There’s A Line In George Orwell’s 1946 Essay “In Defence Of P. G. Wodehouse” Where, In The Course

There's another Worm connection in No Man's Land with Poison Ivy. As the rest of Batman's rogues' gallery carve up Gotham, she ends staking out a derelict city park and caring for a bunch of kids who were orphaned or otherwise abandoned after the earthquake. Rather than rousting her out, Batman agrees to leave her alone for the time being, provided she uses her powers to generate produce for the rest of the surviving citizens to eat. While Ivy was less than pleased about having to go along with this, she still held up her end of the deal.

In his own discussion of Ivy's history on Twitter, Exalted_Speed has argued that No Man's Land is really where the interpretation of Ivy as an antihero (ahem) took root. The connection with Worm is obvious; however, Taylor's tenure as urban warlord feels like a more refined version of that concept. As noted in the thread, the attempts to turn Poison Ivy into an antihero often stumble on both the sheer amount of carnage she's caused over the years and on with her original characterization of "vicious plant-themed Catwoman" which is still a major element in her modern portrayals. By contrast, it's much easier to offer apologetics of Taylor's conduct on the Boardwalk, since she was explicitly written to fit the role that Pamela Isely was awkwardly retrofitted to play.

Got a Worm meta question for you. I'm starting on the early parts of Taylor's warlord era - I'm about to leap into Arc 13 - and the general concept of a ravaged American city being divided up by various supervillain groups is reminding me a lot of that Batman story arc No Man's Land from the late 1990s. Unfortunately my comics knowledge is rudimentary at best, and I haven't been able to any discussion comparing the two stories, so I was wondering if I could pick your brain on the subject. Was it just convergent evolution, or was Wildbow engaging with the Batman story in some way?

I myself have only read about half of No Man's Land- and several years ago to boot- so I've got limited ability to do a direct compare and contrast. No Man's Land is absolutely the sort of status-quo-shattering, history-book-making upset that, within Marvel and DC, nonetheless always inexplicably heals and loses salience until you can barely tell that it's still in continuity. Worm is heavily informed by Wildbow's irritation with that sort of thing, so I think it's totally reasonable to view the warlord era through the lens of "What if No Mans Land had no editorial escape hatch." Alternatively, I think it kind of makes sense to view it through the lens that it's working backwards from the premise of No Man's Land- In what kind of setting would it be plausible for the Federal Government to write off a sufficiently-damaged American City? In what context would the legal infrastructure have been established for that, in what context would that even fall within the Overton Window? What muddies my opinion on this is that the general concept of a ravaged, atmospherically-apocalyptic American city torn up by superpowered gang warfare is something that's kind of just been in the water in superhero comics since the mid-eighties at least, and it was a relatively common thing to see during the Dark Age- they were choice prey for all those overpouched musclemen with their poorly rendered firearms. I'd be surprised if Wildbow wasn't at least aware of No Man's Land, but it's definitely not the only cape book from the late 90s or early oughts where you could pick up that idea from. Ultimately this leaves me unsure if No Man's Land is the specific referent or if it's just part-and-parcel with trying to do an involved, thoughtful take on what cape comics were like at the time.

Esther, speaking as a big ol’ Star Trek fan, your friends were right. Season 1 was rough. A lot of the time it comes off as an attempt to make a 1960s-era Trek show in the 1980s, and it does not work at. all. Production was also a nightmare, to the point where the TNG writers’ room gained the reputation as one of the worst places a writer in Hollywood could work at. There’s a documentary called Chaos on the Bridge that discusses some of what went on, but it has its own biases and axes to grind. Still, Season 1 TNG did give us this incredible moment. (cw: more gore than you’d ever expect to see on an episode of Star Trek) If you ever want to give the show another shot, I’d recommend just watching any episode whose summary sounds cool. TNG was made with an eye to syndication, so the writers were discouraged from any heavy serialization. Anyway, great podcast, and I hope Madiha has recovered from finally seeing the Super Best Friends stumble their way into one of the worst (in all senses of the word) endings for Detroit: Become Human.

Transmediacrity Episode 23: You Deserve To Be A Space Kid

I'm not down with the catholic church; I just want to dress this way.

Please do not listen to this episode on full blast volume earbuds, there’s A Thing.

Topics include: Heart to heart about being depressed all the time; Madiha reads HAKAIOU ~ GAOGAIGAR VS. BETTERMAN; 2017, a year of closure for Betterman; the story of GGG vs Betterman; a brief, confused summary of GaoGaiGar; combining the tones of GaoGaiGar and Betterman; Linker Gel Dyalisis; THE POWER; Esther is back into Shin Megami Tensei Apocalypse; masters of reusing assets; god’s toilet; sexy nun; it all sounds like a doom level; SMT Mobile, why the fuck would I play that; did you get the dick chariot; CAN’T ESCAPE FROM CROSSING FATE; BACK IN to Honkai Impact; but first the masocore gacha hell of Bang Dream!; 29:00 warning for volume; this is like hell; NOT EVEN A FREE ROLL; thank you Honkai Impact; Sakura Samsara, the open world content; Theresa, the old small nun; Mihoyo storytelling; FGO is a demon monster gacha game; PUT HONKAI ON STEAM MIHOYO; honkai impact is warframe for lesbians; warframe anxiety; impossible to progress; FUCK DAVID CAGE. Send us timestamped suggestions for the Transmediacrity podcast sampler for newbies!!!

Outro theme is “Ashura-Kai Authorized Shop” from the Shin Megami Tensei IV OST.

Email us at transmediacrity@gmail.com! Check out our TUMBLR and TWITTER.

SUPPORT US ON PATREON! Or donate directly to Madiha for hosting costs.

Check out our YOUTUBE CHANNEL. Subscribe, and like our videos!

Special thanks to Velt for our cover art! Check her art here. (Not worksafe.)

You can find us at:

Madiha: Twitter, Tumblr, The Solstice War. Esther: Twitter, Tumblr.

Daily Kuvira #103 - Glasses

I had to go see the eye doc today..

I used to think that, but a few years ago an old opinion piece completely changed my mind on the subject. To summarize the piece’s argument (in case the site ever goes down), the key differences between superhero movies and westerns is that:

1. People go to see superhero movies because they like certain characters; people went to see westerns because they like westerns. To put it another way, if you want to see a western, the genre is broad enough that you can see all sorts of different movies. But if you want to see a superhero movie, you usually just want to watch Batman acting like Batman and doing Batman things, or Cap acting like Cap etc...

2. Westerns were small enough and cheap enough to make that directors and writers could experiment widely within the genre; modern superhero movies are so expensive that's there far more pressure to play it safe just so you’ll earn your money back.

3. Great characters usually only have a handful of truly interesting stories. A controversial point, but I think this gets at why superhero films tend to focus on either origin stories or constantly feel like retreads of the same ideas. 4. The actor is the draw of the western, while the character is the draw of the superhero film. With the western you can make different movies that emphasize different aspects of the actor’s persona or even have him play against type, while in a superhero movie the actor is something of an interchangeable widget that takes second place to the character. 5. At the end of the day, the audience doesn’t really want innovation or personal films all that much. This is only a crude summary of the piece’s arguments, so I really recommend reading the linked article above.

Superhero movies are the cowboy movies of our time.

This actually came up in the movie Shadow of the Vampire, where two members on the production team for the original Nosferatu ask actual vampire Max Schreck (played by actual vampire Willem Dafoe) what he thought of the book, though the movie plays the question more for melancholy and absurdity. https://www.youtube.com/watch?v=YgqgSaDCgC4

the best gag in dracula by far is how the entire time jonathan harker is imprisoned in dracula’s castle, dracula is pretending to have a full household of servants when in reality it’s just him running around doing everything, and it would be CRIMINAL to write a drac-centric adaptation and not milk this gag for all it’s worth. dracula dropping off harker in the carriage, pulling into the stables, then sprinting through the castle to answer the front door. dracula lurking outside harker’s bedroom for him to leave so he can sneak in and make his bed and fold his pajamas. dracula in the kitchen struggling to make food when he hasn’t eaten anything except blood in centuries. dracula giving up, turning into a bat in frustration, flapping over to the nearest farmhouse, stealing a pie off the windowsill, and proudly presenting it to harker for dinner.

The mirror universe, transporter accidents, other parallel universes, time travel, cloning technology operated by unscrupulous doctors and scientists, the holodeck...the list goes on and on.

The “would you fuck your clone?” question is so uncomfortably real in Star Trek because of the Mirror Universe.

Ah, but you see:

1. Any man can go out and buy one cake and spend something like US$12 on a cake, but it takes a man of true genius and cunning to steal US$480 worth of cake and not even get a police reprimand.

2. For Lex, it’s not enough that he has forty cakes. EVERYONE ELSE MUST HAVE ZERO CAKES!!!

And That’s Terrible!

Now that’s interesting: Su rebuilt the domes of Zaofu. I always thought Kuvira’s order to dismantle the domes was a very important symbolic act. While her order was a practical directive to acquire enough refined platinum to build her mech, it also illustrated a fundamental difference between Suyin and Kuvira. Su’s concern was always to maintain Zaofu as a personal fiefdom separate from the Earth Kingdom. The city was built in a valley and each district had its own dome to isolate it from both the outside world and its neighbors. By contrast, Kuvira saw Zaofu as a model for how the EK could become a modern multinational "nation” that Su kept for herself. By dismantling the domes, Kuvira not only asserted her ownership of Zaofu, she also broke down the barriers that Su had erected to isolate Zaofu from the EK. To spread the gospel of Zaofu to the rest of the EK, Zaofu needed to come out of its shell and join the EK as a city like Omashu or Ba Sing Se. Seeing the domes rebuilt makes me feel that Su ultimately didn’t learn anything from her experiences in Book 4, and her main concern after returning home was to put everything back to the way it was and pretend the last four years never happened...which is a very Su thing to do. Unless, of course, this is a flash back, in which case disregard all that I have written. (Gonna tag @coppermarigolds and @the-moon-avatar in this post for funsies.)

The metalbending city of Zaofu, from The Legend of Korra: Ruins of the Empire Part Two.

Befitting my WWI obsession, I’d kill for a chocolate cake in the shape of a British Mark V. I want a goddamn rhomboid prism of cake, and I want it now.

I want a T-14 cake for my birthday sometime. I think the T-14 is among the more cake-like modern tanks, and also I am a Russian nationalist,

“Who killed Palpatine?”