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Setting: our verse | my verse | your verse | modern | alternate universe | other
Pre-established relationships? yes | no | depends on the relationship
Possible relationships: friends | classmate | co-worker | roommate | family, real or adopted | dating or blind date | married | friends with benefits | unrequited love | lending a hand | teacher - student | rivals | allies | partner-in-crime | enemies | protecter - guarded | business partners | spy - infiltrated | manipulator - manipulated | star-crossed | first meeting | other
I’m in the mood for: fluff | angst | horror | romance | humor | crime | hurt / comfort | action | supernatural | slice of life | crack | dark threads | light threads | any genre | multi-para | shorter para | one-line | any length | plotted threads | unplotted threads | other
Feel free to: message me ooc | message me ic | tell me your ideas | write a starter | answer one of my opens | send a meme | reblog this with your preferences - let’s find common interests!
Did you notice how much true crime had a cultural moment in
2016? The surge began with 2014’s Serial podcast, 2015’s Making a Murderer
docu-series and the wave grew this year with two different OJ Simpson television
miniseries, American Crime Story, plus dozens of other shows, books, and movies
“inspired by” or “based on” true events. If you have any space in your pop
culture diet for another crime yarn, I’d like to suggest to you Violent Love written by Frank J.
Barbiere, art by Victor Santos and design by Dylan Todd.
For any fan of noir/crime/pulp fiction, Violent Love embraces a couple of familiar tropes; the lead
characters are an outlaw couple à la Bonnie and Clyde or The Honeymoon Killers.
Daisy Jane, college-aged daughter and part-time bank-robber, is seeking revenge
and Rock Bradley is hired muscle. The series is set in the southwest during the
late 1960s and early 1970s but our narrator, former lawman Mr. Lou, is
recalling the time that this particular outlaw couple saved his life. The reflections of a retired lawman is something we most recently have
seen in the Coen Brothers’ No Country for
Old Men but in this usage the narrator gives the comic an added
Though Violent Love does embrace some of the conventions of
crime fiction, it’s no slave to them. Normally the star-crossed,
crime-committing couple stories are about the men finding their femme fatale
soul-mate (I’m looking at your Badlands
and Bonnie and Clyde). This is, from
the first page, Daisy Jane’s story. The result of this choice is that Daisy has
much more agency than women many of these kinds of stories. Violent Love is also equal parts
romance. Daisy and Rock don’t meet until issue #2 and in an instant it is
apparent that we will see these characters grow into their romance. This comic
is beautiful. Victor Santos’s art is so engrossing, I found myself downloading the
digital copies onto my computer so I could zoom in panel by panel. This comic
feels both modern and of the 1970s at the same time.
There is no doubt about it that Violent Love is for mature readers due to some nudity/sexual
content and the level of violence (I mean the word ‘violent’ is in the title).
In issue #1 a scene neared the line of gratuitousness, but hang in there. This
scene is essential to Daisy’s motivation for the entire story and justifies
it’s existence. Santos makes the wise choice to obscure some of major acts
violence in impressionistic strobe-light-paced panels. Also, the violence is not
disposable; these characters aren’t sociopaths and the violent acts they commit
do have psychological impact on them.
Josh is the email marketing manager at comiXology who can
neither confirm nor deny if he’s been to New Mexico
Muse A, a tenacious crime boss, is frustrated by yet another news headline about a big crime bust in the city which has ties to their own illicit operations. It seems that the mayor’s been making good on his promise to eradicate crime as of late (probably because he’s looking to run for Senator in the upcoming elections) and that ultimately spells trouble for Muse A. It’s only a matter of time before someone from the Mayor’s camp comes sniffing around Muse A’s nightclub, which operates as a front for their money laundering, but Muse A wants the Mayor dealt with before that happens. As fate would have it, Muse A isn’t the only one who wants the Mayor gone.
Muse B, the Mayor’s child, sees right through the tele-prompted speeches, contrived family photo ops, and the empty promises of a crime-free city. Muse B has seen and heard their father conducting his own illegal practices and knows firsthand that the Mayor is not a good man. Muse B has lost all respect for their corrupt father and only feels disdain and fear toward him. It’s by coincidence that Muse B enters Muse A’s nightclub after a volatile confrontation with their father, but it isn’t a coincidence when Muse A recognizes Muse B and invites them to the VIP area to talk. In this secluded area of the club, Muse B spills all of their concerns to Muse A and Muse A offers protection in exchange for information. Muse B agrees to spy on their father for Muse A with the understanding that, at the opportune moment, Muse A will get rid of the Mayor.
Muse A is apolice officer who doesn’t exactly go by the book, in fact they probably spend more time cavorting with criminals than capturing them. When Muse A finds themself romantically entangled with Muse B, a criminal, it’s easy for them to turn a blind eye to Muse B’s illicit activities (especially when Muse B’s boss puts Muse A on a special payroll for keeping their business off police radar). Over time, Muse A is welcomed into Muse B’s crimefamily, so long as they leave their badge at home.
This year, Muse A is up for a promotion - it’s so close that they can taste it. If they can arrest a notorious boss, they’re certain that the promotion is theirs. No problem. Muse A can simply hand over one of their lover’s enemies, right? As Muse A is scheming, the police chief calls a meeting. The chief unveils the newest person-of-interest, expressing in no uncertain terms that this is the perpetrator they want brought down next. Muse A is conflicted when they immediately recognize the person-of-interest as Muse B’s relative/boss, someone whom they’ve sat across from at the dinner table on several occasions, someone very dear to their lover, someone who will go after everyone in Muse A’s family if there’s even a suspicion of betrayal.
Optional: Give Muse A a suspicious partner, Muse C, for extra drama.
Stop complaining about the lack of gayness in the episode
I understand that many people wanted something to happen between John and Sherlock, I mean hell, I ship them too. But this isn’t a reason to dislike the episode, I knew since the start that Johnlock wouldn’t be canon because it has been pretty solidly proved that John is most likely straight with his many relationships with women during the show and lack of male interest. The writers were messing about when talking about John and Sherlocks ‘relationship’, it was supposed to be a nod to the fans and a bit of humour, I realise that many people may find this as queer baiting but it’s most likely just humour as things like that happen a lot on British television. Leave the writers alone, it’s a crime drama, not a romance and they shouldn’t have to live up to the expectations of the fandom.