Wednesday, June 1, 2016

Life After P I, Ch 3: If we can make it through the night (Revised)

[The original version of this chapter was done under time pressure and stress.]
[Hopefully, this version is better.]

[Shin Possible is the creation of Blackbird.]

Part I
Chatper 3: If we can make it through the night

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~~2029 – Earth~~

The two had long since stopped running and were now walking down their chosen road, the remains of an interstate highway.

They were three moving beacons, the twin green lights of Shin's hands, the blue beam of Jacob's palm-light. Anything with functional eyes --photo-receptive cells of any kind really-- would spot them, but at the moment they were more concerned with something that had no body parts at all.

With dusk passed, darkness ruled. Shapes seemed to flit in and out of existence, and the shadows moved in ways that didn't quite match the lights that ought to be casting them.

Shadows weren't erased by the three lights, they were frightened off by them.

* * *

“It's got to be an hour and a half since we stopped running and started walking,” Jacob said. “That's a lot of time to think; got any idea what they are?”

“Yeah,” Shin said, “I know what they are.”

Then why the Hell didn't you tell me?
Jacob thought but didn't say.

“I can't figure out how there could be so many, or why they're here, though,” Shin said.

“Well that's the same as everything else,” Jacob said. “What are they?”

“They're nothings,” Shin said.

Jacob sighed. “For people who don't know . . .” he couldn't think of the word, or words, for what he wanted to convey, “whatever the hell the term is.”

“No idea what you're talking about,” Shin said as Jacob tried to chase through his memory to find the words.

“Inside baseball!” Jacob said triumphantly. “For people who don't speak inside baseball could y--”

“What difference does it make whether the baseball is inside or outside?” Shin asked.

“I didn't make the language, I just speak it,” Jacob said.

“Well, what does it mean?” Shin asked.

“I don't speak spook --unless by 'spook' you mean 'spy' because I totally speak spy, not well mind you, but I speak it enough to have some understanding of what CIA types are saying,” Jacob said. “But this magic crap is something I don't know the terminology for, so for the benefit of the lay person over here, walking next to you, surrounded by things that appear to be living shadows, what do you mean when you say that they're 'nothings'? Because I've got a feeling that they're not sweet things you whisper in your girlfriend's ear.”

“See, that made sense,” Shin said. “Is it so hard to say things that make sense?”

“What are they?” Jacob said in a near growl. He didn't like being kept in the dark. He didn't like it literally, and he really didn't like it figuratively.

“They're absences, lacks,” Shin said. “They're the lack of light, the lack of heat, the lack of life.”

“That's very enlightening,” Jacob said, and it was only half sarcastic.

“Most of them are barely sentient, they can be kept at bay by heat, light, and life in large enough amounts.”

“Like sunshine?” Jacob asked.

“Yeah, like sunshine,” Shin said.

It explained why they only came out when the sun was setting.

“What do they want?” Jacob asked.

“What anything wants,” Shin said, “to thrive. They don't really think, they don't have a concept of good or evil, they just want to expand, to spread, to fill up any available space with themselves.”

“Like human beings,” Jacob said. “What happens if they fill our space with themselves?”

“No heat, no light, no life,” Shin said. “Do the math.”

“It's a race to see whether they snuff out our life force directly or kill us with hypothermia?” Jacob asked.

“The hypothermia is more likely,” Shin said. “A lot more likely. They really are just . . . nothing.”

“Anyone who's ever built a laser cannon on a space station knows that nothing can be really hard on a person.”

“Well, the good news is they aren't an absence of air,” Shin said.

“Mixed blessing at best,” was Jacob's response. “Vacuum might be cold, but because there's nothing there it takes a long damn time to freeze anything. With a full air supply, we'll freeze a lot faster.”

“You're always a ray of sunshine,” Shin said.

“I try to be,” Jacob said. There was no need for a sarcastic tone, some things had it built right into the words and the context. “So we can't up our life, but we can totally increase light and heat by making a fire.”

“Yeah,” Shin said, “but most mushrooms have too much water in them to make good bonfire fodder.”

“I'll keep an eye out for anything different,” Jacob said.

“Good,” Shin said.

“I could have been doing it already if you'd told me what we were up against when you figured out yourself.”

“Whatever.”

And with that, they lapsed into silence.

* * *

The surface of the highway was cracked, warped, eroded, missing in places, and so forth, but there was still enough of it to make it easy for Jacob to pick up on the sound of footsteps.

Footsteps behind them that seemed to be following them.

It took Jacob a few moments to be sure he wasn't hearing some kind of echo, then he said, “Someone's following us.” A moment later he added, “Or, you know, something.”

“I hear it too,” Shin said. “Don't look back.”

That didn't seem to make any sense, but this was a day for not making sense, so Jacob just asked, “Are you sure?”

“I'm sure,” Shin said.

* * *

“So,” Jacob said, “About the not looking back thing--”

“Don't look back,” Shin repeated.

“Whoever or whatever it is has almost caught up to us,” Jacob said.

“You're talking to a witch's girlfriend on Halloween night after being attacked by an army of dead people--”

“And animals,” Jacob said. “Don't forget the bear.”

Shin shivered. “I can't forget the bear. I want to, but I can't. The point is, don't look back.”

“Ok, Orpheus, I won't look back,” Jacob said.

“Did you have to use that reference?”

“Could be worse,” Jacob said; “I could have called you Eurydice.”

* * *

Shin was sure something was different.

They'd been through groves in the darkness before, but this one was different.
She tried to look more closely at her surroundings to figure out what was different. The dark pillars around them this time were definitely the source of her sense something about this grove was unlike the others. Not like stalks of mushrooms but . . .

“This was a birch grove once,” Shin said.

“Thank you pixie scout,” Jacob said. “Will it burn?”

Shin took a closer look at the husks of trees around them. “Dry rot,” she concluded. “It'll burn.”

“Bonfire?” Jacob asked her.

Shin nodded, not even sure if he was looking in her direction and said, “Bonfire.”

* * *

“Well, light it already,” Jacob said. Shin hesitated.

“What?” Jacob asked.

“There's a thing about fires today. . .”

“More Halloween stuff?” Jacob said not bothering to hide the fact that his annoyance bordered on anger. “Like me not being allowed to eat my damned apple?”

“I haven't eaten since lunch either,” Shin snapped back at him. “It's just that if we start this fire we need to keep it alive.”

“That's the plan,” Jacob said impatiently.

“Bad things could happen if we let the fire die,” Shin warned.

“Bad things like being pursued by living darkness?” Jacob said. “Or maybe living corpses? Or maybe--” having our entire world erased by changes to the timeline, he'd been going to say. Shin interrupted him.

“Bad things like it's possible our lives will be linked directly to the fate of the fire and the flames dying will mean death for us too,” Shin said.

Ok, maybe that was worth worrying about, but, “We agreed that the keeping the darkness back was worth the risk before we even left the city,” Jacob said.

“Yeah,” Shin said.

“Before you came to your disturbing death-by-hypothermia related conclusion as to what the darkness was,” Jacob added.

“Yeah,” Shin said. She lit the bonfire they'd set up with a burst of plasma. “I just don't like the idea that my life might be tied to something as ephemeral as fire.”

“My nemesis isn't the type to die just because a flame went out,” Jacob said.

* * *

Watching the fire made Jacob philosophical. Not that it took too much to do that.

Still, the fire. It destroyed, but in the process, it created a brilliant work of shifting art that was one of a kind. The flames consumed, but they caressed rather than devoured.

Air, spark, and wood all came together to create light, heat, and ash. It was the changing of forms.

He turned his attention to Shin. She was sleeping while he took this watch.
They'd flipped, he'd lost.

Sleep could make anyone seem likable. Without the power of speech or posture, one would never know that she was an irritating moralizing hero who had been constantly ruining his working days since they first met.

She seemed almost . . . innocent. Like she might have been one to run with his friends when they were kids. Looting dumpsters for food, pulling up grates on the road in search of warm places to sleep, maybe picking the occasional pocket.

While she slept it was easy to look at her and pretend she was a decent human being not the self-righteous child of the world's greatest moralizer and the biggest defector in the history of those who worked outside the established lines of the system.

Not that Jacob blamed Shego. He certainly had little respect for what she'd become, but receiving a full pardon in the wake of an alien invasion and having her cherished princess within reach obviously put more pressure to change on her than anyone could be expected to resist. So she'd been swayed.

He didn't blame her for that.

But, still, here was her spawn. One part Shego, the poster child for reform, one part Kim Possible, poster child for never wavering hero. And yet she looked almost . . . normal maybe?

Redeemable? Like someone who had potential?

Jacob threw some more dead wood on the fire and stoked the forming embers.
When you just looked at the flame, but knew nothing of the purpose, good and evil disappeared and you just saw the thing, you saw all of the potential but none of the hang-ups.

In her sleep, Shin looked like a potential friend.

When he was younger there had been times when a group was in a place where Shin would say they didn't belong just because it was all illegal or some such, and he'd had his turn at watch. He'd seen sleeping friends then.

When he couldn't sleep, but he pretended to so his sister wouldn't stay up to worry, he'd seen sis sleep.

Those were the only people he'd ever seen sleep before. The other kids he'd run with once; his sister.

Allies. Family.

Shin slept like them.

No way to tell that she was the fire that burned down your home, rather than the fire that kept you warm. Not when she was asleep.

* * *

A voice seemed to come from a great distance, “Get up!”

“Five more minutes,” Shin said. She didn't even need to give thought to it. It was her standard response.

“Now!” the voice said, closer now. “I need your random-- to Hell with it.” The voice was very close now. “They're getting away with the pan-dimensional vortex inducer!”

Shin was on her feet in a moment, shaking the sleep from her eyes and ready to fight or chase. Then she remembered what was going on and was trying to think of something truly nasty to say to Jacob when she noticed that he was bathed in blue light.

“Any of your random lore talk about that,” Jacob asked, pointing at the bonfire burning in shades from cerulean to cyan with perhaps just a hint of teal sprinkled in.

Yes, yes it did. “Run,” she said.

“What about keeping the fire--” Jacob tried to ask.

She grabbed his wrist and pulled him, “Forget it; just run!”

She lit the hand that wasn't holding his and, as soon as she was sure that he was running with her, let go of him and lit the other. Soon after he had his palm-light on again. A moment later there was a sound like very, very close thunder and air rushed back toward the birch grove threatening to knock them over.

“What the Hell?” Shin asked as she and Jacob helped each other up.

They were barely running again when the same thing happened back and to their right, then their left.

She didn't even understand the damage and didn't try to look at it. She didn't dare slow herself by looking anywhere but forward.

If she looked she'd turn, if she turned she'd slow down, if she slowed down...

She forced herself not to think about that and just ran.

Blue flame on any other night meant little to nothing. Flame color depended on temperature, what was being burned, trace elements, and various other things. But tonight blue flame meant a supernatural entity had entered the room.

The outdoors was a big room, and Shin doubted that even Logi himself could turn the flames that blue by mere presence.

Something had come, something powerful, and whatever it was was so interested in them as to knock the fire test off the scale.

Based on what little they'd seen of this changed world, she'd known it probably wasn't friendly before things went boom.

By her own light, she saw an obstruction ahead. “Left!” she called out and received a helpful shove from Jacob. At any other time, in any other circumstance, a shove wouldn't be a helpful thing, but at the moment she appreciated the ability to make a tighter turn and showed that appreciation by shaking the plasma from her right hand and giving Jacob a yank to allow him to do the same.

* * *

It felt like fleeing a tornado they couldn't see, not that Jacob had a lot of experience with tornadoes.

Sounds of destruction behind them, beside them, around them. They were being targeted, with the only plus side being that whatever was doing it didn't seem to have very precise aim. Not terribly accurate either.

But what the hell was going on? If things were exploding then the shock should-

Jacob shouted over the destruction, “It's super cooling --colloquial not technical sense--”

“Don't talk,” Shin shouted back, “run!”

“-the air,” Jacob said. “Air shrinks to zero point one five percent of its normal size when liquefied.”

Jacob stumbled and Shin helped to steady him.

“Shut up and run!” she shouted at him.

“That's a lot of space to fill,” Jacob said, “so near vacuum equals implosion and that's what's going on.”

“No talkie,” Shin shouted, definitely angry now. “Run!”

“Of course to do that,” this time Shin stumbled over something, gods only knew where they were or what they were getting tripped up by, regardless Jacob helped her up while running, then said, “It has to drop the temperature to below negative 320 degrees.”

“Fascinating I'm sure,” Shin snapped. “Shut up and run.”

“And it's doing it with obvious intention and targeting,” Jacob said.

“Would you just--” Shin shouted.

Jacob finally made it to his point, “I thought you said they were barely sentient.”

“I said most were,” was Shin's reply. “Will you shut up now?”

“Yes,” Jacob said. “Up shutting.”

And he did.

* * *

They'd both fallen so many times, they were doubtless scraped and bruised all over, each had helped the other too many times to keep track of, but it wasn't doing them any good.

They were running out of energy, and it was gaining on them. The air was colder than it had any right to be, and soon it wouldn't be throwing poorly aimed attacks at them to kill them, it would just engulf them and they'd become what it was: nothing.

Shin had never heard of a nothing this powerful before, nor one this smart. Certainly not one this large.

Hunting was entirely out of the question. Nothings tried to grow, spread, and even reproduce, and that meant pushing beyond the bounds of afforded them by the heat, light, and life, but to hunt living things? It was unheard of.

They were forces of nature: no more malevolent than nighttime, and as impersonal as a sunburn.

So why was this happening?

Was this one territorial? The life nothings were most hostile to, by nature not intent, was animal life. The life that threatened them most was warm blooded life and bioluminescent life. The draugar did not offer warmth, life, or even light.

That last was maybe-

The ground came up and hit Shin in the face. Jacob yanked her to her feet and she could feel the weakness in his arms. His legs must be doing just as badly. Just like her own.

“Keep up, Possible,” he said, but there was no fire in it.

He obviously knew what she knew: it was just a matter of time.

Jacob had gotten to figure out how the implosions worked, Shin was going to figure this out. Even if it was, very literally, the last thing she did. She would figure this out.

Like she told Jacob, draugar weren't zombies. They might not be people --or animals-- anymore, but they weren't stupid. They could have had the ruined city lit up just as easily as a human population. They didn't. Maybe they were afraid of what was chasing Shin and Jacob now.

Maybe by being the only living animals, and having a fire, a source of light and heat, an anathema to nothings, they'd marked themselves as enemies. But that only made sense if it had a reason to oppose those things rather than flee them.

Could this one be territorial?

She'd never heard of such a thing, but she'd never heard of this.

Could be that being out in the open with a bonfire was all it took to make this one come after them. Could be that that was equivalent of charging someone weapons out. Could be-

Both of them stumbled as the terrain changed drastically. It was a steep slope. It might have been an embankment, it might have been a natural feature, but whatever it was, they couldn't let it slow them down much. Shim scrambled up it and then heard Jacob fall and slide down.

She went back for him, pulled him up, and then had her plan of berating him die when she realized how much he was shivering.

“We're not going to make it, are we?” she said, right arm around him, left hand burning as bright and hot as she could manage.

“Stupid hero can't do math,” Jacob said through chattering teeth. Of course he'd go out with insults. It was, after all, their relationship.

She didn't say anything. The world had gone quiet. There were no more implosions. The nothing knew that it had won and was simply going to engulf them, the air grew colder.

“Jacob and Shin, subtract a Jacob, what's left?” Jacob said.

“I'm not leaving you,” Shin said.

“Stupid hero bullshit,” Jacob said.

She let go of Jacob, stood up straight, turned back the way they'd come, lit both her hands, and took a few steps toward what she assumed was the general direction of the center of the nothing, and tried to pick her last words.

Jacob's palm-light flickered and died.

She considered stealing from one of her mothers: I'm not going to let you kill Jacob; that's my job. Didn't fit. For one thing, it wasn't her job to kill Jacob. For another, it could send the wrong message since one mother had said that about her other mother.

She could feel her plasma cooling and see it dim.

She considered some sort of over the top thing about how she was the light holding back the darkness or saying that she'd claimed this ground and the nothing shall not pass.

The darkness was becoming so great it was hard to see anything, even her own hands.

Her consideration was broken when Jacob asked, “So, we're definitely going to die, right?”

That simplified things. She certainly considered telling him a comforting lie, but she wasn't going to have her last words be lies. So she just said, “Looks that way.”

There was a sound that, though familiar, Shin couldn't quite place, and then a sudden flurry of light.

Small lights with no apparent source danced around her

“Fireflies?” Jacob asked.

Shin turned to Jacob and got a better view of the situation. While the lights were flying in both directions and didn't seem to have any fixed course, they were all vaguely tracing the same shape: a large circle around herself and Jacob both.

“Will-o'-wisps,” Shin said, “Don't follow them.”

“Not Jack's lanterns?” Jacob asked in an amused tone.

“It's not funny,” Shin snapped, “they lead people to their deaths for fun.”

“I'm not actually laughing,” Jacob said. True, but he wasn't taking the situation nearly seriously enough. “And I'm not going anywhere.” That was a more pertinent point. He was still shivering. Still chattering teeth. “Aren't they supposed to be off in the distance?” he asked.

“They usually are,” Shin said, “I've never seen them this close and I don't--” Shin remembered the sound that she didn't recognize but knew was familiar. She took a closer look at Jacob, specifically his hands. There it was. “You bit the apple.”

He shrugged, “I'm not dying on an empty stomach.”

“I told you not to,” Shin said.

“Hey,” Jacob said, “notice how we're not facing immediate death from encroaching darkness anymore?”

He was right, and that was why she wasn't exactly complaining. They hadn't just pushed it back with their initial appearance, the wisps did seem to be keeping the darkness at bay still. They didn't seem to be losing any ground to it at all.

The most powerful nothing in history, and it was being held in check by a few dancing lights.

She thought about the situation for a bit, considering various possibilities.

“If we sleep the wisps will take the apple, then they'll leave, and we'll die,” she finally said. “We'll have to sleep in shifts. Again”

Jacob nodded, “The one who's awake guards the apple but also feeds out just enough to keep them interested.”

Finally he was taking the situation seriously.

* * *

Jacob accepted Shin's help as they walked, surrounded by the living lights, looking for a good place. He was simply too tired and far too cold to maintain professional animosity. Beyond the fact that his aching legs could use all the help they could get, the hands Shin held him with stayed lit at a low level, providing much needed warmth that circulated through the rest of his body.

Eventually, they found a place that Shin pronounced, “Good enough,” and, with her help, Jacob lay down on the ground.

* * *

Shin got first watch, she'd said that it was because she'd slept most recently, but the truth was that she was worried that Jacob was nearly dead.

Her plasma was both more and less versatile than most people imagined, but one thing the wild mass guessing public did get right was that she didn't have to worry about hypothermia under most conditions found on earth. She had internal heating the likes of which no earth creature --save those in her immediate family-- could compare to, much less match.

Jacob, on the other hand, was an ordinary human being who was simply at the high end of the scales when it came to athleticism and invention.

It was a decent camp, there wasn't wood, but there were enough dry-ish growths that she got a small fire going. Of course, they'd come this way with not much light besides that which the wisps had provided them. That was disturbing. She told herself that they hadn't followed the wisps, strictly speaking, they were just utilizing the wisps' light while the wisps followed them. She was able to accept that rationalization, even if she wasn't sure she believed it.

She made sure to throw out tiny bits of apple on occasion, she didn't want the wisps to lose interest. They circled at a steady distance, and right outside of that dark on dark danced in a malevolent fashion. The nothing that had chased them seemed to have attracted other nothings.

They wouldn't have the same power, intelligence, or malicious drive, but they were still dangerous.

She turned her attention to Jacob. Shin could tell by his breathing he was nearly asleep.

“Finally,” Jacob said, his voice so groggy Shin thought he might be talking in his sleep, “something else in the animal kingdom that's not dead.”

Shin didn't pay attention until Jacob said, “See?” and held up his hand. There was a large wolf spider on it.

Shin smiled.

“Normally a spider is just a spider,” she said, “but tonight that means that you've got the spirit of a loved one watching over you.”

Jacob sighed as he put his hand back down and let the spider crawl away, “Must be for you then. Sis is like us,” he closed his eyes and was almost asleep, but after a long moment, he said, “too young to have been born here,” and then he was really gone.

While Jacob slept, Shin thought about that. It wasn't just Jacob's family. Her older sisters, her friends, her rivals, Kieran . . . if Jacob was right about the effect of changing the timeline, and it made sense that he was, none of them would exist.

She and Jacob didn't belong in this world, and so many of the people she cared about had been erased from existence entirely.

On the up side, Jacob didn't snore. On the down side, Shin had never felt more alone.

⁂
~~2004 - Earth~~

Tara was too cold to use her cellphone properly. Her fingers didn't do precisely what she told them to do, she was shivering so much she was at risk of hitting the wrong buttons, so forth. Bonnie dialed Wade. Tara had asked Ron to, but Bonnie had insisted.

Holding the phone was an easier thing that didn't require fine motor skills, so she was able to talk to Wade on her own.

"Wade?" she asked when the ringing stopped.

"I'm here," Wade said.

"The other things," Tara said, "the ones that aren't the dogs, they're dark and cold."

"Can you be more specific?" Wade asked.

"No, you don't understand," Tara said. "That's all they are."

"Dark and cold?" Wade asked. A charitable conclusion was that he was perplexed. Less charitable conclusions would be that he was incredulous or possibly even trying to humor her the way one might humor a small child in the middle of a schizoid break.

"They don't have any solid parts," Tara said, making an effort not to get angry at Wade for failing to understand the concept. "They're just empty air where the inside is darker and colder than the surrounding area."

"Ok," Wade said, his tone now a neutral acceptance.

"And if the amount I'm shivering right now is any indication," Tara said, "They can be really cold when they're in a swarm."

"There was a heat spike and then they seemed to scatter," Wade said.

"Fire breathing," Tara said. "I figured dark and cold wouldn't like fire."

"Since it's light and hot?" Wade said.

"Pretty much," Tara said. Then she paid some attention to her surroundings again. They were in the fallout shelter, which was quite spacious. It had obviously been designed to hold everyone who would normally be at the school -a thousand students with associated faculty and staff- plus area people who didn't have a closer shelter.

It more than fit their needs. People were having wounds treated, other than that nothing much was being done by anyone. Most people seemed stunned or afraid; everyone seemed run down.

* * *

Josh hoped everyone else was having a better time getting clear than he was, which had been the plan. The relay had to end somewhere, and the last person wouldn't have anyone distracting the dogs. He'd chosen to be the last person because he happened to be in charge of his group, and he didn't want to order anyone else to do the most risky part. If he'd known how hard it would be, maybe he'd have done something intelligent like let one of the track stars, who had volunteered and probably would have been more likely to survive, take the job.

As it was he was staying alive mostly by means of having arms. The dogs were big, the dogs were scary, the dogs were fast, but they were incapable of changing direction as quickly as a human being who could reach out, grab onto something, and pivot around it as if they hated their shoulder with a fiery passion and were just begging it to become dislocated.

He'd tried doubling back to the auditorium because the stage rigging there was the only place in the school accessible solely by ladder, but so far it was all he could do to keep one step, sometimes less, ahead of the dogs. Actually making directed progress proved entirely impossible.

Josh pulled another tight corner and, as his shoulder cried out to him in pain, saw what he considered to be the least appealing sight he'd ever seen in his life: three more dogs at the end of the hall he'd just turned into.

At the earliest opportunity, he smashed himself into a classroom door -he didn't have time to see if it happened to be locked or not- ran across the room, and jumped for the window at full speed.

On the other side he didn't appear to be impaled by any large pieces of glass and didn't feel liked he'd severed any major blood vessels, so he assumed he'd live at least a bit longer and started running to what he thought was the nearest way back into the school: another window they'd broken, that one with something less fragile than a human body and as part of a coherent plan.

He needed to get back inside because the only thing that had kept him alive so far was being more maneuverable in the tighter indoor spaces.

Once he was moving at a decent pace in what he thought was the right direction, he hit "the hole that looks like a button belongs over it" on the Kimmunicator and said, "Wade, we have a problem," the moment he heard it crackle.

"I see them," Wade said, "but they weren't there a moment ago."

"I don't really care where they were a moment ago right now," Josh said. It was harder to speak than he thought it should have been. He was running out of steam.

"I'll tell you the moment I've found a way to help," Wade said, "Until then I don't think you want me distracting you."

"Find it fast," Josh said.

* * *

When Tara's phone rang she answered it with, "I was about to call you."

"We need to help Josh," Wade said. "Wait, why were you going to call me?"

"Josh," Tara said. "He's the only one from the distraction that hasn't made it in. What's going on out there?"

"He can't shake the dogs," Wade said, "and it looks like they're materializing inside the school, so now there are more of them and they've joined the hunt."

"Materializing. . ." the truth was that Tara didn't really care about how things fit together right now. However, some part of her brain was still looking for patterns and trying to put puzzle pieces together. That part had an idea. "At the explosion site?" Tara asked.

"I don't know," Wade said, "maybe."

"Not important right now," Tara said. "What do we do to get Josh safely in here?"

* * *

Ron's head still hurt horribly, but he was steady on his feet and he was, he felt, ready for action. When Tara picked up the phone he listened, all that he could really make out from Tara's side of the conversation was that Josh needed help.

He thought he vaguely remembered Tara talking to Wade over one of the school's phones around the time she stopped carrying him and he started walking. Maybe she was talking to Wade now.

"Is that Wade?" he asked Tara.

Tara nodded.

"May I?" he asked. Tara just handed him the phone. "Wade, what's the sitch?"

"Kim tried to use the transportulator to get to you, but instead she just disappeared," Wade said. "There was a possibly related explosion in an unoccupied area of the school, but no one's been able to check it out because giant black dogs have been attacking people. I can't tell if they're related to Kim or the explosion.

"It would be an extraordinary coincidence if they weren't, but we've seen bigger ones on a monthly basis so-"

"What about Josh?" Ron asked.

"The dogs seem to be coming from inside -I don't know how- almost all of them have left the area and are terrorizing the rest of Middleton, but about a dozen are still there, and they're chasing Josh," Wade said. "They're too fast to outrun, too close behind him to hide from, and all of the work he's doing to evade them has got to be wearing him out."

Ron thought about it for a moment. "Is the roof safe?"

"How would he get to it?" Tara asked.

"I'm with Tara on this one," Wade said. "Even if he could manage to get the keys to unlock the maintenance access to the roof, which is doubtful when he's on the run, he'd end up showing the dogs the way."

"My grappler is still in my locker," Ron said.

"Are you sure?" Wade asked. "I don't even remember the last time you used it."

"Trust the Ron man," Ron said.

"The Ron man has a head injury," Tara said. "Maybe you should sit this out."

"Ok, so you'll need to get to your locker, have time to go through your mess, get the grappler, and then get to Josh," Wade said. "All with a dozen death dogs of doom on the loose."

Wade sighed, "Can I talk to Tara?"

Ron was confused. Where did Tara come into this? "Uh, sure," he said and handed Tara her phone.

* * *

"Josh is running out of time, and Ron's plan is the best idea --the only idea-- so far," Wade said. "I can't exactly scan Ron through your phone, I need you and Rufus to decide if Ron is really up for this."

"Ok," Tara said into the phone, then she looked at the naked mole rat whose head was peeking out of Ron's pocket. "Rufus, do you think we can keep Ron safe?"

Rufus said, "Sure thing," or at least Tara was pretty sure that was what he said, and gave a salute.

Tara said, "We're doing Ron's plan," to Wade.

"Wait, we?" Ron asked.

"You're not going alone," Tara said. Then she realized her mistake and said, "Sorry," to Rufus. "You're not going as the sole human," she amended to Ron.

"I'm coming too," Bonnie said.

"What!?" Ron and Tara said in unison.

"T, I'm not letting you go out there with only . . . him to keep you safe," Bonnie said.

It might be legitimate concern, it might be that she was hoping that saving Josh Mankey would win her a date with Josh Mankey. Probably both, actually. It didn't matter.

"Josh doesn't have time for us to argue," Tara said as she headed for the exit. Bonnie and Ron fell in beside her. "Bonnie, give me your phone."

Tara called Wade on Bonnie's phone, "Wade, I need you on this phone and my phone directing two of us while we make distractions to give Josh and Ron the time they need," she said and then handed the phone back to Bonnie.

* * *

Every part of Josh ached and he was so exhausted that simply collapsing to the floor seemed like the most inviting of all possible options. The fact that that would get him mauled and possibly eaten was seeming less and less important the more time went on. He just wanted to stop.

For the love of all that was holy, all he wanted to do was rest.

He'd been going in erratic vaguely circle-like things forever, counting on the tight corners he was making to keep on buying back the seconds he was constantly losing to his pursuers.

The Kimmunicator crackled to life.

"Thought you forgot about me," he said. It felt like hours since they'd spoken.

"Sorry," Wade said. "There's not a lot to work with so-"

"Just tell me there's a plan," Josh said.

"How do you feel about rooftops?" Wade asked.

"Please make sense," Josh said. It was more pleading though. Would this damned night ever be over?

"Grappling gun to the school roof, unless the dogs can fly or climb vertical walls they won't be able to follow," Wade said.

"I can't go back to Kim's locker," Josh said. Too much straight line, not enough tight corner, the dogs would run him down before he made it.

"Ron's getting the grappler," Wade said, "Tara and someone else are running interference."

Tight corner, shoulder pain, but at least the sound of a multi-dog pile up, though even that was losing its appeal. The only thing that mattered was somehow being able to stop going.

So, talking to Wade, difficult though it was, might be worth it.

"Someone else?" Josh asked.

"I didn't ask her name," Wade said, "but she should be working to get you some breathing room."

"God, I hope so," Josh said.

* * *

Tara and Ron had an easy time getting to the school, with all the dogs in the area tripping over themselves to try to get to Josh, the only thing they had to avoid were newly appeared dogs leaving the area.

It wasn't that hard. Bonnie had stayed behind in the gym. Unlike the school building itself, the gym had a simple --easy to locate and use-- back up generator. Once the gym had power it could be put to good use, which is what Bonnie was supposed to do as soon as Ron and Tara were clear.

Part one of the plan was to try to break up the dog pack chasing Josh. It carried with it some risk. A dozen giant dogs in a school hallway probably were slowing each other down, and certainly if two tried to fit through a doorway at once they'd go slower than one, so fewer dogs after Josh probably would mean that they were going faster. But fewer was the first step on the way to none.

Bonnie's voice came over the gym's PA, "Attention to all of the angry dogs in the area, you seem to have made a mistake. The Middleton Mad Dog is singular, not-black, a bulldog, and played by a sidekick in a mascot mask he made himself."

There was a reason Bonnie's talent show performance had been ballet and not comedy.

"Now that I've cleared this up for you, I expect you all to leave. You have interrupted the talent show that I was about to win and I want you gone."

After that things just got more generic, but Tara had to admit that Bonnie was doing her job. It would be impossible for the dogs to miss that something had changed and there was something happening at the gym.

In addition to turning on the PA system, they'd powered up everything they could find power switches, knobs or dials for. With the entrance to the fallout shelter firmly locked behind them, the only person at risk at the gym should be Bonnie herself, and she had Wade to tell her when the dogs were actually on their way in.

They'd figure out how to get the dogs back away from the gym later. Right now they needed to get them away from Josh.

Her phone rang. She answered, "Go, Wade."

"It looks like several of the dogs are breaking off their pursuit of Josh and heading for the gym," Wade said. "Also I have some sort of good news."

"Sort of good?" Tara asked.

"The other things," Wade said, "the cold dark things, it doesn't look like they're staying in the area; after you drove them off the first time I guess they didn't want to stick around. Plus, analysis of their movements earlier suggests that they weren't hunting so much as they happened on the people making the crossing from the school to the shelter."

"Sort of good," Tara said. She didn't feel good about it. She didn't feel bad about. She didn't feel about it period. She just mentally filed it away.

"Well, it means you don't have to worry about them right now," Wade said.

"Thanks for the update," Tara said. "What about dealing with the rest of the dogs? There's no power in here so we can't just distract them with the PA."

"Yeah, and the explosion seems to have been in the main office so there might not be anything there to use anyway," Wade said. "I'm trying put together an inventory of what's in the school to see if there's anything useful, but the record keeping is atrocious."

Yeah, Tara thought, almost as bad as the safety standards. Then the proverbial carcinogenic chemical light lit.

"Wade," Tara asked, "could you get us to the science labs?"

Ron, who had been uncharacteristically quiet so far, said, "Please tell me you're not going to open an inter-dimensional portal with Justine's . . . thingy."

"No," Tara said. "Creative idea, but no. I was thinking more of recreating some of the more mundane mishaps, just on purpose and directed at the dogs this time."

* * *

Wade had said that some of the dogs had been drawn away, but Josh hadn't noticed a difference.

Then there had been a prolonged lack of communication. Josh liked to think that he was generally a positive person, but he was beginning to suspect that maybe he should just accept that he was going to die soon and try to make peace with it. However one did that.

At the very least it had to be better than all this running.

Then something went boom behind him, with a flash of light, and he couldn't help turning, just a bit, to look.

He fell over and ended up sliding a bit and rolling a bit on the floor. He didn't bother trying to get back up. It was over.

Then he felt himself being lifted up.

"Come on," someone said, "before they find another way around or realize that it was all flash and no substance."

"Wade, Tara's plan worked," someone else said, "where's the nearest exit?"

* * *

"How many windows do you think we've smashed tonight?" Tara asked Ron and Josh. Ron was looking a lot better; Josh was looking a lot worse.

"No idea," Ron said just before smashing one more. "I do know you set part of the school on fire."

"I didn't notice a fire," Josh said.

Given that the first thing he'd said to Ron and her, at least a full minute after they'd started carrying him, was, "Am I dead?" Tara didn't think Josh had been noticing much at that point. Still, he was right, there had been no fire that time. Just a strange bubbling pink gooey mass that had a tendency to explode with bright light, loud noise, and very little actual effect upon anything.

"He's talking about earlier," Tara said, "before we got to you." She and Ron carried Josh out of the window. When they set Josh down and Ron fired off his grappling hook launcher, which was, for some reason, shaped like a hair dryer, Tara asked Ron, "Do you think it's still burning?"

* * *

"Booyah!" Ron said once Tara and Josh were safely on the roof. He'd have preferred to have the others go first, but he couldn't help lift if he were on the ground, and Tara was lighter, so it made sense to have her be the one getting Josh up and him to be the one to go first.

Josh, for his part, barely seemed able to stand, much less climb the side of a building.

Now they just had to get Bonnie and themselves to safety.

* * *

Josh woke up --he didn't remember falling asleep-- in a room that he'd never seen before. It was a big thing with low ceilings and bare concrete walls. Someone was talking to a group of people, when Josh picked it up, she was mid sentence:

"--word that the high school will be one of the primary evacuation centers tomorrow, so all we need to do is stay the night here, then we'll be flown to safety tomorrow and professionals can handle this."

A bit more awake, Josh could see that the speaker was the blonde girl who had been watching over Ron in the backstage room. Josh had been assuming that she was Tara ever since Wade first used the name.

That was ok for a name over a Kimmunicator, since all that he'd really needed to know was that “Tara's group” was the one he was directing people to, not who Tara actually was. Now that they were in the same place he'd have to check, at some point, that that really was her name.

"Who put you two in charge?" someone in the group asked. It was the kind of thing that, even though, in the form of a question, was pretty much always raw invective. This time wasn't any different than that usual.

"Uh, we three," Bonnie said. Josh didn't know Bonnie much better than he knew maybe-Tara, but Bonnie was impossible to miss. Bonnie made sure it was always that way. That meant that Josh had no problem remembering her name.

"Sure, whatever," the same someone said. "Why are you people in charge?"

"Because no one else is," the girl who might be Tara said. If she was then she had saved him. The whole rescue was a fuzzy blur, but he remembered someone saying, “Tara's plan worked,” right after the dogs stopped following him, and Wade had said before that that Tara, Ron, and someone else were involved in the rescue attempt.

If she was Tara, or “someone else” for that matter, Josh would have to thank her.

Possibly Tara added, "As for who put us in charge, Wade did."

"Who?" someone else asked.

"Team Possible's tech guru," Ron said

"The one who got us to this shelter alive," person he thought was Tara said. "Or did you fail to notice that the whole thing was coordinated over the phone."

Josh didn't know Tara, obviously. He didn't even know her name for sure. But he'd seen her around and he knew that she usually wasn't confrontational. He'd never seen her in a fight, never heard her utter harsh words, seen no indications of animosity of any sort. She'd always seemed to be friendly to whoever she was around.

So, the way she had responded was definitely not normal for her. It had been a long night, nerves were frayed.

"If Team Possible is running things," the first someone said, "then where is Kim?"

"Missing," Ron said in a way that made Josh fully expect it to be followed by, "you--" wait, did Ron even swear? Regardless, the way it was said made Josh anticipate a "you [something very bad]" that never came. Ron left it at a single word.

It hung in the air for a bit. Josh wanted more information but knew that there probably wasn't any. The search for more information on what happened to Kim was called off before it even began.

Ron, probably-Tara, and Bonnie's phones all rang at the same time.

* * *

"Wade, I can't tell you how much I don't want to hear bad news," Tara said.

"Sorry," Wade said.

"Just sitch us," Ron said and Tara heard it in weird double because she could hear him directly and over the phone.

"Remember how you said the cold dark things could make it really cold when they swarmed, Tara?" Wade said.

And Tara felt a sinking feeling.

"They're swarming," she said; it wasn't a question.

"They're appearing much faster now," Wade said, "much, much faster, and they don't appear to have any intention of leaving the area. If the temperature keeps dropping at the present rate-"

"We'll be dead before morning?" Tara asked.

"Uh, yeah," Wade said. "Pretty much."

Tara looked at the crowd of people, who were all reacting to what they'd heard her say. She looked directly at the senior who had been asking about why she and Ron were in charge before, and said, "If anyone else wants to be in charge, now would be a great time to step up."

Barkin was off inspecting the something or other, or else he'd have claimed command, but of the people who were in this part of the shelter, no one said anything.

"Ok, now that that's settled," Tara said, then she returned her attention to the phone, "Wade, do we have a plan?"

* * *

Ron, Tara, and Bonnie had gone to a corner of the shelter to plan. It happened to be the corner that Josh was in because he was a part of this too by now and, more importantly, he'd gone trick-or-treating with Ron last year as one half of a two person unicorn costume, and as far as Ron was concerned anyone who would do that was totally cool in his eyes.

They put Bonnie's phone on speaker because the prototype Kimmunicator had an annoying crackling sound and of the phones Bonnie's had the best speaker mode. Then they started to brainstorm.

It went, Ron thought, fairly badly.

"It's not that I can't make something that produces enough light or heat to drive them off, given what it took last time and extrapolating for-"

"Wade, I think you're losing the second half of your bifurcated thought," Tara said.

Ron wasn't sure what bifurcated meant, though it presumably had something to do with the number two and fur.

Wade, obviously, did know. For one thing, he was Wade. For another, he responded, "It's just that I can't do it in time."

"Could you help Ron and Rufus build something?" Tara asked.

Ron said, "What!?" at the same time Bonnie did. Then he said, "Jinx, you owe me a-" and stopped when he caught Bonnie's glare.

So it was straight on to the complete confusion, "What makes you think I can-"

Bonnie, being Bonnie, cut him off, "T, he can't build some super science device."

"Are you sure?" Tara asked.

"Yes!" Bonnie said.

"Tara, I'm-" Ron said.

Tara, being most un-Tara-like, cut him off. "Rufus can program a VCR, you once built a doomsday device, and Wade is a certified genius. I think the three of you can come up with something."

Ron tried to think of when he would have built a-- right: when Rufus briefly became a super genius and everyone thought it was Ron. Drakken had kidnapped him and forced him to build a doomsday device which, while not leading to doomsday, did in fact, surprisingly, work. It had given him the confidence he'd needed to stop failing algebra last school year.

* * *

Bonnie tried to stop herself from shaking. Her hands in particular since she was assembling something that was supposed to save their lives, but really if she could get any part of her to be still she'd count it as a win. Her mouth was clamped firmly shut to stop her teeth from chattering so she couldn't even complain. The rest of her was not so easily stilled. The shivers ran deep.

She plugged in a wire with numb fingers, and looked for the next part.

They'd talked through it all inside, of course, but that wasn't the same as assembling it. Not out here.

It was snowing.

The roof of the gym made sense. It was a high place so the light would have good range, it was a roof so they could be safe from the dogs.

Her fingers were numb. It was snowing.

"Everything's hooked up," she heard Tara say. "Now we see if you're as good as I think you are."

Under normal circumstances Bonnie might roll her eyes or think, "No innuendo there, nope, none at all," but these weren't normal circumstances.

We're all gonna die
, Bonnie thought.

"Cover your eyes B," Tara said. Bonnie did, not that she thought it would matter, not that she thought this cobbled together thing would even work. She did because Tara was a friend, and she saw little harm in humoring a friend who, like her, wouldn't live to see tomorrow.

Then, at the edges of her vision, where the arm she was covering her eyes with met her face, she saw red light. As if she were shining a flashlight through her fingers.

"I told you it would work!" Tara said.

Bonnie couldn't be sure, but she thought she felt less cold.

"So, how do we get off the roof without blinding ourselves?" Ron asked.

⁂
~~2004 – The After~~

Behind her Kim heard shouting. Alarm was being raised. She kept running. There was a tiny impact on the rock to her right --chips of rock seemed to jump from the wall of their own accord-- she heard the shot a moment later. That was no shotgun.

Someone had obviously broken out a rifle and they hadn't missed by much. Whoever it was was too good of a shot for her to risk giving them another. She had to break line of sight.

She was near an exit to the chamber, but not close enough. A glance at the ground showed a loose gravelly consistency. She dropped into a slide, a bullet passed through the air above her.

Much too close. Much too good of a shot. She had to get into the close twists of the tunnels; the open air of the cavern was a death sentence.

She rolled and twisted to position herself, then launched into a sprint. Almost as soon as she was safely around a corner she heard another bullet hit the rocks. She didn't turn to look, but it sounded like it had landed right where she'd been a moment ago.

Kim, very definitely, hated guns. Give her energy blasters, death rays, Rube Goldberg traps, and so forth any day.

All plans were on hold now. Her presence was known, they were firing guns --actual bullet-shooting guns-- at her, survival was the only concern right now.

When she'd started to get called for dangerous missions her mother had sat down with Kim and told her that she couldn't help anyone if she didn't look after herself.

That definitely would be true if she died here.

What even happened if a living person died in the After? Would she just stay in the exact same place? Would she be sent to a place with people more like her?

She didn't want to find out.

She was running for the third time since she arrived and two things wouldn't leave her mind.

The first was that this time was different. She wasn't being hunted by animals, as it had been with dogs, nor was she fleeing from a single person, as had been the case with the ghost. This time an intelligent and organized group was after her.

The second was that the day, if it was the same day, had been long and tiring. If she needed to run as fast or as far as she had before then she would fail, her pursuers would catch her. She simply didn't have the same energy she started with.

Given the work Kim did, it was important to be able to distinguish between temporary exhaustion --which could be recovered from fairly quickly, hours at most-- and actually being tapped out. This was the latter. She wasn't spent for the moment, or even the hour; she was without any reserves to call on.

If she survived she would need to find a place to hide. To rest and recover. If she survived.

* * *

Kim was still going as fast as she could, but it wasn't what it used to be. She'd slowed into a jog, and was doubtless losing whatever gains she'd made on her pursuers.

And then she saw the millipede. It was bigger than a person. Well, maybe not bigger. Longer than a person was tall. Perhaps it had less volume than a person but . . .

As it crawled Kim watched with horror and tried to remember what it was that had seemed so important a few moments ago. Big. Huge. It was really, really big.

Oh God, it was . . .

A voice behind her, she couldn't make out the words, pulled Kim back into the moment. She realized that she was standing completely still. She didn't remember stopping. She didn't know how long she'd been stopped for. Didn't matter, she'd lost precious seconds, maybe more. She resumed her exhausted jog and mentally cursed herself for letting a mere giant insect send her into a near catatonic state.

At the next fork she'd try to fake a trail in the direction she didn't go. Maybe that would buy her some time back.

* * *

Kim had finally bought some breathing room, but it would be useless if she didn't find a place to hide. She needed to lose her pursuers; she couldn't just stay ahead of them indefinitely.

She searched the shadows of this cavern looking for anything--

“Aren't you an odd little one?” a female voice commented. There was something strange about the voice. It didn't seem to come from anywhere. Normally Kim could pinpoint a sound, distance and direction, without even trying. Sure, since she'd landed in this place there had been many misleading echoes, and intentional tricks could mess her up a lot too, but there wasn't any sign of either echo or trick and yet she had no inkling of where the sound had come from.

Kim looked around and saw nothing but rock, dirt, decaying plant matter, and ferociously large spider webs. It wasn't the worst cavern she'd been in. It didn't even rate in the worst ten. No sign of the source of the voice though.

No indication of threat from it either. True, it probably would turn out badly, but before it did maybe Kim could gain useful information by speaking. At least she might learn who was here with her.

“Who said that?” she asked cautiously.

“Oh... 'said' isn't the right word, dear little friend,” the voice responded. “My species doesn't have a larynx, so I'm afraid English isn't something I could vocalize.”

Kim processed that somewhat disturbing tidbit and decided that, if she graded on a curve, it only rated as a weird factor of two on as scale from one to ten.

“English,” the voice 'said'. The tone was musing, more focused on its own thoughts, it seemed to Kim, than the conversation. “I haven't seen one such as you since Vergil was giving guided tours. Back then what you know as English didn't exist.

“That was almost a century before your English bard Chaucer famously wrote in his native tongue. I doubt you'd recognize his language as English, dear little friend.”

That was true. Kim had once listened to an excerpt of The Canterbury Tales recited in properly pronounced Middle English once. It had been beautiful and captivating, but she hadn't understood it in the least and Kim wouldn't have known it was a form of English if she hadn't been told before the recitation.

The voice had said so many words, but Kim still had no idea where the voice was coming from or, for that matter, how this communication was taking place.

“If you aren't speaking,” Kim asked, “why can I hear you?”

“Why I'm thinking at you, dear little friend.”

Kim wasn't sure what to make of that.

“Why haven't you shown yourself to me?” Kim asked.

“Because you haven't asked me to,” the voice thought at Kim.

“Would you let me see you?” Kim asked.

“If you'd like, dear little friend,” the voice said.

“Please and thank you,” Kim said.

“Turn around,” the voice said.

Kim did and at first she saw nothing. Then she caught a hint of movement above her. She looked up and saw something descending slowly. The closer it came the clearer it was. Two ball like sections --like a figure eight or a peanut-- and some protrusion... oh God, eight legs!

Kim stood statue still as the giant spider descended. She didn't want to, she needed to put more space between herself and her human-like pursuers, for one thing. She should still be moving as fast as she could, but instead she could barely breathe.

Two of the eyes were larger than the rest and the spider was now so near that she could see her own reflection in them.

It was the spider's abdomen, though, that drew most of Kim's attention. The cephalothorax looked more or less like she expected a cephalothorax to look, aside from the fact that it was larger than her own thorax. The abdomen, though, there was something odd about that. It was covered in strange lumps. Kim didn't expect a spider, even a giant spider, to have an extremely bumpy abdomen.

It was when Kim caught hints of motion in the bumps that she realized the truth. The bumps weren't part of the spider. The bumps were not growths on the spider. The spider was carrying it's very live young on its abdomen, and each of the bumps was itself a giant spider. A baby spider that was already giant by spider standards.

That was the revelation that allowed Kim to breathe, to move, and to resume her exhausted jog.

“You'll never escape,” the spider thought at her.

“Am I caught in your web?” Kim asked, hoping that sarcasm would beat back her fear.

“I don't have a web, dear little friend,” the spider thought at her calmly. “I'm a hunter, not a trapper.

“The webs were here when I moved in, and I keep them around because I feel they give the place a nice ambiance.”

“I'm not interested in your interior decorating!” Kim shouted. It might have had more effect if not for the fact she had to do it between ragged breaths and it was, at best, at half volume.

“Then to the point,” came the spider's voice. “I was not referring to myself when I mentioned that you would not escape. The ones who chase you are not far behind and would have found you sooner or later even without your shouting.

“You know I'd have heard you just as clearly if you merely thought your commentary in my general direction, dear little friend.”

“Fine,” Kim thought trying to send it in the general direction of the spider. “Whatever.” Kim didn't slow her pace. “You underestimate my chances.”

“Oh,” the spider thought back, “I don't doubt that you'll put up a fight, but this is no place for creatures from the living world. I very much doubt you'll survive.

“Even so, dear little friend, do fight. Fight until your dying breath,” the spider thought at her. “Then the ones who catch you will be wounded. Easy prey. I believe you've noticed that I have a family to feed. It would be a shame if we only had you to eat.”

* * *

This was new. A tangled mass of twisting tunnels. To reach it she had to jump hip deep in decaying something, but it might be just what she needed: a place where she might be able to lose her pursuers without needing to be faster.

“I harbor no animosity toward you,” the spider said.

“You said you'd eat me!” Kim shouted in her mind.

“It's what I do; it isn't personal.”

“It's personal to me!”

“Really? You had some personal grudge against everything you've ever eaten?” the spider asked. “It seems a strange way to live to me. It must be exhausting to have so many vendettas and harbor so much distaste.” There was a pause, but not long enough for Kim to figure out how to respond. The spider continued, “Tell me, if you find yourself without enemies, do you go hungry rather than eat something you have nothing against?”

“It's not the same,” Kim said.

“I imagine that the things that have died to feed you didn't like the prospect of dying any more than you do.”

“I don't hold conversations with my food--”

“That's awfully impersonal --just kill them and eat them-- especially for someone who takes things so personally,” the spider thought at her. “But to the point: are you suggesting that you'd find the prospect of me eating you more appealing had I refrained from conversing with you first?”

“I don't eat things capable of holding conversations. I never eat anything as sapient as you or me.”

“How could you know that if you don't talk to your food?”

“You're planning to kill me,” Kim thought. “Conversation over.”

“No, I've said I'm going to eat you,” came the spider's voice. “If you'd paid attention you'd know that I'm not planning on killing anyone until you're already dead.”

“That's very comforting.”

“In fact, you could say that I'm planning to avenge you. And then eat your killer once the deed is done.”

“I think I'll pass on the whole dying and being avenged thing,” Kim thought.

“I doubt that, but I encourage you to try,” the spider responded.

“So that it'll be easier for you to kill and eat my pursuers.”

“As I said.” There was a moment's silence. “It is strange for them to have come so far, and with such conviction too. You must have angered them a great deal, dear little friend.”

Kim sent no thoughts in the spider's direction.

“They rarely come into our territory at all.”

“I wonder why.”

“No you don't. You don't wonder because you believe that you already know,” the spider said, “but you are incorrect about their reasons, dear little friend.

“It has nothing to do with squeamishness such as your own.”

“Then what is it?” Kim asked.

“They are death and we are life. We convert death into life -- the others more so than I. The others feed on death, I feed on the others, and one day I, in turn, shall be fed upon and so all of us together perpetuate life.

“Those who chase you have no interest in new life, new growth, or rebirth.

“They would freeze themselves in death and prevent any life from benefiting from what they refuse to leave behind,” came the spider's voice. “They wish to remain in their former bodies so badly that they've willed new bodies into existence here in the After, but they cannot escape the fact that they are dead.

“Instead of feeding a new generation of life, their bodies decompose in a most unnatural way. Microbes and small bugs might feed on them, but for the most part . . .

“Well, they dislike the idea of being eaten even more than you do, and so they refuse to stand aside and let new life be born of what they ought to leave behind.

“They are decay without regrowth, they are death without life, and so they hate everything that we represent.

“What I eat, dear little friend, gives life to me and, since I share, to my children as well. When I am gone my body will give life to whomever should happen to eat me, probably a carrion eater, and that one will in turn be eaten to give life to yet another.

“You may be disgusted by what we do, but without the endless cycle of death and life all life would cease.

“Whether I eat you today, or you prove me wrong, live to a ripe old age, and aren't fed upon until you're laid to rest in your grave and the much smaller agents of regrowth upon your word feed upon you, one day you will be the fuel that allows something else to keep living. That is how the cycle will continue. Your death will give life.

“Those you flee would see that cycle stop, simply because they fancy themselves more worthy than the things that would feed upon them.

There was a pause, and Kim wondered if the spider's monologue had truly ended or it was for some kind of dramatic effect.

“On your left,” came the spider's voice.

It wasn't, exactly, that Kim trusted the spider. The reasoning did make a certain amount of sense though: let Kim weaken the others, then pick off those left standing after the fight. So she didn't really hesitate. Kim lunged sideways and her body smashed into one of the corpses that had been chasing her. A gun was dropped into the muck they were both wading through and Kim did her best to keep her pursuer from the area it had fallen in.

* * *

“It seems I was wrong, dear little friend,” came the spider's voice.

“About what?” Kim asked aloud, slightly smug.

“You've made it through my territory alive, and now no one chases you. It seems you won't die today after all.”

“You must be disappointed,” Kim said.

“Not in the least, dear little friend,” came the spider's voice. “You weakened my prey wonderfully, and my family will dine well for some time now.”

Kim tried not to think about that.

* * *

Time was impossible to track in this place, so she had no idea how long she'd been going --minutes, hours, days?-- when carelessness caused her to bump into a brownish sphere the size of a beach-ball.

She had barely been managing a walk. That kind of extremely low speed collision normally wouldn't be a problem at all.

As she was picking herself off of the ground she saw the sphere begin to uncurl into some kind of insect with segmented armor.

“S-sorry, I didn't see you there,” Kim said. “It-- it was a mistake so. . . no hard feelings, right?”

The bug didn't respond and simply walked away.

* * *

Kim was barely keeping her eyes open when she reached the ants.

She didn't run, she didn't freak, she didn't do much of anything. They ignored her.

“Look, are you gonna eat me?” she asked.

One of the giant ants looked in her direction, but only for a moment.

Kim trudged onward.

* * *

The ants, it seemed, were farmers. Kim was near one of their mushroom groves when exhaustion finally took over and she staggered toward a place to lay down in a sort of controlled fall.

She was sleeping amoung the mushrooms moments after collapsing completely.


*
* *
* * *
* *
*

Good God, this took forever.  For reference I had everything but Kim in the afterlife done early (I think) and it was only Kim's part that I had to get done.  Meaning that since the beginning of March I've been trying, and until now failing, to get this finished.

Much of the spider and pre-spider segments were written pen on paper when I couldn't look at screens for long because concussion.

Originally Kim was going to have a much larger meeting with the ants where she tried to go around, found the colony was too big, and finally risked using their tunnels.

The thing is, Kim had a long day and it kind of made more sense to just have her mostly out of it and just staggering in search of a place to collapse.

As always, Shin and Kieran are the creations of Blackbird, used with permission.  Kieran will not be appearing in this story since the timeline change is, in fact, a big deal.  The only people from 2029 who will appear are those who have been sheltered from the timeline change in one way or another and Kieran isn't such a person.

Similarly, don't expect relationships to turn out the same.  Shin is the child of Kim and Shego via mad science (which is definitely up to the task of making that work) but that doesn't mean that Kim and Shego will end up together in this timeline.

Saturday, May 28, 2016

KP EBE - Can we talk about the fact that this is a comedy? (Theme Post)

Table of Contents:
-

Ok, so, since the last time I did a Kim Possible Episode by Episode post I fell down and simultaneously sprained my ankle and gave myself a concussion, spent a month avoiding extended screen time (as would be required to do more Kim Possible decon), came back with a notebook full of stuff, including random tangents, that I still haven't managed to get onto Stealing Commas, graduated from university, and most recently watched Captain America: Civil War and realized that there is so much to talk about that I'm going to need an entire series of posts to deal with it.

So, it's been a while.  And right now the temperature is at, "OH MY FUCKING GOD!  It's not even summer yet.  What the hell is this!?  Is this Hell?"  (Note that if I had a semicolon-exclamation point I would totally have used it to couple the first two sentences.)

Oh, also, primary computer is in for repairs.  Again.  Because it was never really fully fixed after the last time (but I was so happy to have it back I didn't make a fuss) and then it got much, much worse.

So, it's been a while and I'm not going to do a decon of the next section of Attack of the Killer BeBes right now.  There is, however, something that's been kicking around in my mind.

-

Something that I haven't talked about before is how big of a deal Kim Possible was.  I'm not talking about the impressive ratings or the cross cultural appeal or the fanatically loyal fanbase.  No, I mean how big of a deal it was for (The) Disney Channel.

The Disney Channel started in 1983.  Disney Television Animation Started in 1984 and their first animated TV series hit the airwaves the next year.  You'd think that there'd be some kind of connection there but the fact of the matter is that The Disney Channel didn't have an animated original series until 2001 (by which point it had been rebranded as just Disney Channel without the "The") and that wasn't made by Disney Television Animation.  In fact it wasn't even for Disney.  It was created for Nickelodeon (owned by Disney arch-rival Viacom) but Nick passed on it and Disney Channel picked it up.

Kim Possible, which hit the airwaves the following year (2002), was the second Disney Channel animated original series but the first Disney Channel animated original series produced in-house by Disney Television Animation.

It was, thus, in many ways their flagship animated series.  Kim Possible was what Disney made by itself for itself and marked the dawn of fully-Disney Disney Channel animated original series.

Disney asked for an animated original series sometime around the changing from 19XX to 2000.  The pitch series bible for Kim Possible was done in the year 2000 (which is the first firm date we have) and while changes were made between then and the actual production of the show, the core of the idea remained unchanged.

Kim Possible was thus the flagship animated show on the flagship Disney TV channel and can be therefore construed as the message, insofar as a there is one, that Disney TV was pushing.

That matters.  I don't want to understate the importance of it, but I don't want to overstate it either.  So here's a caveat:

It's not what Disney as a whole was pushing because Disney Channels Worldwide (what Disney Channel is the flagship of) is a subsidiary of Disney–ABC Television Group, which is a subsidiary of Disney Media Networks, which is a division of The Walt Disney Company,  So it's a part of a part of a part of the whole.

Kim Possible was not a major thing for the vast and eldritch entity that is the Disney as a whole.  Not even close.  It was a major deal for Disney animated TV.

It is, in in broad overview, a show where a girl does awesome things and the audience laughs.

-

How Kim Possible came about is usually told in an extremely context-less fashion.

Generally something like this:
In an elevator one creator said something like, "Kim Possible: She can do anything," and the other responded with, "Her sidekick is Ron Stoppable: he can't do anything."  The entire show was quickly figured out from that basis, down to the point that it would end with Kim and Ron getting together as a romantic couple. 
The fact that the creators are both fathers of daughters played a huge role in the development because they wanted a role model for their daughters.
This leads to various questions like, "Do they usually say character names and descriptions out of the blue in elevators?  At what point, and why, did they decide it would be a comedy?  Why did they decide that?  What kind of a role model did they want for their daughters?  What made them decide Kim and Ron should be cartoon protagonists instead of, say, video game characters?"

I can't answer all of these questions, but I found an interview that had a lot of the answers I wanted in it, and it gives us some context.

Before I get to that, though, Schooly and McCorkle are people who do animated series, so that's the answer to why cartoon protagonists.  Onto the interview:

The creators are Bob Schooley and Mark McCorkle.  the interview was with McCorkle, so the words are his.  If it becomes necessary to quote the interviewer I'll put that in bold
We got the request that the people at Disney Channel were looking for a show that showed ordinary kids in extraordinary circumstances. Bob and I were on our way back from lunch and I just turned to him and said: “Kim Possible: she can do anything.” And then Bob said: “Ron Stoppable, he can’t.” And then we came up with almost the entire show.
So important things to take from this in no particular order:
  • They knew that Disney was looking for a show and the random elevator outburst was a result of them trying to come up with such a show.
  • What Disney was looking for was "ordinary kids in extraordinary circumstances"; no suggestion of comedy there.  In fact, most things that fit that description are probably straight drama.
  • They did indeed start with the names and omni-abilities/lack of ability.
The names suggest a show that doesn't take itself too seriously, though they don't demand it be comedy. Ron's character description makes him seem to be the the plucky comic relief (plucky because he'd give up otherwise, comic relief because he still doesn't succeed) but again doesn't suggest the entire show would be comedy.  (In fact, comic relief characters tend to appear in otherwise serious works, hence the "relief" part of "comic relief".)

-

I'm going to take a moment out here to preemptively shoot down any claims that animated series implies comedy in itself.

Before Disney Television Animation made Kim Possible for Disney Channel they made many and varied other TV series and while many of them could serve as examples the one I want to call to your attention right now is Gargoyles.

Gargoyles was definitely not a comedy (except possibly in the "everything that isn't a tragedy" sense of the word) and featured a strong female lead.  The main human character was Elisa Maza, an NYPD officer.

The show was kind of low on female characters, and Elisa herself was an ordinary human in a world of superhuman beings, gods, conspiracies, and David Trope-Namer Xanthos, but the show still demonstrated that you could have a badass person of color female lead in a serious animated series with plenty of action.

Elisa Maza was allowed to be a female action hero without us having to laugh.  Eliza Maza was allowed to be the daughter of a native father and an African American of Nigerian decent without being pushed out of the spotlight in favor of some white girl.

So five years after Eliza Maza we get Kim Possible.  Kim is unconstrained by the laws of physics and so can kick butt single handed in a way Eliza never could, but when Kim's doing it we're supposed to be laughing. (Plus she's an upper middle class white girl.)

I want us to think about that.

Disney Channel having their flagship animated series be about a female action hero who, while midriff baring, isn't sexualized seems like a pretty good thing, and is,  but it's still comedy.

-

One more thing before we get the creator's answer to my question of, "Why comedy?"

Beyond the "We came up with the entire show in two sentences in an elevator" narrative the other big thing that gets brought up about the creation of Kim Possible is that both Schooley and McCorkle are fathers of daughters.  They made the show with their daughters in mind.

Here's McCorkle on that aspect of things:
And also because we’re both fathers with daughters and when we were growing up we had heroes – James Bond or Captain Kirk or the like. We had these guys who were larger-than life characters, and when you were playing, you were pretending you were them. 
So we thought, why shouldn’t our daughters have the same thing, a character that they can pretend to be?
So Disney Channel was looking for a show with ordinary kids in extraordinary circumstances, McCorkle and Schooley decided that the leads would be a hyper-competent girl (what happened to ordinary?) and an incompetent boy, and they want the show to provide a female character for their daughters that will be like James Bond and Captain Kirk were for them.

We still haven't gotten to the question of, "Why comedy?" because, even considering The Trouble with Tribbles and some of the more absurdest moments of Bond, Captain Kirk and James Bond are not comedic heroes.

So what happened?

Same interview:
What role does humour play in this series?
It’s primarily a comedy series and it’s definitely parodying a lot of the conventions of the James Bond movies and things like that.
Ok... so your whole, "Our daughters should have a hero like James Bond was to us," thing made you make something that was primarily comedy and a parody of James Bond.

Because having a female Bond parody will totally be as good as having a female Bond.

Do explain, dusty old interview transcript that cannot hear my prompting.
We found that boys tend to really like action shows, just action, but girls want to see characters and a little more relationships. And the one thing we found what unites boys and girls is, everybody likes to laugh, so we felt that if we could do a show that had some adventure, some relationships and humour throughout, then we would appeal to a wider audience and more kids would like it. And so far we’re good!
I question how much of that is just an issue of what's out there.  If girls want a show with girls/women (not just a token girl/woman) featured prominently in it then it's probably going to be about relationships.  If boys want a show with boys/men, they're probably going to land on action.

If one controls for the difference in offerings, then I have a feeling that the results of any survey are going to be: The data is so fucked up that we can't pull any coherent results from it.  Please --for the love of God-- make more relationship shows heavily featuring males and action shows heavily featuring females so that we can have non-fucked up data on which to base our conclusions.  Because sometimes the underlying data is so skewed that you can't control for confounding variables without making more data-points yourself.  (Which is what experiments are all about.)

But back to the reasoning, not the uncited findings upon which said reasoning is based.  It seems to go something like this:

We want to make a female action hero for our daughters, but that'll only attract boys and not girls, so we'll have to add in relationships, but that might turn off boys just as girls might be turned off by the action, and so we're going to make comedy the keystone on which everything is based.

Does the reasoning in the previous poly-compound sentence make sense to you?  Because it seems fucked all the hell up to me.

Kim Possible and Ron Stoppable could have done anything.  That's kind of the point.  Kim can do anything.  She didn't need to put that omni-ability to use saving the world from Bond-like villains.

The reason that she goes up against Bond-like villains is that McCorkle and Schooley wanted their daughters to have a Bond-like character whom they could pretend to be without pretending they'd switched genders.  But rather than just make the show provide the kind of female character they thought was lacking in media, they then went back to the same reasoning that has prevented such characters from being made in the past (girls don't like action) and tried to slip it through the gendered preconceptions by covering it in comedy.

There is a very serious problem here.  They wanted to give girls an action hero but were afraid they'd turn girls off if they gave them an action hero and as a result they decided to make it a comedy because everyone, even girls watching an action hero show, likes to laugh.

Ruminate.

They wanted an action-hero-girl for their daughters, but thought that the only way to do an action-hero-girl was in comedy.  They didn't think action-hero-girl would work if it was played straight.

-

So we've gone through the how and the why and a large tangent into, "Hey, there was an acton-hero-woman, if on a less superhuman scale, made by the same company years earlier," and reached the thing we started with: Kim Possible is a comedy.

Kim may dodge energy rays and kick butt, but she's doing it in the context of:

Drakken: Did you get it?
Shego: I got it.  Don't know why you'd want it,~ but I got it.
Drakken: My plan will reveal itself in due course, Shego.
Drakken: *to himself* Who wants to build a robot tick. I do! I do!
Shego: Uh,... Doctor Drakken, you know you said that out loud, don't you?
Drakken: Blast!

And while I didn't quote it in the decon of that episode, the plot was to get back at the people who laughed at him in gym class.

Or she's fighting inside a building that is not cheese covered but actually made of cheese.  Or:


Monkey Fist: So, now you know my secret.
*Monkey Fists posture and expression change*
Monkey Fist: Which you will take to your graves.
Ron: How can you be sure?  I mean a lot can happen in the next sixty or seventy years.
*Monkey Fist approaches Ron and grunts*
Ron: Oh.  Gotcha.

Or she's trying to stop someone who is going to shut down the internet using the barcode on an expired can of Vienna sausages unless everyone on earth gives him one dollar.

Or whatever the plot of the week is, because it's never going to be all that serious.  And if her villains are laughable then what does it say about her that she has to give her all to beat them?

Yeah, Kim can kick ass and take names, some of the time, but this is all in a comedy.

And I really wish people would realize that when ancient audiences were laughing at the Lysistrata they were a bunch of misogynistic jerks who were laughing at the idea that women could do something intelligent and meaningful as much as they were laughing about the making fun of foreign accents and the actors running around with giant erect phalluses strapped onto them.

Comedy can be subversive, but it can also just be laughable.

If the only way that we can get a show about a female action hero is to have it be comedy, that says something about us.  It says something about the culture, the creators, the consumers, and so much more.

Since I'm in touch with the fan fiction community I'd like to point out that in most of the fan fic ... it's not comedy.  In the fan fiction Kim is an action hero full stop.  A world saver, no subverting details.  Kim is serious business, not someone whose escapades we laugh at.

That seems to be what people take out of the show, and that's good, but that's not what's in the show because the show is comedy.

In the show Kim doesn't face peril that makes us worry, she faces absurd that makes us laugh.  She doesn't face scary villains, she faces laughable goofs.

The show itself seems to be saying, "A female action hero?  That's funny."

And I think we really need to bear that in mind.

Which is not to say that I dislike the humor.  In fact, some of it is very much in my style leading to that time a joke from the original was mistaken for my own.

Or consider this:

Kim: Wade, can you hack into the Global Justice spy satellites?
Wade: In my sleep.
Kim: Then take a nap and scan for Drakken.

That's so very much me that I've been making variations on that joke since I was a small child.  The one I remember most, which is kind of far afield, was bowling.  I'd brag that I could make this difficult split in my sleep.  When I failed I'd say, "Unfortunately, I'm awake."  Not exactly the height of humor, but I was a kid and it's the sort of joke I made.

Then Kim Possible does it years later.

So, to an extent, I'm in tune with the humor of the show and that's part of what I like about it.  But.  But, but, but... we have to remember that the humor wasn't something that was taking place in the larger context of an action series, the humor was the core.  This was a comedy, and Kim saving the world was something that was funny.

It didn't have to be.  It was.

I wanted to take some time to make note of that and then drive the point home with excessive force.

Girl saves the world.  We laugh.

If this were just one in a universe of "Girl saves the world" shows, many of which played it straight, then there would be no problem.  But it was made because people recognized a lack of such shows and in that context ... we laugh.

For all that we can talk about the show being empowering (and there were and are plenty of girls who felt empowered) it's a comedy.  Yes, we get our female hero, but we're not supposed to take her seriously, and when she saves the day we're supposed to laugh instead of cheer.

Wednesday, May 25, 2016

Captain America: People who value Truth, Justice, and Freedom vs. People who value Slavery, Murder, and the Nuremberg defense

I was going to have one post.  That was impossible.  There is too much.

This is part one of what will be a series of posts on the movie Captain America: Civil War; if you want a glimpse of things to come, please do click over to this post which gives just that in a disorganized fashion, but numbered so that it has an appearance of organization.

Spoilers for Captain America: Civil War abound.

This post is about the lack of moral balance between the two sides.

I was going to try to do a brief "what should have been here instead" but, no, there is too much.  We'll save that for another post.  Here's the background for you:

- - -

Tony making Ultron pretty well screwed over Sokovia in the previous Avengers movie and a bit of collateral damage at the beginning of this movie* led to the Sokovia Accords, henceforth referred to as "the Accords", which said, basically, that superheroes need to either sign on saying that they'll take orders from a committee put together by a coalition of 117 countries or, if they don't sign on, never help anyone again without becoming an outlaw.

* Wanda tried to throw a suicide bomber out of range, as someone who lacks superpowers might try to throw a live grenade away from a crowd, but while she saved the people that would have been killed (ordinary Nigerians on a crowded street in Lagos) it just ended up killing different people (affluent foreigners in a building.)

Tony, after having an unplanned-on-his-part meeting that really, really, really looks like it was staged with the mother of someone who died in Sokovia wants to drown his guilt by having the Avengers sign onto the accords (which wouldn't really affect him because he's stopped doing field work.)

Steve is worried about two things.  1 They could be ordered to do something that shouldn't be done.  (See the previous Captain America movie and "Project Insight".)  2 They could be ordered not to do something they should (if they hadn't gotten clearance to go into Sokovia at the end of Age of Ultron then the human race, and a lot of other speices, would be extinct.)

Then, when the accords are being signed and the Avengers are already split over which side to be on, someone blows up the summit.  Bucky was framed, poorly, and everyone decided to run with that.  The Black Panther's father was killed.

- - -

Background over, the two sides take shape:

We have Tony's pro-Accords anti-Bucky side and Steve's side.  Lets talk about who is on which side, why if applicable, and what they do in the movie.

Tony's Side

Tony Stark / Iron Man

First off, Tony returns to field work so he can lead this side and beat up his so-called friends.

This marks, at least, the second time that Tony has quit retirement.

First off, Tony's reason for being on this side is, "I can't be trusted without someone to tell me when I'm wrong therefore no one can be trusted, and we need a law outlawing me doing the things I'm accustomed to doing so that I won't do them and anyone who disagrees with me is totally (morally) wrong."

This comes with a side helping of, "I'm always right, but today I'm super right because I've just realized that I was wrong yesterday so that means I'm ever righter than I was then, and back then I was completely convinced I was right."

There are shades, of "We need a law against X because I don't want to do it but lack the self control to stop myself without there being a law," and also, "My liberal guilt is more important than other people."

And that's before he starts doing bad things.

The first thing he does is determine that Wanda can no longer be considered a house guest and reclassifies her as a slave.  She's not allowed to leave the premises unless it's to do work for him.  He doesn't tell her this and so she gets the illusion of being free until she tries to go to the store to buy spices because the slave slop wasn't the best.

When Tony finally gets around to mentioning this to anyone other than the one enforcing Wanda's captivity, that person is rightfully outraged.  Tony, on the other hand, thinks that ...

Hang on, I have to look up a quotation written by a horrible person.

Tony thinks that Wanda is a young spoilt girl whining about being kept in luxury by an older man who's concerned with her safety and the safety of others.  Well, he would if he cared enough to realize that she was opposed to her captivity.  He actually hasn't paid attention and just assumes that the luxury will make the lack of freedom palatable.

There's a reason that in my summation/preview post I directly referenced Fury Road.  No, Wanda isn't being held as a sex slave, but the thing is ... the movie wasn't specifically anti-sex-slavery, it was anti-slavery in general which made it anti-sex-slavery by default because the slaves who discussed their slavery the most happened to be sex slaves.

I kind of wish that I'd flipped it though, had Wanda be against it without commentary and Clint be the one to add in "I've seen Fury Road."  Oh well, what's posted is posted.

That's enough to make Tony horrible, right?  We don't need anything more, right?  There's no way he would do more terrible things, right?

No.

Tony recruits a child soldier (Peter Parker/Spider-Man) by saying, basically, "I know what you've been doing and I'll out you to your [closest thing you have to a mother] if you don't do it with me."

That sounds creepy, and the fact that Tony spends much of this sequence as someone who has a creepy interest in Aunt May as a sexual object means there's not anything we could do to make it worse, is there?

Well, yes.  In case the threat of outting weren't ringing alarm bells in the audience's minds, the scene repeatedly uses the symbolism of Tony pulling Peter's Spider-Man suit out of the closet and Peter shoving it back into the closet.

-
Vision / doesn't have another name

His involvement consists almost entirely of keeping Wanda captive on Tony's orders.  Tony has ordered, and Vision doesn't disagree, that Wanda should now only be allowed out when her former colleague/current captor wishes it.  For the safety of others.

She's dangerous, that's why she must be kept in captivity.

This is the guy who can lift the hammer of Thor and he doesn't see a problem with keeping an innocent person captive.  Mind you, Marvel Odin is the one who put the enchantment on it so it's presumably his version of "Worthy" and Marvel Odin is pretty fucked up.

-
James "Rhodey" Rhodes / War Machine

Rhody is barely in this movie because having three black superheroes is way too much in a movie with eight white ones and one red one.  (The red one is played by a white guy, obviously.)

Insofar as he is in the movie he takes a "just following orders" approach.

Rhodes is used to being in a command structure where he's given orders, the orders are obeyed, and if he fucks up he gets court martialed.  He knows the system doesn't work because he spent Iron Man III being given bad orders, going around the world, kicking in or blowing up doors, and then saying, "Oops, sorry, I was told that there were terrorists here, I'll just be going now.  Sorry if I caused anyone to have a heart attack."  But that's not important.  He's used to the system, he's comfortable in the system, and unlike Cap and crew he wasn't there when the system tried to implement a one world surveillance and assassination state.

Which is to say, Rhodes has seen the system be incompetent, but he's not really up to date on the fact that it's actively evil and will order you to bring about the mass murder of innocent people if given half a chance.

He also wasn't in on the whole keeping Wanda captive thing (that was a Tony and Vision deal.)

He's got to be the moral center of the team because he actually believes in the oversight that this fight is nominally about and he's not doing anything evil on the side.  The trouble is, as noted, he's barely in the movie.

Also his reasoning, in as much as it can be worked out from his not-very-big role really is that Rhodes is just following orders.  That's why he's on the side he's on.

-

Natasha Romanov / The Black Widow

From a narrative perspective instead of a moral one, the worst of the lot is Natasha.  She's on the wrong side.  I don't mean the morally wrong side here, but that too, I mean that she should, in character and for Watsonian reasons, be on the other side.  Instead she seems to be on the "We know these people are villains, right?  Please tell me we can all agree that they're not heroes anymore" side simply because each side needed a token woman.

She seriously comes out and says that she's completely against the whole thing and is only doing it to try to keep the team together.  Given that the team broke up before things came to blows, she no longer had reason to do what she found repugnant, and yet that's what she did until the fighting was over and all that remained was the question, "Do I really want to let the guy in front of me murder a probably-innocent man in front of the friend I and probably-innocent man share when doing so may well end the world?"

So Natasha is on Tony's side because we needed a token woman (and one woman per side because otherwise they might talk to each other and we can't fucking have that, now can we?)

-

T'Challa / The Black Panther

T'Challa spends much of the movie with his judgement clouded.  His father was murdered in front of him in spectacular fashion and I don't think we can blame him for not thinking completely rationally after that happened.

Also, this is very much his origin story.  He starts off so consumed by the need for vengeance that he isn't even paying attention to whether or not he's trying to murder the person who actually killed his father.  By the end he'll confront the person who really did kill his father, have the person completely at his mercy, and indeed not have to do anything at all in order for the person to die, and decide that Justice is better than vengeance, save the person (from himself) and hand him over to the legal system.

This is a character with an arc.

But while he's on Team Tony he's still in need of growth, his position on the accords is, "I think they should apply to other people, but I'm fucking invading Romania because I've got a score to settle, damn it," and he's out for blood.

While he's on Team Tony, in other words, his primary motivation is the desire to commit (a retribution) murder, and he's in a state of mind where the accords, which he would normally support, can go fuck themselves.

-

Peter Parker / Spider-Man

Peter is there because he'll be outed and/or doxxed (depending on how you look at it) and thus won't be able to keep things in the closet anymore unless he obeys Tony's whims.  That said, he shows a notable lack of curiosity.  He never really tries to be sure that he's fighting for the right side, in fact it's possible to read his character as actively trying to avoid finding out.

Tony owns him.  Tony also has a carrot and a stick.  In addition to the blackmail, Tony is also bribing Peter.  Peter, in spite of living in an immense apartment, is so poor he's reduced to dumpster diving for basic electronics and his suit is ... lackluster at best.  Tony offers money, an amazing suit, and such.

Peter likely doesn't want to know if he's fighting on the wrong side because then what Tony provides is ill gotten gains and he has to choose between his morals and being outed.

To kind of drive this home, Peter gives a speech that might as well have come out of Steve's mouth because their ideals and beliefs seem to be point for point identical.

From a Doyalist perspective people expect Spider Man to be on Tony's side because he took off his mask and revealed his secret identity in support of that side in the comics.  From a Watsonian perspective, though, he's there because he's being blackmailed and he really doesn't seem to want to know who is right and who is wrong.

-

Steve's Side

Steve Rodgers / Captain America

With the Accords Steve is afraid of two things.  One is that they can be ordered to stay out of places they should be in.  If it weren't for the fact that Marvel doesn't have the movie rights to The Fantastic Four I would very much expect Doctor Doom and Latveria to come up.  Dr. D is never going to authorize the Avengers coming into Latveria to stop him, but Steve has repeatedly met schemes where you have to go to them because if you wait for them to come to you you'll be dead, or worse.

The first two Captain America movies involved things that could not be stopped without going to the source.  In the last Avengers movie Ultron was going to wipe out the human race without ever stepping foot outside of Sokovia.

If Steve can be ordered not to go places then . . .
Things fall apart; the centre cannot hold;
Mere anarchy is loosed upon the world,
The blood-dimmed tide is loosed, and everywhere
The ceremony of innocence is drowned;
The best lack all conviction, while the worst
Are full of passionate intensity.
And yes, that's totally an American imperialist view to take.  In the Marvel Cinematic Universe, though, it's very true.

You can't wait for the Red Skull to take off on in his plane and enter your airspace.  You can't wait for the Insight helicarriers to leave DC, and as for Ultron: he was going to end the human race without ever leaving the spot where he'd set up shop.

His other fear is that they could be ordered to do things that are morally wrong.  Steve may embody American imperialism, but he's also afraid of it.

He worries that the Avengers won't be allowed to intervene in Rwanda in 1994 but they will be ordered to in Chile in 1973.

Not that he would necessarily get those references, but he's never been naive about the people at the top.  When he found out that Shield was making weapons of mass destruction, lying, and generally destabilizing everything his response was, "Things haven't changed a bit."

When he finds out that the people giving orders can't be trusted he isn't surprised, he's weary, a tad snarky, and a lot pissed off.  But not surprised.

In World War II he worked with a rag tag group of people pulled from every ethnic background based, largely, on randomly bumping into Hydra.  The example I've used before is that he may have met members of the 442nd Infantry Regiment and learned from them what life was like back in the US for Japanese Americans.

He definitely worked with black soldiers.  He probably worked with gay soldiers.  He may be Captain America but he's got cause to not really trust America to get things right.

As for some sort of council overseen by members of various nations . . . that was Shield.  That was Project Insight the grand, "We'll be able to assassinate people millions at a time," project.

Steve has great faith in the goodness to be found in individual human beings but the institutions he's seen have all turned out to be rotten and he's not ready to give the keys to another one.

Mind you all of this goes up in a ball of fire because Bucky is framed, badly for terrorism resulting in mass murder.

At that point the moral positions become more along the lines of:

You gave a shoot on sight order based on the flimsiest evidence in the history of law enforcement!?

Why are you trying so hard to kill an innocent man?

What the fuck do you mean he's not going to get a lawyer?

Do human rights mean nothing to you people?

You know, I was ready to surrender and give in to your side until I found out that you were holding Wanda captive.

The entire world is in danger and you're still hung up on being pissed off that you didn't get to kill an innocent man?

Fuck it.  I'm solving this myself and preventing your scapegoat-murder at the same damned time.  Who's with me?

-

Sam Wilson / Falcon

Sam's initially somewhat leery of the accords but he didn't kick into high gear until Bucky was badly framed at which point he was very much on the same page as Steve:

Killing an innocent person isn't really going to solve anything.

What the fuck no lawyer?

Stop shooting at me assholes.

We're trying to save the world, you're trying to do horrible things to an innocent person; my conscience is pretty damned clear.

-

Wanda Maximov / Scarlet Witch

I hadn't made up my mind on the accords and then suddenly I was a prisoner who couldn't even get paprika.  It may not be the best foundation on which to take a moral stand on the issue of whether or not to murder some guy 'never met named "Bucky", but I'm totally siding with the non-murderers who set me free over the would-be-murderers who wanted to keep me captive.

-

Clint Barton / Hawkeye

The other side was holding Wanda in captivity.  That was pretty much all I needed to know.

-

Scott Lang / Ant-Man

Is there any coffee? What day is it?

-

Random brain-stopped-working-and-I-need-to-finish-this summation:

Not everyone on Steve's side has positions that were thought out in fullness.  Tony using Vision to hold Wanda captive, for example, doesn't mean that he's wrong about the accords or about Bucky.*

That said when we compare their actions and motivations to those of the Tony's crew ... it's kind of lopsided.

The movie makers even seem to recognize this because, with all the logos and ethos on Steve's side, they tried to pile the pathos on Tony's side.

-

* Though, let's be honest, no one who isn't going through origin-story-severe levels of emotional trauma is stupid enough to actually believe Bucky was guilty of the bombing.  Anyone --save those who lost loved ones and were still in brain-overriding sad-mad mode-- who said they thought he did it was either lying or being willfully ignorant.

There's really no way to determine which because painting Bucky as guilty served the political agenda of everyone who was after Bucky.  Except for Natasha.  Natasha had absolutely no reason to do any of the things she did in the movie and was in the amazingly screwed up position of "token woman whose character and motivations can be ignored when we need a token."

-

Original summations of each position:

This is what I wrote before in a hurried preview version of what more or less ended up being this post:

Tony: I've come to realize that I can't be trusted not to do X, therefore there should be a law against X. All who oppose me in this endeavor are moral degenerates. If you'll excuse me I have to make sure that Vision knows Wanda is my slave, not my guest, and then I'm going to recruit a child soldier by threatening to out him to his mother-figure. This will involve me repeatedly pulling what he wants kept in the closet out of the closet so that there's no way you can miss the overtones.

Vision: I make sure Mr. Stark's slaves don't leave the property unless he allows them to. I see no moral problem with this.

Rhodey: I'm just following orders. (He's clearly the moral heart of the team since ... yeah.)

Natasha: I actually came out and said that I don't want to be on this side. The only reason I'm here is because "Team Evil" needs a token female character.

Peter: Look, I don't want to know who's right and who's wrong. I'm being blackmailed by a creepy guy who seems to want to have sex with the woman who raised me. I actually gave a speech in which I said that morally I agree with everything the other side stands for.

T'Challa: I'm here to murder someone, but don't worry, this is my pseudo-origin story so I'll learn to be a better person by the end of it and not murder the person who killed my father. My initial position on the Accords is that they should apply to others but as soon as I've got a vendetta, screw everything they say. That said, remember that I grow and change unlike the other people on this team.

While on the other side we have:

Steve: This will seriously harm our ability to do good things and YOU'RE TRYING TO KILL AN INNOCENT MAN. Also, no lawyer? What happened to due process?

Sam: I'm with Steve on this, every part of what he just said.

Wanda: I'm a human being, not an object. I saw Fury Road, damn it.

Clint: Wanda's a human being, not an object.

Scott: Is there any coffee? What day is it?

Not saying that Cap's team is composed of angels, but there's a clear right side here.

Tuesday, May 24, 2016

Tripartite words

Consider:
insofar
whatsoever
hithertofore
nonetheless
nevertheless
Triple compounds.  That awesome feature of the English language what says, "It's just "awe" plus "some", that's kind of bland, don't you think?  Can't we get another word in there somehow?" and, for a brief shining moment, remembers its Germanic roots.

Some things that you might think are triple compounds aren't.  "Notwithstanding" was never three words, for example.  The "with" was a prefix instead of a a standalone.

Regardless, these words are fun and I'd like to know all of them but don't know how one would go about looking it up so I'm just going to ask you to share the tripartite words you know.

Please, in the comments, share the tripartite words you know.

Untangling Captain America: The Winter Soldier

I have so much to say about Captain America: Civil War, but I mentioned at Amarie's that while Civil War had attempted to do two movies at once the previous movie had attempted to do "like nine".

Not really nine, more like seven.  I've talked about it in passing multiple times, the ones I can link to offhand are a comment here and a comment at Amarie's.

Anyway, I've been thinking about doing post untangling the movie for a while, in the manner of of Disentangling Jurassic World where I separated out the various plots of Jurassic World and ended up with a seven movie sequence.

As with the Jurassic World post, this isn't me saying what the film makers should have done.  My opinion on that is simple: pick one movie that you want to make --one story you want to tell-- and put your effort into doing it right.

This is instead about the theoretical exercise of separating out the tangled ball of too-much-plot they tried to cram into a single movie and seeing what it would look like if each movie worth of plot were given an actual movie.

This is a table of contents, not what I'd actually call things:

* * *
1 Captain America: Agent of Shield [top]

When the movie starts we see Cap and Natasha go on a mission together where they already work as a great team in spite of being given different objectives and not being able to completely trust one another.

While the MCU might have problems with too much plot, or the wrong plot, or, "Oh my God, what the fuck is this?" it's actually very good at narrative parsimony.  Part of this is the quality of actors.  The the number emotions that Hiddleston is able to pack, with sincerity, into a couple of wordless seconds as Thor talks to him in Avengers was the subject to a youtube video that shows it in slow motion basically made the argument that every frame was packed with meaning.

While as far as I know no such videos have been made of Winter Soldier (though, in spite of knowing of no such thing, it would kind of surprise me if there aren't any) we get the same thing going on.

We also get it in choreography. Not on youtube but on tumblr, someone went frame by frame for a scene from the initial mission in Winter Soldier in which Steve, super soldier who can pick people up and run to safety with them no problem, bodily moves Natasha out of harm's way and, while they're in motion, Natasha shoots one of the bad guys.  First off, that's the sort of thing that only superheroes can pull off.  Second, that's the kind of thing that only superheroes who work really well together can pull off.

But the mission had cause for dissension and conflict and such, and we never really got to see Steve/Cap, the one who is new to being an agent of Shield, and Natasha/Black Widow, the one who's been doing this for a while, have a straight forward "fighting the good fight and stopping the bad guys" mission.

This movie would be just that.

Steve is settling into his role as someone working for Shield against threats the world doesn't know exist instead of working for the military against hyper-Nazis.

He's getting to know Sam Wilson (not Falcon, not in this movie) and Sharon Carter (but doesn't know she's an agent yet) while he and Natasha save the world from whatever.

That's enough for a movie.

* * *
2 Captain America: Project Insight [top]

This is basically what Captain America: The Winter Soldier was but they, for some reason, felt the need to shove in an attempted coup against Nick Fury, the computer-ghost of Zola, Hydra infiltration, Shield turning against itself, the Winter Soldier, every privacy concern about the internet given form and malevolence, the kitchen sink, and a few other things.

Take that extraneous shit out and just make the movie that it would have been without distractions.

Shield's Project Insight is designed to simultaneously destroy privacy and kill anyone who's a threat without any legal proceedings or hint of justice.

The other things can be dealt with elsewhere.  Shield (for whatever convoluted infiltrated by people that put their faith in a computer program designed by someone who was dead at the time reasons) has gone so far across the line that they can't even see the line anymore because it's over the horizon, and possibly possibly also across several major geological features like mountain ranges, oceans, and so forth.

Shield needs to be stopped before Insight goes live.  Steve, Natasha, and Sam (who is Falcon in this movie) face off against Shield.  This is basically the movie that we have once you cut out the distractions and focus on telling the one story and telling it right.

* * *
3 Shield: A question of Leadership [top]

The attempted coup against Nick Fury was an unnecessary distraction in the actual second Captain America movie, but it's a good plot to have in general.  It' action.  It's spy thriller.  It's fun and explosions with ... probably not Chiwetel Ejiofor, but nothing is perfect.

A rouge element within Shield is trying to take out Fury and this movie is about that.

At this point Steve and Natasha are probably jaded on Shield and Sam was never a part of it to begin with, but it shouldn't be that hard to recruit them.

Fury or Hill says this, pronouns as appropriate: They're not trying to kill me/him because I/he tried to launch Project Insight; they're trying to kill me/him because I/he failed.

We got a fair dose of this in the Winter Soldier, but it was mashed in with so much else that ... yeah.

A big question is whether Fury should fake his death here (and try to rule from the shadows) or whether it should be saved for later.

* * *
- Marvel: Hackers [top]

On watching Captain America: The Winter Soldier . . . well, this was a while ago.  I think that Lonespark was the one who said that she wanted to see Robert Redford from Sneakers stop Robert Redford from The Winter Soldier and I was the one who agreed.

So much of what was put into the movie was the sort of thing that cried out for the team from Sneakers, for computer wizes, for hackers, for people who live online, dream in code, and know all the flaws in Hollywood portrayals of hacking, and have a first edition copy of Neuromancer they got by illicitly rerouting a shipment of old paperbacks via hacking into UPS's servers.

So I'm just throwing this in there: Maria Hill forms a team of computer people and such with the task of finding out what was really behind the attempt to unseat Fury and violently change the leadership of Shield because their regular investigations are all hitting dead ends well before the trail should end.

They've stopped the people who actually did things, but not the ones who gave the orders.

The only thing that they've found out is that the whole thing seems to be somehow tied up in a thing that doesn't officially exist called the "Zola Algorithm".

The TV series runs alongside the the remaining movies and involves simultaneously investigating and opposing this unknown threat that seems to be everywhere and know everything.

At times it feels like their opponent has access to every piece of information that was ever electronically recorded by anyone or anything.  While they find plots to stop they're generally not able to piece things together into any kind of coherent larger picture.

Other than being targets of the shadowy bad guys, what do a a TV anchor in Cairo, the Under Secretary of Defense, a high school valedictorian in Iowa City, a scientist named Bruce Banner, and a (former?) surgeon named Stephen Strange have in common?

Also, they totally get hired by Hank Pym to clandestinely remove some vital components from the files of his old Ultron Project because letting anyone revive it, as one Mister Stark has been considering, would be a really bad idea.

Yeah, blatant foreshadowing that has nothing to do with what's actually suggested by Winter Soldier but, but a) movie seven is entirely based on needing to shoehorn some awesome in to make Avengers: Age of Ultron make sense, and b) it doesn't make sense to have Ant Man without his connection to Ultron.

Artistic liberties.

* * *
4 Captain America: The Winter Soldier [top]

Bucky finally gets a movie where his name actually belongs in the title.  While Hill's team is investigating via electronic means, Steve and Natasha are experiencing a real problem trying to do an investigation of their own: every time they seem to have a lead, the lead ends up dead.

It doesn't take long to realize that someone is killing the people who might be able to give them the information they want.  It takes a bit longer to realize that that person is the Winter Soldier, and longer still to realize that the Winter Soldier is Bucky.

The whole movie is about trying to stop/recover Bucky so that they can a) not have a mind controlled assassin out there and b) get some damned answers.

* * *
5 Hydra: Electronic Echos [top]

The team from the TV show has worked out that the Zola Algorithim, whatever it was/is, was developed by/at ----- which heroes are sent to investigate.

What they uncover is a standard evil science thing:
"Sir, we could get results just as good, without compromizing our morals and violating every human rights thing ever, if we used this method that would only take six weeks longer."
   
"THAT'S SIX WHOLE WEEKS!  Science will not be delayed.  Now prove your loyalty by doing an experiment that involves doing unethical things to unwilling human subjects."
Part of the difficulty, though, is that while they can find labs and shut them down (with the requisite fight scenes and explosions) they're unable to find the person in charge.

Eventually they realize that this is because the person in charge is Zola, who had his consciousness transferred to computer when his body was dying.  There is no physical person in charge to find.

Movie about bringing down Zola's network.  It's not quite Hydra because he was always more in it for the science that ignored ethics than any direct loyalty to Hydra.

The movie does let them realize that Hydra still exists, and they finally learn that Zola's algorithm is a computer program he made for Hydra.

* * *
6 Shield: Internecine [top]

With the revelation that they've been infiltrated by Hydra, Shield should, honestly, have more internal conflict than one scene in a control room while everything else is shunted into the spinoff series in such a way as to have Agent Coulson sell someone to someone else, so the someone else can torture the sold person for shits and giggles, in order to gain a modicum of improvement in political standing.

Seriously, why in FUCK would anyone consider doing such a thing?

Shield needs to be at war with itself and it shouldn't be quite as simple as Good Guys vs. Hydra because, remember, Shield itself (Hydra and non-Hydra alike), in the form of their upper echelons and everyone working directly on the project, was in support of Project Insight.  Some non-Hydra people would be thinking more or less what Fury had been thinking: things are spinning out of control and we need to get our hands dirtier if we want to protect people.  They'd align with the Hydra side of things and might not seriously believe all of the Hydra talk.

A paramilitary pseudo-intelligence semi-clandestine agency goes to war with itself when they have technology on a level that includes aircraft carriers that can fly.

That's enough to do an entire series of movies, TV shows, books, comics, video games, tie in merchandise, radio shows, plays, and so forth.  I'm suggesting that we cut it down to one movie containing the main action-movie-type points.

Though there's a political element too.  Covering that as well would probably be too much for one movie, though.

The movie ends with Shield, the whole thing, being shut down and the major players in the evil side (the ones who didn't go to ground) being arrested.  The good people find jobs elsewhere, Natasha testifies before congress.

This movie would heavily use Cap, Natasha, Sharon Carter, Sam, probably Clint (Hawkeye), definitely Maria Hill, Nick Fury who is operating from the shadows and pretending to be dead for all or most of this, and, um, people.  Evil Robert Redford would likely be involved.

This is the movie that ends with Steve and Sam going off to find Bucky.  They think the immediate problem has been dealt with, and they're ready to go off on that personal mission.

* * *
7 Maria Hill: Getting My Boat Back [top]

With Shield shut down at the end of the last movie the helicarrier is in limbo.

Meanwhile the people in the Marvel: Hackers TV show have found out that --since they proved what a threat they were by sending heroes after Zola which simultaneously let them learn what the fuck the Algorithm actually was and revealed that Hydra was still a thing thus instigating the collapse of Shield which had been the thing most able to conceal Hydra activities-- they can't operate anywhere for long without the algorithm locating their base and sending people after them.

Thus Hill decides that what they really need is a mobile base of operations that's invisible.

And so we have a heist movie about stealing the Shield helicarrier.

That's it.  Movies have been made about stealing things far less cool.

Yeah, this isn't really suggested by Captain America: The Winter Soldier, but it's kind of needed for the helicarrier showing up in Avengers: Age of Ultron to not be an asspull and it makes sense to fit in here since this is when it would be up for grabs and because it could serve as a base for Marvel: Hackers which was suggested, but lamentably not followed up on, by the movie.

Hill, the people from the TV show Marvel: Hackers and anyone else on a team Hill would hand pick, steal the coolest boat around which happens to be the only flying aircraft carrier on earth since the Project Insight ones were blown up in movie two.

* * *
8 Hydra: Open War [top]

Hydra returning could be a movie in itself separate and apart from Shield going to war with itself or any of the others and, in light of Age of Ultron, it kind of needs to be.

You see Age of Ultron begins with the Avengers already assembled and functioning as a well oiled machine.  This is a problem given the question posed at the end of the first Avengers movie:
Sir, how does it work now? They've gone their separate ways, some pretty extremely far. We get into a situation like this again, what happens then?
We need that answered.  They start Age of Ultron all back together and taking down the very last Hydra base.

So, given Age of Ultron it's vital that the "Hydra has returned, what do we do?" movie that was crammed into the actual Captain America: The Winter Soldier be done, and be done in a way that gives the answer: we assemble the Avengers.

It probably begins with Steve and Sam being called back by someone (Hill or Natasha) which annoys them because they were pretty sure they were getting pretty close to catching up with Bucky.  Then, as things go on, they end up calling on more and more of the Avengers.

Since they've likely noticed that Loki's scepter is one of the things that went missing from Sheild they'd call on Jane Foster and Erik Selvig for help which is how Thor would end up coming to earth for this mission.  That might also be what brings back Bruce and Tony since they set up a thing to find the scepter before.

Since Natasha and Clint would be involved almost by default, that could explain how everyone got together right there.

The movie can't end with them taking down the last Hydra base that contains the Scepter because that was in the beginning of Age of Ultron, but it could end with them completely breaking Hydra and someone commenting, "It's not quite over, we still don't have the scepter."

Maybe a line about how they're still having no luck on the electronic front because damn is the "Algorithm" powerful and capable of stopping their attempts to break Hydra's electronic network.  (This could even involve asides between Tony and Bruce about how if Zola could do it they ought to be able to do it thus continuing to foreshadow Ultron.)

* * *
9 Hackers: The Algorithm [top]

The team from the TV series have been making progress in the TV series and have been able to trace and isolate the key components of the Zola Algorithm which, honestly, isn't the best named thing.  Sure, algorithms exist to solve problems, but the problem of "Identifying, tracking, and eliminating threats to Hydra's interests" is such a complex and ill defined problem that what we're talking about is a really advanced AI and you don't use the term "algorithim" to describe that, but one could argue that it's a name and a person named "Melissa" probably isn't a honey bee and ... how did this sentence even begin?

Right.  Ok:

The team from the TV series have been making progress in the TV series and have been able to trace and isolate key components of the Zola Algorithm so that it can now be effectively stopped if we just have a big impressive movie.

Note that in the actual Captain America: The Winter Soldier the algorithm was never dealt with and thus it's presumably being used to hire hit people to kill of present and future heroes because doing things one at a time might be slower than Project Insight but it's better (for a Hydra version of "better") than nothing.

What's it been doing?
Jasper Sitwell:  Zola'a algorithm is a program for choosing Insight's targets.
   
Steve Rogers:   What targets?
   
Jasper Sitwell:  You! A TV anchor in Cairo, the Under Secretary of Defense, a high school valedictorian in Iowa City, Bruce Banner, Stephen Strange, anyone who's a threat to HYDRA. Now, or in the future.
   
Steve Rogers:   In the future? How could it know?
   
Jasper Sitwell:  How could it not? The 21st century is a digital book. Zola told HYDRA how to read it. Your bank records, medical histories, voting patterns, emails, phone calls, your damn SAT scores! Zola's algorithm evaluates people's past to predict their future.
   
Steve Rogers:   And what then?
   
Jasper Sitwell:  Oh, my God. Pierce is gonna kill me.
   
Steve Rogers:   What then?
   
Jasper Sitwell:  Then the Insight helicarriers scratch people off the list. A few million at a time.
Anyway, it was set up in the actual movie, it's basically Sneakers with a more sinister bad guy than Ben Kingsley, and we should have gotten that movie.

The Algorithm is basically Ultron with clear goals, a lack of neuroses, no fixation on having a physical body, and no idiot ball.  A formidable foe indeed, especially since it would be able to come up with a plan better than, "I'll create a massive robot army all linked to my hive mind," since that's just begging to to lose.  The Algorithm, recall, was never detected, it was fallible humans who let the secret slip.  Unleashing robot hordes upon Sokovia is unsubtle, easy to detect, and the sort of thing that gets you destroyed in a way that involves explosions and Avengers.

This movie is about beating it.

This movie also sets up the battle shown in Avengers: Age of Ultron because without the Algorithm providing cover they can finally locate the last remaining Hydra stronghold.

* * *

With that we're finally done with the many and various movies that Captain America: The Winter Soldier tried to be.

The problem with the actual movie should be kind of clear: you can't do all of that in a single move and have it come out well.

The Shield Civil War was reduced to, basically, one scene.  Pre-Civil-War coup against Fury got, I think, three.  Zola's electronic ghost?  One scene.  The Algorithm?  It was mentioned in a small part of one scene and received all of three lines, you can see them above, I even included an extra fourth line because the conversation isn't done without it looping back around to Project Insight.  Working for Sheild?  One quick mission at the start as set up and it sours Steve on Shield in general.  The Winter Soldier of the title?  He didn't even need to be in the movie.  Take him out and replace him with generic assassin and the movie is almost entirely unchanged.  Dealing with the still extant Hydra?  Doesn't really come up except for a scene at the end where they're arrested without incident because it would totally be that easy (sarcasm, if you didn't catch it).  The fact that the movie cried out for a Sneakers-esque computer team?  Not even touched.

Looting the cool tech? Nowhere in there even though there ought to have been people diving into the Potomac to steal bits of the Insight helicarriers to begin their careers as heroes, villains, or just people who make impossible technology in their garage.

Monday, May 23, 2016

Captain America: Civil War, a preview post so there will be something here while I'm still writing the actual posts

This is just me reposting a comment I made at Amarie's, originally there was going to be some structure or sense behind the numbers, then there wasn't.

Here it is, in all its unedited glory:

* * *

Preview of the posts I'm going to be writing about it, note that it won't be one post per point below

1 The movie we were promised at the end of the previous Captain America was Steve and Sam on a road trip to find Bucky with possible help from Natasha. This is especially sensible because Sam's job and vocation is helping soldiers who have had traumatic experiences which Bucky very much is. Where the fuck is that movie?

2 The final fight of this movie, which the villain's entire plan leads up to, hinges on Tony being an asshole, but that doesn't mean that Tony needed to have a huge role in the movie. He could have spent the movie following newly surfaced clues on his parents' murder. Cut to him for like a minute at most as he gets one step closer and then, at the very end, his quest leads him to the same spot as Steve and Bucky.

3 This was two movies (which is an improvement over the last Captain America movie when they tried to cram in like nine) and neither of them was really a Captain America movie. The Avengers splitting up over the Fictional Country Accords is clearly an Avengers movie. Bucky being framed bringing the two sides of the split into conflict is actually the backdrop for a Black Panther movie in which T'Challa grows as a character and he first steps foot outside of Wakanda as the Black Panther.

4 Apparently only villains care about natives. Tony ends up thinking they need oversight because of an American in Sokovia, the oversight actually becomes a thing because of Wakandans in Nigeria. No one on the good side gave a crap about the Sokovians or the Nigerians. That seems to be the message.

5 This should have been morally complex. The leader of the accord side --who should have been Maria Hill, not Tony-- should have made the argument that cops without oversight are dangerous and scary things and justice requires people who can keep the enforcers in line. This is true and important because, for fuck's sake, the cops are out of control and the Avengers are cops on a grand scale. Steve should have made the "Yeah, but.." argument which he kind of did with "They could order us to do bad things" (see Captain America II in which the "good" guys and the bad guys both agree that a giant surveillance and assassination system is wonderful, but disagree on who should pick the targets) and "They could order us not to do good things" which, if they'd waited to get an "Ok" for Sokovia the first time then the [worse Nazis than the Nazis] would rule the world and if they'd waited the second time then the human race would be extinct.

In either case having to go through a normal chain of command would have ended life as we know it and possibly life in general. That's what superhero movies are about for fuck's sake. If the police were up to the task then Peter Parker could focus on his school work. If the regular allies were up to the task then Captain America wouldn't have been needed. Super-villains exist because without them superheroes would be dangerous vigilantes but with them they're necessary. They become even more necessary when the powers that be aren't outmatched but instead actively evil.

And on that note:

6 Doctor Doom. Marvel doesn't have the movie rights to The Fantastic Four so they can't use Doctor Doom in spite of him being their character, but things would have worked so much better if Steve could have just said, "Latveria." pause because that should be enough. Continuation for those who don't understand, "They'll never approve us intervening, but if we don't then Doctor Doom will be unstoppable before he sets foot into our jurisdiction." Or, failing that:

7 "117 countries." How many of those countries have committed genocide? How many of them have stood by and let genocide happen? There's Steve's "Order us to do bad things; order us not to do good things," argument. Hell, Steve may be Captain America, but his wartime service could have caused him to come into direct contact with the 442nd Infantry Regiment who might have mentioned what the US was doing to their families back home (and had been doing to them before they were allowed to join up.)

8 Bucky wasn't just framed; he was framed really badly. The Winter Solider doesn't blow shit up. He shoots people, he chokes people, he fights people one on one, but a car bomb? No. Before the previous Captain America movie no one, save Natasha, seriously believed he existed and that's simply not possible if he's the sort to do things as open as blowing up a UN summit.

Everyone should have known he was innocent with the possible exception of T'Challa who had very good reason to have less than perfect judgement right then.

In fact, the movie works best if the villain and the Accords side are working together. How did someone who's son was in the empty building Tony collapsed in Sakovia get alone time with Tony to tell Tony about her son when there's an entire crowd of people who know more about the building who would like to see him just as much? Why push the story that an enhanced human (Bucky) is responsible when the evidence is crap?

Because both the people behind the accords and the nominal villain want to bring down the Avengers. Ross wants them imprisoned (chasing down exceptional individuals is kind of his thing), Zemo wants them dead, but the early stages of both goals are identical and it's probable that neither side talked about their endgame.

9 Can I go on about how morally unbalanced this is?

Tony: I've come to realize that I can't be trusted not to do X, therefore there should be a law against X. All who oppose me in this endeavor are moral degenerates. If you'll excuse me I have to make sure that Vision knows Wanda is my slave, not my guest, and then I'm going to recruit a child soldier by threatening to out him to his mother-figure. This will involve me repeatedly pulling what he wants kept in the closet out of the closet so that there's no way you can miss the overtones.

Vision: I make sure Mr. Stark's slaves don't leave the property unless he allows them to. I see no moral problem with this.

Rhodey: I'm just following orders. (He's clearly the moral heart of the team since ... yeah.)

Natasha: I actually came out and said that I don't want to be on this side. The only reason I'm here is because "Team Evil" needs a token female character.

Peter: Look, I don't want to know who's right and who's wrong. I'm being blackmailed by a creepy guy who seems to want to have sex with the woman who raised me. I actually gave a speech in which I said that morally I agree with everything the other side stands for.

T'Challa: I'm here to murder someone, but don't worry, this is my pseudo-origin story so I'll learn to be a better person by the end of it and not murder the person who killed my father. My initial position on the Accords is that they should apply to others but as soon as I've got a vendetta, screw everything they say. That said, remember that I grow and change unlike the other people on this team.

While on the other side we have:
Steve: This will seriously harm our ability to do good things and YOU'RE TRYING TO KILL AN INNOCENT MAN. Also, no lawyer? What happened to due process?

Sam: I'm with Steve on this, every part of what he just said.

Wanda: I'm a human being, not an object. I saw Fury Road, damn it.

Clint: Wanda's a human being, not an object.

Scott: Is there any coffee? What day is it?

Not saying that Cap's team is composed of angels, but there's a clear right side here. Not the least of which because this whole thing is being overseen by...

10 "Ross" is a name that we might associate with, "Why the fuck isn't she in this movie?" but in the case of Civil War it's the other Ross. Her dad. The villain. Bruce/Hulk's villain. A movie about Ross interring enhanced people ought to be Bruce/Hulk's movie.

11 You know why this fucked up movie exists? After Iron Man III, a movie with so many good bits that it made the crap the movie was primarily composed of hurt even more than if it had just been only bad, RDJ wasn't contracted to do anything else but the remaining Avengers story (which will be split in half) and the people running the MCU wanted him in another movie because he draws bigger numbers in the US. Not that his movies make more money overall, it's just in the US where there's a notable difference.

So they wrote a movie that would so depend upon Tony and Iron Man that they could go to RDJ and say, "We've got this movie that we want to make --script's done, we're scouting locations-- but it will only work if you're in it. *puppy dog pout* Please?

They weren't even trying to make a good movie. They were trying to create a thing that required RDJ.

12 Tony's position basically boils down to: Hey, you know what? I've realized that I've been wrong all these years. But now that I've realized it I'm right and you're wrong. Everyone still has to do what I say.

He's the guy who always thinks he's right. Every time he realizes he was wrong before then ... hey, that just makes him even more right now because he's righter than he was back then.

13 You put Bucky, a traumatized soldier, and Sam, someone who works with traumatized solider, together and didn't make any use of that?
You put Bucky, someone who had is his mind fucked with, on the same side as Wanda, someone who can do impossible things with minds, and didn't have her at least try to help?

14 Vision can pick up the hammer of Thor because he's totally worthy, but he doesn't see the problem with "It's fine for you to leave to do work for us, but you're not actually a free person. You're our captive here. Deal with it"?

15 There are three black superheroes in this movie. They're all male.

In fact, Given that Wanda's been whitewashed ... is it impossible to be a minority and a female in the hero biz?

---

Proposed better way:

Captain America 2 had a different name because Bucky was barely in that movie and the movie wouldn't have changed much if you took him out.

Third CA movie is Captain America: The Winter Soldier. Steve and Sam go out to find Bucky.

In Avengers: Civil War, the team fractures over the question of the Sokovia accords. Steve leads one faction, Hill leads the other. While they fight, the movie ends with all of them teaming up to free the captured members of the Steve-side from Ross' secret prison where the inmates have no rights because, whatever your position on superhero oversight, prisons with no human rights are bullshit.

The Black Panther -- T'Challa gets drawn into the middle of this fucked up feud when Bucky is framed for murdering his father. The movie has the two sides of the Avengers fighting each other again because of the flashpoint that is Bucky, but that's the backdrop for T'Challa's story.

Future movies: X years ago a super hero team was sent to prison for a crime they didn't commit. These people promptly escaped from maximum security prison. Today, still wanted by the government, they ... yeah, I'm not going to be able to work in the entire the A-Team opening monologue, but it seemed to fit.

Important point is this: future movies follow Captain America, Falcon, Black Widow (because she ought to be on that side), the Winter Soldier, Hawkeye, Scarlet Witch, and Antman (individually, and in groups) as outlaw heroes.

They do crime for great justice.

-

Probably wrote too much already.

Friday, May 20, 2016

Updates on various things

I missed my usual financial update and money begging thing.  So, there are no looming catastrophes at the moment, however... I still haven't heard back from the SSA, they're dragging their heels to no end.  If memory serves they did the same thing last time and eventually so much time had passed I assumed that they must have had nothing to report and then boom they screwed up the entire passed year of my life so the fact that all catastrophes were supposed to be over and I was never going to need to beg for help again kind of went down the drain.

I saw Captain America: Civil War which would have made sense if they'd called it How the Black Panther left Wakanda but instead they seemed fixated on making it Avengers 2.5: This makes no sense, and only fictional dead people matter.  The fourth Captain America movie will doubtless be Captain America: He's not even in this movie; don't pretend to be surprised.

I think I'm going to have to split my post about that into multiple parts because if it were really just one post worth of stuff it'd be done by now.

I also got around to watching Age of Ultron, in which no time period constituting an age passed and they never addressed how old Ultron was thus making the title a complete non sequitur.  I did this in case there was something in it that made Captain America: Civil War make sense.  There wasn't, but I have a better understanding of the movie now because it really was an Avengers movie, not a Captain America one (and should have been a Black Panther one.)

So posts on all of that coming, maybe.  I've not forgotten that I said that there would be more Lynnverse and more Life After and yet not delivered on that.

Um . . . Stuff.  If I weren't so in debt I really should buy a washing machine because fucking hell is this absurd.  If not for frequent trips to see Lonespark, who has a washing machine, I'd have been wearing dirty clothes exclusively for almost a year now.

Primary computer was never fully fixed, it just took me a while to realize it.  The USB ports are borked, semi-boked, and not borked (there are only three) which it can take a while to notice if you default to the not borked one and rarely use more than one at once.  That's not why It's going to be sent in for repairs though.  It's not charging right.  That's bad, thus it needs to be sent in for repairs.

I think that might, possibly, cover everything.  But I make no promises.  I often forget things.

[Added:]

Oh, also, getting some weird traffic.  Starting on the 16th I've been getting visits that are way over my usual traffic.  Usual traffic is generally in the two to twenty per hour (page views, not visitors) with occasional spikes into the sixties of seventies.

About once every five hours since it started I'll a hundred and forty page views, give or take, in a single minute.  The page views are distributed: one per post.  If not for the fact that viewing that many pages in a minute (or the semi-regularness of one every 5ish hours which doesn't allow for sleep) I'd think someone were doing an archive crawl.

As is . . . not sure.  I suppose someone could be archiving the site.