by Father Time as punishment for their crimes against nature and part of it was animated by David Feiss but they kept the original animations for the cutesy characters so there was stiffly-animated bobblehead critters interacting with the weird Cow and Chicken style villains (?) and the art styles clashed constantly and also Father Time was voiced by Flavor Flav

  • Some fuckboy: they only put supergirl in the Injustice 2 trailer to stop the feminazis complaining
  • Me: orrrrrrrr and bare with me, DC are using a well established and well written character with formidable powers too showcase a game about heroes and villains clashing maybe??? Maybe Kara has more than earned her place??? Maybe you should get the fuck out of my face??? There was literally one female character in the whole trailer bite me you fucking potato!