Modern rap music is worse - just overpaid assholes not making music, spitting nonsense bars over recycled loops (more repetitive than Christmas music - just brainwashing children).
Rappers literally write porn and violence for kids, and it sells because we tell kids "no, this is adult content, not for you" (or sometimes we don't because shitty parents exist), and so the most popular music being purchased is juvenile
(how many of you in your thirties are still excited for albums to drop, and talk about it excitedly with your friends? Let's be real. Music is targeted towards children and immature stupid people, because they're the easiest ones to take money from).
So, they've found the formula, it seems. Same mechanical drum beat. Talk about your private parts and how much money you have. Sex, violence, power, money, throw in a backstory about how you grew up a victim but made it and you're a winner now - someone to look up to, even though you're writing violent porn for kids to consume and waste their time and money on.
That's nearly every rapper today - it used to be better. The only thing I hate about country music is just how bland and stupid it is sometimes. Shut up about your fucking beer and wife who left you, while you sit on your porch eating cornbread and chicken - it's fake and desperate. I'm not buying that you actually drive a tractor around, after you leave the recording studio, anymore than these fake ass rappers are probably doing drive bys after they spit some bars over repetitive trash that someone else tossed together on a computer.
And the rappers are all like "I didn't have nothing handed to me, but I made it!" and then they proceed to threaten ambiguous other "gangsters" like they're actually going to drive by people's houses and open fire "blap blap" with their guns, potentially killing innocent people for no reason - and that's the mentality they want us to have.
Trash.
Also, most rock is just "I'm so sad or angry inside... Dying in a hole, blaaa blaa blaaa" but at least they made most of the actual music themselves and can perform it live, with their instruments. Linkin Park is horrible and I don't know why it's still on the radio sometimes. Fucking annoying adolescent cringe shit.
I like classical music and instrumental music. Vocals are nice when they sound good, and aren't just yelling nonsense at you. I like quality music and feel bad for most of you sad, pathetic, miserable human filth who have been brainwashed to think you actually enjoy painful, annoying, immature, mass produced sounds.
I bet you like Christmas music too, since it's also repetitive, cheap commercial trash.

I felt that reviewing only recent novels is not enough due diligence and decided to review every novel that I've read and is worth a review. I will write more later.

1. Martial World I&II, are beautiful novel and a half that every fan of tournament-secret realm-war loop must read in his life. The novel is from an age where we still haven't had our fill of garbage but I think it stands even among contemporaries to this day, there isn't much to describe besides that it has everything joked about in parody stories without feeling like a parody. It perfectly encapsulates that era when MC's were gnashing their teeth in pain to accomplish victory and not playing a pig to eat a tiger or were an oriole stalking a mantis. The novels are fully translated and plot devices that drove us mad at that time shouldn't faze anyone -- MC will never die or get cucked, unless we are reading a fetish story.
   
2. I Shall Seal The Heavens, people are now shitting on this novel but it's surely one of the best xianxia novels; it was even my listening choice for a few days after LASIK surgery. What is most commendable about this novel is its elaborate setting and power system, in the first half of the story, and I especially think that every xianxia novel should have such a rational power system - Foundation Establishment, Golden Core*, Nascent Soul, Spirit Severing., but I do think that * Golden Core should be made of all three essences: Qi, Blood and Soul, not just Qi;. And I still remember some of those memorable quotes to this day, e.g. Reliance Scripture meaning is that you must rely on someone/something to succeed... then rely on Patriarch Reliance!, Havefaith in lord Fifth and etc. The clear problem of this story, especially in the second half, is that it's the last part of the trilogy, and therefore must be more ambitious than prequels. And so it was, too ambitious for its own good. It's overall a better novel than a Renegade Immortal, but worse xianxia story.
   
3. RMJI, this novel was just the right xianxia mix from beginning to almost end. There is not much to say, just a good execution of a good formula "New place>wrung it dry>war>leave", all while remaining lowkey but without internal monologues reminding us about it every chapter. Worth your time, just don't read the sequel. Author's other two books are also good, don't know about the latest one.
   
4. World of Cultivation, nothing much to say besides the cast being so good and setting+power system fresh. The story is pretty much guys being guys, dudes being dudes. Still a top novel at novelupdates, and the author is a salted fish that dropped two last books in a row.
   
5. Nanomashin and other works from this author, but why read the novel when there is manhwa? A good fresh take on slop murim novels, MC isn't cold-blooded but instead clearly sees that his teammates are pigs and takes matters into his own hands.
   
6. Warlock of the Magus World, a certified hood classic. There are only two types of people in this sub, those who already read it and those who want to understand why it has a cult following. Actually, the novel is very simply written and has a vibrant world that all of us can imagine and easily suspend our disbelief, that's it. MC being a total edge lord is just a plus. The characters are not very bright, but neither do they disillusion us by introducing their thoughts into paragraphs we are reading, they just speak, do their stuff and die. Like an episode with beholders, the whole sequence was like a shoot-out between gangsters, just a mere scuffle between factions, no need to elaborate it too deeply. If you need clarification, or more details, just write it and i will supplement the text.
   

https://www.jta.org/2022/06/06/culture/before-wwii-jewish-mobsters-kept-nazis-at-bay-in-the-us-with-their-fists
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jta.org

Before WWII, Jewish mobsters kept Nazis at bay in the US — with their fists

Howard Lovy 6–7 minutes
(JTA) — The way author Michael Benson tells it, one day in 1938, New York judge and Jewish communal leader Nathan Perlman sat at a bar and thought, “How come these Nazis get to march down 86th Street, goose-stepping and ‘sieg heiling’ like it’s the Macy’s Parade? Why are they so brazen?”
It was because they were not worried about the consequences. Too few people in then-isolationist America really cared about what was being said about the Jews or what was happening to them in Europe, Benson said. What was needed, then, were Jews who weren’t afraid to break some laws — and some bones — as they challenged the homegrown Nazi threat.
And that’s when, in Benson’s words, “Judge Perlman thought outside the box.”
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Members of the German-American Bund parading through the streets of New York City in 1938. (Three Lions/Getty Images)
What happened next is the subject of Benson’s book, “Gangsters Vs. Nazis: How Jewish Mobsters Battled Nazis in Wartime America” (Kensington), published in late April. As the title suggests, Perlman had a few connections in the underworld. That included Meyer Lansky, an accountant, bootlegger and fixer whose work straddled both the Italian American and the Jewish mob. Lansky, in turn, had at his disposal Jewish members of a mob enforcement organization known as “Murder Inc.”
The Jewish mobsters showed up to intimidate and fight the the German American Bund and other Nazi organizations from New York to Chicago to Minnesota and even Los Angeles. It got to the point, Benson said, when Nazis began to stay away from rallies because they knew they would be in for it.
Lansky was happy to help and accepted no pay for the service. “I am a Jew, and I feel for the Jews in Europe who are suffering. They are my brothers,” Benson quotes Lansky as saying.
Despite the syndicate’s name, said Benson, “No one gets killed in the entire book.” It wasn’t that Lansky didn’t relish the thought of killing Nazis. But Rabbi Stephen Wise, the Reform rabbi and Zionist leader whom Perlman brought along to a meeting with Lansky, insisted on no deaths. While Jewish members of Murder Inc. cracked a few skulls during the course of 1938, the year covered in the book, they didn’t kill any Nazi sympathizers.
This is all familiar territory for Benson, who specializes in books about the Mafia and true crime. His interest in crime and killers dates back to his childhood, growing up near Rochester, New York. When he was nine years old, his babysitter and her friend were murdered, a cold case that he said he later cracked as an adult — a story he tells in the 2015 book “The Devil at Genesee Junction.”
“I started out writing about psycho killers and grisly murders,” Benson told the Jewish Telegraphic Agency. “And for the last few years, I’ve been the Mafia writer for Kensington Books. So, I knew the cast of characters and I think that’s why they brought me in.”
Benson is not Jewish — he describes himself as a “lapsed Catholic” — but says he has a deep understanding of antisemitism. He went to Hofstra University in New York, which he described as “80% Jewish.”
“I understand hate,” he said. “When my first child was about to be born, I was walking my very, very pregnant wife to Beth Israel [Medical Center] in Manhattan, and we were egged by kids in a van, who shouted the ‘K-word’ at us. I understand antisemitism, prejudice, and hateful thinking.”
In Benson’s book, the main villains — the embodiment of hateful thinking — were members of the German American Bund. By 1938, what began as an organization to celebrate German-American heritage had been taken over by Fritz Julius Kuhn, who worshiped Hitler and attempted to imitate his speaking style.
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Michael Benson (Citadel/Tekla Benson)
“He’s as much like Hitler as he could possibly be, waives his arms, spittle spews when he talks, and he harps again, again, again, on how the Jews are responsible for all the world’s problems, and that’s why everybody’s poor these days,” Benson said. “And it’s a message that resonates.”
That’s when Lansky had his boys take matters into their own hands. There are a series of brawls — a big one in the Bund’s home turf of Yorkville in Manhattan — and the Bund is shown just how tough Jews can be.
In Benson’s book, everything comes to a head in an infamous 1939 Madison Square Garden pro-Nazi event, which the author calls “The Bund’s Last Gasp.” It was a hate rally led by Kuhn. But the American Hitler wannabe was upstaged by a Jewish plumber from Williamsburg named Isadore Greenbaum, who jumped onstage, pulled the plug on Kuhn’s microphone in the middle of his speech, and was roughed up by Kuhn’s bodyguards. “When I heard persecution against my religion, I lost my head,” Greenbaum later said.
“And the next day, all of the newspapers that were supposed to say what a great rally it was talked about the one hero who busted it up,” Benson said.
This is very much a story of its time. Mobsters showing restraint against killing doesn’t seem very plausible in today’s world. But, Benson said, the threat to Jews remains.
“The forces of evil that the Jewish gangsters were fighting are with us today and scary as ever,” he said. “Who’s going to be Captain America? Who’s going to be the Judge Perlman and Meyer Lansky?”
Antisemites are small in number, Benson said, but they are just as brazen in their hatred as were the American Nazis in 1938. What’s the solution? Well, Perlman and Lansky may have used crude methods, but they succeeded in shaming the Bund.
“I don’t really want to advocate violence,” Benson said, “but it seems about time that all of society should subject them to the same level of embarrassment and shame and stigma if they behave in this way.”

[Attaching screenshots and other details below in comments]
I got call with IVR saying "Dear FedEx Customer, Your Package Has Been Returned Due To Being Prohibited From Sending Out. To Know More, Please Press 1. To Contact Our Customer Service, Please Press 0."
I have ordered a lens from Amazon which is in transit from NewYork to my place as I type this. So I thought it's regarding that package, something must have come up in customs. Has happened to me before once when a motherboard was ordered from HongKong via AliExpress and they didn't include the bill copy on outside of the package. I had to contact AliExpress multiple times and a long hassle later I received the motherboard 2 months after ordering it.
So naturally, I pressed one, got connected to person from "FedEx", who said a parcel with my name, phone number and Aadhar ID is seized by Narcotics Beureau Mumbai, because it contained illegal items. Which items? 5 expired passports, 3 ICICI Credit Cards, 2 HP laptops, $1000 USD cash and 350gms MDMA.
No lie, I was scared shitless. Why? Because a lot of people from my village have done the 'havaala' thing, aka Money Laundering for people abroad. And a lot of times they've come to me and asked me "Yo bro UPI me 3000 Rs and take cash from me, I need in my account but can't go to bank at this hour". A lot of times I've sent money to them or their "cousins".
On top of that, the village I'm from is basically the one you've seen in Udta Punjab. All my classmates from my village are either dead from overdose, or admitted in rehabilitation centers. When I was graduating and I'd come home for holidays, my parents wouldn't let me meet anyone from my childhood or school. Perhaps if I hadn't gone to study, I would be dealing/using as well. That is the state of my hometown.
So I thought some mf from my village has used my Aadhar Card and my number to mail drugs using my name and now i'm in trouble. I pleaded to them that it's a misuse of my identity and I haven't done any such thing. They said okay, such things happen from time to time. Drug sellers use fake IDs of normal citizens for such tasks and they can help me get out of this. So I got connected to Narcotics Control Beureau Mumbai Branch.
Before I know it, I'm on a Skype call with NCB Mumbai inspector Pradip Sawant who showed me his ID card and some terms and conditions page before starting the conversation and asked me not to share any of this with anyone. I was using my tablet for Skype and my phone was still in my hand, and I was googling their names. Didn't turn much up. I even told them that i'm using my tablet for skype using wifi. They said its okay as long as you're online and don't bring anyone else in the video frame. If we suspect you've involved any other person, we'll cut the call.
They first accused of money laundering for a drug lord called Mohd Islam Malik who has been arrested (which is true - he is a real gangster who is now in jail), then they said they'll help clear my name if I'm truly innocent but they need to verifiy it first.
They contacted some "agent from intelligence" on speakerphone who checked my Aadhar ID and said it's linked with bank accounts and credit cards in Hyderabad, Mumbai, Kolkata, Indore and whatnot.
So, I was told that my name is associated with large number of bank accounts and credit cards all across india, many of which are associated with the drug empire of Mohammed Islam Malik, and I need to verify my bank accounts for them to see which ones I have used to peddle drugs and which ones are safe. He showed me some photos of people and asked if I know any of them.
He was going to connect me to "DCP", who was going to verify my innocence and provide me with a "certificate" so I would be safe in future, but when they went to him (while on call), he wasn't available. So he connected me with their "Finance Officer" instead.
The finance officer asked me a lot of things: Whether this xxxx account of xxx Bank in xxxxx city under your name is currently being operated by you? Is this one you're using? No? Okay here's another one, this is the one you used yeterday to transfer money, right? no?
Okay which ones are you using then?
I was flabbergasted. I asked how can anyone open accounts in my name without my PAN card or my signature or OTP on my phone? Or my Aadhar verification. He said it is possible when bankers themselves are working for the drug dealers and they can allow it to happen. They do such things, open accounts in name of innocent people and use that to transfer drug money. In return, they are given some incentive in their personal accounts for such tasks. We are looking for such incentive money in your accounts.
So he asked me which accounts I actually use. I was about to say account number but he stopped he. He said "only tell me which bank and branch you're using and we'll filter those here. No need to give any details. We already have everything associated with your name here." I told them the banks and branches I use, when I asked how often I go to those banks, I said I don't. I either use UPIs or Netbanking and I have statements to show for it.
I tried showing them my PAN and ask them if this is the one associated with those accounts, if not then it's obviously not me. He said "Dont do that. This call is being recorded. Do not show you PAN Card or your Bank Account Number or your UPI or your Passwords or anything like that here. It is against department rules, infact never share such information with anyone ever again. Sharing such things with strangers is what got you involved in this in the first place. Just answer what is being asked. Nothing more, nothing less."
Then they asked me to transfer some money from one of my accounts to another one of my accounts and tell them how much was transferred, and the balance after the transfer so they can verify that I own both those accounts. I did that and they said okay, these two accounts are yours as we have detected the transaction your just did, but one of the accounts is also listed suspicious so you need to verify that all money in that account is yours and not given to you by the drug empire.
I transferred the money using netbanking on phone, while call was going on in tablet's skype. When I tried to show them my phone that look transaction has gone through from one account to another they said, "Dont share your netbanking screen on the video. We're already tracking everything you do."
I mean, that was so convincing.
And they said that the suspicious account needs to be verified by your bank's home branch so you need to go there and verify it so we can be sure that those suspicious activies are not done by you in person but some other party was using your indentity to do so.
But.... They didn't allow me to contact anyone and told me keep the video call on, or I'll suffer the consequences of charges. They told me to go to my bank to verify my accounts and said local police is following me in civil dress, and since bankers are suspects too, i shouldn't disclose anything to anyone. I told them I'm at work and I need to pick up my wife cause she'll be alone after work hours but they said it's very crucial. "Do you realise the seriousness of the case you're in?" they said.
"If you tell anyone, or we find even a single point of mischief, we will disconnect the call and all your accounts will be frozen. We won't help you. You will never be able to contact us again and will be treated as dangerous suspect."
That's when I kinda suspected that this might be a scam. I was all three things in that moment - scared, curious and cautious. If this is scam, why haven't they asked for money or tried to hack my account or anything? Why haven't they shown their own face in the video? How has FedEx a direct line to NCB? and if I am to prove this happened, I need something concrete, something more than a skype address or photographs of their IDs they've sent me so far, which is just as easy as changing your name on your Aadhar ID in photoshop and printing it out and laminating it to look like the real thing.
I played along, because up until that point I only had a skype ID and some calls from few (possibly spoofed or burner) phones, nothing concrete. But now I started to act scared for them. Every now and then I'll turn the tablet to flight mode, turn it back on and when they called back i'd tell them I'm sorry the mobile data connection dropped on my phone. They didn't ask why I was saying mobile data when I had clearly told them i'm using Wifi and Skype on a tablet? They were clearly desperate to corner me into something, but what? In between talks and disconnections, I logged into mobile phone skype and started using that, and they didn't notice any difference.
Until that point, it was hard to 100% call it a money scam. Wasting my time? maybe. They didn't ask my personal details. They didn't ask my account numbers or credit card details, they didn't even ask for my PAN card, infact they advised against doing so. And at no point they ever asked me to transfer any money to them. I was only transfering money between my own accounts. And for "verification", they're asking me to visit the home branch of my bank? So What? I'll go to the bank. So what's the endgame of all of this? When I reach the bank they'll ask me to, what, verify my identity? Show my passbook and tell them its me? What are they thinking?
After 3-4 hours of calls and skype video call (where they didn't show face, only sent their IDs and documents), and routing calls through various people (inspectors, DSPs etc), at final step, when I showed them that I'm outside the "Home Branch" of my bank and showed them the logo and the main doors, they asked me go inside, get an RTGS form and asked me fill the details as written in the Skype chat. They said they had created a temporary account for security purposes so the bankers will not suspect anything.
Bingo. Money demanded.
They practially asked me to transfer Rs 10 lakh via RTGS in account number 42630940831 (Name: AMILALI SOFTWARE PVT LTD); Bank: State Bank of India, Branch: Shastri Nagar Meerut; Account type: Current; IFSC SBIN0008696 to verify that my money was legal. Once its verified as legal, it will be transferred back to my account and they will issue me a certificate.
Moreover, there was the thing from their end: A current bank account. That cannot be created overnight for a scam. It had to be verified by the bank from an actual person which can be traced! And now it was my turn. Since they had already wasted like 4 hours of my time, and I knew the moment I tell them I know this is a scam they'll just cut the call and i'll be left thinking i'm stupid to fall for it (I still do), But I wanted to give them a little taste of their own medicine. It was kinda dangerous but here's the thing - I was not at the home branch. I was at the local HDFC Bank branch that was just near to where I was doing the whole skype thing. So even if I wanted to do a transaction or signature verification or whatever, it could either be done at the branch where my account was, or the "home branch" which is basically the head office of every other HDFC bank in the area. So whatever I do there (signature change/phone number change/NEFT etc.), they would just ask me to visit the my own account branch or the head office, or wait till 4pm when bank's last courier will leave with all the forms and submit it to main office, where they will be processed by 5pm. That's normal procedure for HDFC banks as far as I knew. It has happened many times before when I needed something done but couldn't do it at local branch. Still, those bank rules could have been changed and what I did next could have costed me a lot.
Now comes the thin tread:
On the videocall, in the bank, while showing them on camera, I got the RTGS form. I filled the details as asked and submitted it to the reception counter to the receptionist sitting at RTGS desk. She accepted it, stamped it and gave me an RTGS reference number in return, and told me she will submit it to manager in 15 minutes where the manager will send it onwards. I showed the reference number to the scammers and told them receptionist asked to wait for 15 mins till the transaction goes through from my account to their account. They saw and heard the whole thing happen.
Then they got kinda relaxed. The "DCP" said wait till it goes through, and when I get a message regarding amount debited from my account, tell him and he will send it back withing 15 minutes. No need to worry. He started talking to me about how they are going to help me out of this, that once they issue me the "certificate", my name will be cleared and if any police or CBI asks me again regarding my involvement in Mohd Islam case, just show them the certificate. Then he started talking about how is my family, how the area around me, what's the politics in the area, what are my future plans, and how did my aadhar card got leaked that landed me in such trouble. He even told me, kinda gave me step by step guide, to create a digilocker so from next time someone asks my aadhar they'll only get last 4 digits and my IDs will be secured from any illegal activity. They even said that I can now go and pick up my wife because she'll want to know about the situation you were into.
I took a long rolling screenshot of the skype conversation at the moment because I knew they'll delete it from their end and maybe it gets deleted from my end too. I kept waiting till the receptionist was done attending the other people in the queue.
Just when the receptionist got up with the form to go into the manager's room to approve the RTGS, i just put the phone on flight mode without notice, and stopped her. Told her to cancel the RTGS and told the manager as well about the scam I was into. They said the RTGS was never going to go through from this branch anyway. They were going to send this to their head office where it would be verified for signature, and then they would have also called me again to confirm the transaction since 10 lakh is a large amount. They said that to keep a proper record, I must also write a letter to branch manager regarding cancellation of a submitted RTGS form. I did that too.
Phew.
But now I could only imagine the situation of the scammers. I had submitted the form, even showed them the reference number for that transaction that was about to happen in just 5 more minutes. Within 5 minutes I started getting phone calls, skype calls, skype messages. Like for next one hour my phone kept ringing but I didn't pick up. Didn't cut. I just let it ring.

This blogpost is about alcohol. And birthdays I guess. And the shop.
I am thinking about drinking despite having drunk myself into a stupor on Monday. It was my birthday next day but I had work. I wasn't drinking because I was celebrating, no. I was doing the literal anti-thesis of that.
I came into this world via C-section. Knowledge of that is heavy on my mind every birthday, growing heavier each year. To have come so close to non-existence. For my mom to go through all that for this, I pity her and I am angry with her in equal measure. When I was younger I asked if she and my dad wanted only me or did they want more kids. Apparently my grand, gory entrance into the world robbed my mom of the ability to have more, although she wanted 3 kids in all. But she told me when I was younger that I am enough and that she loves me. I didn't ask the question again, but I am certain her stance on that must have changed.
When I say I drunk myself into a stupor on Monday, I really did. One of the many many cons of this massive masculine body I inhabit is that it's hard for me to get actually drunk, but I managed, with the help of some sort of strawberry slushy vodka drink, courtesy of some foreigners I used my above average English and already boosted charisma on. I walked them back to a bus stop and sad down, and puked. And I puked red. Bright arterial burning glowing shining red.
At least that's how I saw it for a moment, it was really just the strawberry slushies. I don't really want to die, not anymore, I have a man to live for, but I can't help to sometimes still daydream about getting out of here. In a way that absolves me of any direct guilt of course, so cancers, heart attacks, organ failures and other violent biological cataclysms. Yes, I am a coward.
Some paramedics ultimately found me after a bit. I assured them I was fine by standing up, so they told me to go, or police would come. So I went, leaving the big dissapointing red splatter.
Speaking of dissapointing, I'm probably going to quit my corner store job. I tried my best, which was not enough, and I don't like being constantly berated. So, I guess quick update on the actual human clients. (This one's for the few people that remember my previous post)
The goose hat guy was just passing through apparently. I haven't seen him again.
The sharp featured individual came by several times since last post. He stopped shaving I think. Brought a girlfriend along once or twice. Doesn't seem too human now, seems like just another humanoid thing, but with sadder eyes.
Lastly, the pair - 1990s gangster ginger and his heavy makeup-heavyweight girlfriend. They're regular clients, they smile when they see me and say "Hi" instead of "Hello", they feel comfortable enough to ask me what vape I recommend, I feel comfortable enough to actually give a real answer and recommend something I smoked myself and quietly hope they like it.
They didn't take one I recommended, but still.
I hate and love them so much at the same time. I am so tired why am i writing this i'm sorry. I'm sorry this is fucking stupid. Yeah this is the last one probably I hope. Thanks for reading this puke i guess.

I'm going to do something a bit different and take a close look at two major works from the DC Universe: Darwyn Cooke's The New Frontier, and James Robinson and Paul Smith's The Golden Age. If you're playing along at home, the texts I'm using are The Absolute New Frontier from 2006 and The Golden Age trade paperback from 1995.
First a bit of personal context: I didn't enjoy The New Frontier when it first came out, serialized in six quite expensive installments. I loved Cooke's art, I loved the use of some of the more obscure DC war characters, and I loved the characterization of the Martian Manhunter, but the narrative didn't work for me when read in small monthly doses back in 2004. I had read all of the full-length work Cooke had done up until 2004, and none of it had disappointed me at all. But The New Frontier seemed to read more like a tour through the 1950s and 1960s than an actual story. It wasn't until the final issue that I really understood what Cooke was leading up to, but then it was over, and I didn't have the time or the inclination to dig out the back issues and read the whole thing in one sitting. Even when I got the two-volume trade paperback collection a couple of years ago (in an eBay lot of trade paperbacks I bought off of none other than comic book scholar George Khoury), I still didn't bother to read it. To paraphrase Hemingway's Frederic Henry, we don't do the things we want to do.
So I never actually read the entire text of The New Frontier until this past winter, when I was able to sit down with the luxurious Absolute edition and dive into Cooke's illustrated world. I enjoyed it immensely, enough that I wanted to reread it again this summer, which is what I have just done, and now I want to talk about it. But I don't want to talk about it in isolation, and I'm interested in the connection between texts, so I'll also talk about its logical precursor: The Golden Age.
Like The New Frontier, Robinson and Smith's The Golden Age deals with the era between the 1940s and the 1960s. The era in which the comic book Golden Age grew into the comic book Silver Age. The era in which America was undergoing its own transformation, moving from threats abroad to suspicion at home. And just as I had difficulty enjoying The New Frontier as a serialized comic, I couldn't appreciate The Golden Age in that manner either. I only bought the first two issues, actually, back in the early 1990s, and then I lost interest, vaguely thinking that I might buy it as a collected edition some day (even though collections were not guaranteed the way they are today). I did buy it when the trade paperback was released, and because I had never finished it originally, I read the collection immediately. And I liked it. But I thought it was deeply flawed.
I reread The Golden Age yesterday, after thinking about it in regards to The New Frontier. It's not a surprising connection, after all. Cooke himself claims The Golden Age as an inspiration for his own work. But my memory of The Golden Age was a bit hazy, and I recalled it being a much more cynical view of the territory than what Cooke achieved in The New Frontier. My recall was pretty accurate--Robinson and Smith present a quite cynical view of the late Golden Age America.
Now that I've read both works back-to-back, I'm interested in exploring what each says about super-heroes, what each says about America, and how each achieves its (very different) effects. These are the kinds of things I'll be looking at over the next few days.
James Robinson's use of History in The Golden Age
One of the things that strikes me about both The New Frontier and The Golden Age is the way the creators weave American history into their stories. On the surface, such a technique might not be surprising, especially considering that both tales take place in the past. And while it may be true that a so-called "historical novel" or "period film" would be amiss to neglect the details of history which fit its setting, the same isn't always true for comics.
In comics, stories set in the past tend to take place in some vague memory of the past, without any apparent intent in locking the stories into a particular date or era. Take the typical origin stories, or "Year One" stories which DC Comics' creators have retold again and again. In such a story, whether it be Miller and Mazzuchelli's take on Batman, or Waid, Augustyn, and Kitson's take on the Justice League, the setting lacks a distinct time stamp. The characters are younger, true, but the setting lacks specific period detail. The reason for this isn't at all surprising, because locking the characters' past into a specific date would require some major explanations about their ages in the present. Had Miller time-stamped the date on Batman: Year One, and included captions saying "May 3rd, 1980," or whatever, then that might have worked for a few years, but even if we assume that Batman was only 23 when he took inspiration from that window-smashing flying rodent, according to that temporal continuity, he'd be 50 years old in the current stories. And he's clearly not.
So we expect stories set in the past to avoid any kind of specific references to contemporary history, at least in comics. A recent jarring exception to that can be found in Diggle and Jock's newly released Green Arrow: Year One, in which a young Oliver Queen references the "Kevin Costner" Robin Hood. That means Queen must have become Green Arrow sometime in the mid-1990s, which might explain his age today (if he was 22 in 1992, he'd be 37 today, which might be right), but it also implies that his son Connor must only be a teenager today, and he's clearly older than that. Perhaps the reference will work better 10 years from now when the Kevin Costner reference will become part of the vague historical past, but right now it seems too current to make sense.
Anyway, the other MAJOR exception to the rule of not using historical references in comics is the case of stories set during World War II. Even comic books written at the time of WWII regularly included time-stamp references in a way that later comics tended to avoid. Yes, since then, Superman has met Kennedy, and you might see analogues of Bill Clinton or George W. in a story or two, but in the 1940s heroes came face to face with major historical figures (contemporaries to them) on an almost daily basis. Here's FDR! Here's Superman grabbing Hitler on a cover! Here's Tojo! Here's Hawkman enlisting in the army to fight overseas! Etc. Such close ties between "comic book reality" and real-life events never matched the heights of the WWII comics.
And that's why later writers, Roy Thomas MOST prominently among them (he practically invented the whole idea of historical nostalgia super-hero comics), felt compelled to weave actual historical events into the retelling of stories from the WWII era. Thomas's Invaders for Marvel and his All-Star Squadron for DC playfully fit the timeline of actual US history into the fictional timeline of the past super-heroes. In his letter columns, Thomas would often explain (or justify, for the more contentious fans) how the chronology worked.
But, other than WWII era-stories, most comic book stories that take place in the past (unless they are time travel stories, which have their own rules) DO NOT USE SPECIFIC HISTORICAL REFERENCES. It's weird to imagine novels or films avoiding such references—they would surely be criticized for it—but in comics, it's commonplace.
So, in the case of both The New Frontier and The Golden Age, you have two rather significant violations of that standard "rule." And both of which seem deeply indebted to the type of approach Roy Thomas favored so much.
Let's take The Golden Age first, since it was published a decade before Cooke's work. The Golden Age seems like a logical off-shoot of Thomas's All-Star Squadron. It features many of the same characters, and Johnny Quick, a relatively obscure DC character from the past, would certainly not have been a suitable narrator for the story without the characterization Thomas provided in years of All-Star Squadron stories. James Robinson is clearly building on the foundation Thomas created. So, it's not surprising that he would, like Thomas, blend US history into his story. Yet Robinson's approach differs in two distinct ways: (1) He doesn't seem interested in the exact historical details and how they fit into his timeline—he seems more interested in the general sense of historical forces of the time, and (2) Unlike Thomas, who was writing out of a Golden and Silver Age optimism and a belief in the American Dream, Robinson was writing from a post-Watchmen perspective, as a foreign-born writer, who could play with the cynical expectations of the time.
Thus, Robinson gives us coke-sniffing "super-heroes," corruption, brutality, and sex in a tale which features the "pure" heroes of the DC Golden Age of comics. Robinson's approach is not to use specific elements of McCarthyism or the Red Scare (even though those ideas are referenced at least once), but to use the general sense of paranoia and panic, the cynical manipulation of the public for personal gain, and the looming threat of the bomb.
Ultimately, however, Robinson uses all of this as a backdrop for a traditional super-hero romp. The coke-sniffing "super-hero" turns out to be Hitler in disguise!!! (Well, actually the brain of Hitler in the body of a former kid sidekick—talk about a symbol of corruption!) And the hero-turned-power-hungry-politician in the form of the patriotic Mr. America turns out to be old JSA villain the Ultra-Humanite, who knows a thing or two about brain transplants. So, in the end, it's just a classic Golden Age story about punching Hitler and defeating an evil genius.
But it's Robinson's historical subtext which makes the story resonate. It's his use of those undercurrents of paranoia and despair which make these formerly perfect heroes of the past seem flawed and human. His story starts dark and becomes darker but, by the end, Robinson's veil of cynicism falls away, and he reveals himself to be a humanist, if not an optimist. His reverence for these Golden Age characters would not let them be truly corrupted—it had to be evil masterminds and Hitler all along.
And that, perhaps, is one of the failures of The Golden Age. The shock of the initial chapters is just a ruse, and as low as these characters seem to sink, everything can be explained by pseudo-science and comic book logic.
It's just another Justice Society of America story, ultimately, but it's a good one. And Robinson's use of the undercurrents from that era of history make it work, even if it never transcends its roots.
The New Frontier and Camelot
While The Golden Age used the historical subtext to evoke currents of paranoia and doom in a super-hero story, The New Frontier approaches history with a different agenda. As Ultimate Matt pointed out in response to yesterday's post, The Golden Age is labeled an "Elseworlds" title, which not only grants it an exemption from DC continuity, but it allows more freedom for the creators to take the characters and setting in a fresh direction.
The New Frontier, however, is not labeled as an "Elseworlds." And yet, it strays far more from the currently accepted version of continuity than The Golden Age does. The key word there is "accepted." Darwyn Cooke, in his annotations, states that he approached The New Frontier with a set of rules:

1. The timeline is real and covers 1945 to 1960. Silver Age characters appear at the time DC started publishing them.
   
2. Retcons haven't happened yet.
   
3. No New Frontier retcons could contradict original continuity—they had to complement existing continuity or show a fresh point of view.
   
4. When the story ended, everything had to be as it was when the JLA debuted in Brave and the Bold #28.
   
5. Snapper Carr does not exist.
   

In other words, you should be able to pull out your original comics from that era (or the Archive editions) and read them concurrently with The New Frontier and nothing Cooke does should contradict what happens in those old comics.
The problem with the continuity is that the comics from that era didn't have any continuity. It was never explained how a character could be on the moon in one issue of his own comic, and under the ocean in the same month in his Justice League adventure. All Golden and Silver Age DC continuity is a retcon. So what Cooke did was create his own continuity—he made his own sense out of the various adventures as they were originally published, although the bulk of the book deals with the time between major events. Just like The Golden Age, The New Frontier is about filling in the gaps.
While James Robinson filled the pre-Silver Age gap with an almost allegorical tale of Cold War paranoia and corruption, Darwyn Cooke fills the gap with a sense of wonder and idealism, and he uses his attitude toward history to solidify that tone.
Cooke's approach takes three strands: (1) The Right Stuff-inspired history of that era, embodied by the test pilots and early astronauts, (2) The early promise of the Kennedy administration, and (3) The strange DC comics history as seen in the stories published during that time. Cooke uses the first two strands to illuminate the latter. He puts the Silver Age ascension into perspective as part of a generation of hope and achievement. He shows that the formation of the Justice League was not a random incident, but part of a larger historical movement which led (in our reality) to things like the Peace Corps and Apollo 11.
Cooke ties together such disparate elements as The War that Time Forgot, The Challengers of the Unknown, Dr. Seuss, and all of the characters who would join the initial incarnation of the JLA into a single narrative. And although it takes quite a while before the villain emerges and the heroes band together, the narrative is structured around the real historical forces that would have shaped the creation of these characters. John Broome doesn't wax poetically about the symbolism of Hal Jordan's career as a test pilot in the original Green Lantern run from the Silver Age, but Cooke takes the fact that he was a test pilot and places him in the actual context of such a man. He even includes a scene where the young Jordan meets Chuck Yeager.
That's quite a different approach to history than we saw in The Golden Age, which covers a very similar time frame.
Although Cooke didn't intend (according to his "rules") to change any of the original stories, his interpretation of "fresh point of view" allows him to add things which would have been more historically true even if they weren't addressed in the comics of the time. For example, he not only changes Wonder Woman into an almost plump, hawkish, zestful character (to signify her Greek origins and Amazon heritage), but he creates an entirely new character to illuminate the civil rights struggle of the time. Since he had no black DC characters to draw upon, he created a Silver Age analogue to Steel, the black Superman ally. The Silver Age Steel, unlike his modern equivalent, isn't a technological marvel. Instead, this earlier incarnation of John Henry suffers at the hands of the KKK before taking vengeance, and ultimately dying when he's betrayed by an uncaring white America (symbolized by a blonde little girl, who points out his location to his pursuers). John Henry never meets the Justice League or teams up with any heroes. His death doesn't affect them at all, really, since they didn't know him. But Cooke includes a scene where Edward R. Murrow mourns the fallen hero and laments the state of the country, bringing an actual historical personage into the DC story.
The civil rights subplot, although powerful, is overwhelmed by the exceeding optimism of the other plot threads. Cooke's America, as full of conflict as it might have been, is one of scientific progress and movement toward a brighter future. His villain, ultimately revealed to be Dinosaur Island itself (a sentient being who has unleashed monster after monster), is even more absurd than the Hitler-brain-transplant nemesis in The Golden Age, but because Cooke accentuates the fun and spectacle of the super-heroes (and, to be clear, his emphasis is on the men and women in the costumes, and the risks they take for their heroism), the absurdity of the villain doesn't detract from the story.
Both The Golden Age and The New Frontier end with similar images (the first appearance of the Justice League banded together) and similar sentiments (hope for the future), but where James Robinson built that hope out of the wreckage of the 1940s, Darwyn Cooke builds it out of the dreams of the men and women who sacrificed for the promise of tomorrow.
Both books end with optimism for comic books and optimism for our country, but they took starkly different approaches to get there.
The Unstoppable Force of Progress: Characterization in The New Frontier
Since both The New Frontier and The Golden Age re imagine comic book chronology through one part actual US history, one part comic book history, and one part imagination, it's not surprising to find both Cooke and Robinson taking liberties with the characterization of these pre-Silver Age heroes. Both creators ask the question asked by any creator attempting to retell stories from the past: Okay, this is how they were portrayed, but what were the characters who did these things REALLY like?
I'll start by looking at The New Frontier. Cooke doesn't focus his story on one dominant point of view the way Robinson does (with Johnny Quick), but he tells his story through a few central characters:
Rick Flagg: Leader of the WWII-era Suicide Squad (and presumably the father, or grandfather, of the Ostrander-penned incarnation). Cooke presents him as a tough guy cliché. He's a Hemingway hero—he does what needs to be done and doesn't whine about it or waver in his determination. In Act III of the narrative, his position in the story is replaced by the similarly-characterized King Faraday, who also does what needs to be done, although he seems to have more internal conflict than Flagg. Faraday is a spy, after all, not a soldier. But both characters represent a government which has the best interests of the country in mind. If they hurt a few individuals along the way, that's a necessary sacrifice for the good of the many.
Hal Jordan: The man who would be Green Lantern is NOT portrayed as a cocky rocket jock, as he usually is in contemporary interpretations. Cooke turns his lack of fear into a self-destructive streak stemming from his face-to-face act of self-defense in Korea. In Cooke's universe, Jordan doesn't immediately become a hero just because an alien handed him a ring. It takes time for Jordan to learn that he deserves to be a hero, and that's a large part of what The New Frontier is about. He doesn't reveal himself in Green Lantern costume until AFTER he risks his life to save the world working as a pilot. The two-page "hero shot" of the characters walking towards camera (a la The Right Stuff) shows some costumed heroes, but Jordan is wearing a flight suit. Cooke seems to be showing that he needed to prove himself TO himself before he could accept his new identity, but his reluctance to use the power of the ring leads to Nathaniel Adam's death. (Adam is later reborn as Captain Atom in the comics, but that doesn't happen in this story, and as far as Jordan should be concerned, Adam is dead.) Cooke doesn't provide Jordan with any time for remorse, though, since he needs to use his ring to kick alien butt. The ring, by the way, is also shown as a symbol of destructive energy. When Jordan first uses it, he cannot control it, and it causes great damage. Cooke, then, seems to indicate that the ring might symbolize nuclear energy, and the subtext would be that Jordan's hesitance to use it led to another hero's death. Ultimately, Jordan is Cooke's symbol of the Kennedy era: conflicted, yet determined to bring forth a positive future—harnessing great powers for the good of the nation (and the world).
John Jones, the Manhunter from Mars: Jones says, "...this is a world where good and evil struggle in all levels of existence. I want to be a force for good." That's a simplistic view of humanity, but it's one seemingly shared by Cooke throughout this work. Good and evil may not be easily discernible on the surface, and Cooke gives us the threatening-looking John Henry (with a hangman's hood) as a hero and a little blonde girl as a villain, but the line between good and evil is absolute (and, in fact, John Jones assumes the role of a film-noirish detective so he can find the evil beneath the surface appearance of the world). Jones defines this ethical stance for the reader, and it represents the code of Golden and Silver Age comic books, which lacked anything but absolutes. Even though Cooke might try to provide some not-so-subtle shades of gray (Jordan as a murderer, Wonder Woman as feminist avenger, an undercurrent of xenophobia), his view of history seems to echo the simplicity of the comic book stories of the era. Individuals may not have always done the right things at all times, but it was an era of progress, and good triumphed over evil. The subtext could also indicate that governmental order triumphed over chaotic nature, with the unified heroes, under the leadership of the US government, destroying a threat that wasn't so much malicious as it was animalistic.
Even though Cooke's characterization of some of these characters, Hal Jordan in particular, might not match traditional representations of these individuals, I think it works in the context of the story. The characters serve the story and add a few layers to the text, but it's primarily a historical action spectacle, a celebration of progress over stagnation, and Cooke's characterization unifies the text. I don't think his characters have many hidden depths, but I think their lack of depth matches a story which is primarily about the grand force of history.
As one final observation: Cooke is actually better at small character moments with the minor characters than he is at developing convincing lead characters. The death of Johnny Cloud, Jimmy Olsen's eagerness, the sassiness of Carol Ferris, and several other character bits show Cooke's facility on the small scale, even if his epic narrative doesn't provide the opportunity for subtle nuances with the major characters.
Characterization in The Golden Age: Dragging Heroes to Earth
While Cooke ignores anyone else's retroactive continuity to graft archetypal personalities onto the early Silver Age heroes in The New Frontier, Robinson takes characters straight out of Roy Thomas's All-Star Squadron (like Johnny Quick on the left here) and Young All-Stars and sends them on a dark journey into the 1950s. Robinson does not re imagine these characters drastically, although he seems to do so with Mr. America (but that's part of his narrative ruse). Instead, he takes their established characterization and expands upon it by adding seeds of self-doubt, paranoia, and despair as the characters face a world in which the villains are not as easily identified as they once were. Robinson misdirects the reader at first by pretending to adopt a simplified Watchmen approach, pretending that he's showing what these characters would have been like without costumed villains to fight or gangsters to punch, when, in truth, he's simply changed the nature of the evil to something more covert and less easy to spot. (Which might seem Watchmen-esque as well, except Alan Moore showed us that the heroes were the villains in that story, and here, Robinson ultimately reveals that secret villains with brain-transplant powers were behind the whole thing from the beginning.)
Here's a quick rundown of the central characters in The Golden Age:
Johnny Chambers, a.k.a Johnny Quick: Johnny not only provides the book-ends to the story but, as a documentary filmmaker, he provides the exposition which sets up the story context. One of the things Robinson does NOT do well here, by the way, is clearly distinguish between narrative voice (provided through white, rectangular caption boxes), and newsreel voice over (also provided by white, rectangular caption boxes), although perhaps the colorist was supposed to use different color cues for each and didn't. The CHARACTERS who narrate, like Johnny Chambers, each have their own style of caption—Johnny's are rounded and blue, as you can see in the image. Actually, it's not that it's so difficult to identify the narrative voice, it's just that there is an omniscient narrator who pops up every once in a while for no good reason, and tells us things about the story sometimes, while other times he sounds like he's trying to give us character thoughts but not really: the highly subjective "fingers...fumbling...focusing...trying to..." immediately follows the objective "a photographer lurks among the rubble." The photographer is the one who's fingers are supposedly fumbling as he tries to snap the photo, so why does the caption sound like a bad Batman internal monologue? This really has nothing to do with Johnny Chambers, but I just wanted to point out this major flaw in the narration throughout. With so many characters (Johnny being one) actually providing narration through captions, why does Robinson add an omniscient narrator also? It's jarring and ineffective. It's like he took the strategies of Watchmen with the multiple points of view, and then spliced the conventional narrator on top of it. It just doesn't work.
But a few more things about Johnny: He smokes, and he wears glasses. He still has his powers, but even though they would help him in his day job, he doesn't use them. And he's incredibly suspicious, which is the characteristic that makes him the character the reader most identifies with. He's also lost the woman he loves because he works too hard, although he gets her back in the end. In short, he's a slightly older (although he actually seems to get younger as the story progresses, perhaps symbolizing his return to heroic stature), slightly more sullen, slightly more flawed version of the character we saw in the comics produced in the 1980s (even though those stories were set in the 1940s). He refers to his costumed self as "That Jerk!" at the beginning of the story, but ends on a hopeful note as he describes a "new age...fresh and clear and bright...as sterling silver!" He's never really a cynic, but his pessimism and self-loathing turns to optimism in the end (even quickly dismissing the threat of McCarthyism to look ahead to the glowing future of super-heroics).
Paul Kirk, a.k.a Manhunter: If we play out the James-Robinson-is-trying-to-do-Watchmen-but-not-as-well game a bit more, we could say that if Johnny Chambers is the Dan Dreiberg analogue (the low-self-esteem voice of reason and calm) then Paul Kirk is clearly the Rorschach character. He's the crazy one who will surely upset the apple cart, yet isn't that what has to happen in order to get to the truth? That's his role, anyway. Unlike Rorschach (in his insane way), Kirk doesn't have a methodical approach to uncovering the truth. In fact, he's tormented by the truth, which lies buried beneath mind implants, exploding into awareness only through a series of horrible dreams. He seems deeply disturbed because of the War, but he's actually deeply disturbed because of the secrets he knows. He's another character, like Johnny, who seems to become more youthful and vibrant in the final Act, when he is able to unleash his demons through old-fashioned fisticuffs. Unlike Johnny, though, he visibly suffers for a long time before he reaches the point of action. Here's a sample of his internal monologue from one of his many tortured dreams: "Save the eagle. Save it. Save—n...no...nooooohhhh!!" Then he wakes up and thinks, "Still afraid." That's about the extent of his characterization. He's tormented, fearful, and knows he should be better than that. And, "save the eagle?" Geez, I wonder what in the world that could possibly mean in a book about corruption within the American government. Clearly, even though this book is directed at an older audience than the original Golden Age tales, Robinson keeps his symbolism quite simplistic.
Tex Thompson, a.k.a. Mr. America, and Daniel Dunbar, a.k.a. Dan the Dyna-Mite: These are the two characters most radically changed from their Golden Age counterparts. Mr. America was a whip-wielding patriotic hero and Dan was a kid sidekick who later, under Roy Thomas's writerly guidance, became one of the lead characters in Young All-Stars. In Robinson's story, Mr. America becomes a corrupt politician who seeks power by any means necessary, and Dan the Dyna-Mite becomes America's beloved Dynaman, the only active costumed crime fighter of the time. And he snorts coke. And he's evil.
Neither of these two characters have internal monologues via captions for the reader, because that would give away the twist. Tex Thompson is not really who he seems, for he has the brain of the evil Ultra-Humanite (who has in previous stories adopted the forms of a gigantic white gorilla and a hot ex-starlet, among others). And Daniel Dunbar, who has fallen so far from grace in our eyes (a former teen sidekick with a drug problem whoring around) actually has the BRAIN OF ADOLF HITLER!
So there's not much to say about the characterization here, since these are two evil characters in the most simplistic way. What is interesting, though, is that (a) Robinson chooses one character, Thompson, who seems vaguely sleazy to modern readers anyway, what with that whip and the mustache, and when he's shown to be corrupt, we can buy into it, falling into Robinson's trap of thinking that it's just a regular dude becoming corrupted by power; and (b) Robinson's use of the pure and innocent Dunbar is also a good choice, because it is not only shocking to see him corrupted so extremely (before the truth of the brain-swap is revealed), but it's a nod to cultural expectations about former child stars, who, by the 1990s, were expected to grow up and become criminals or drug addicts or worse, at least by our tabloid-fascinated society.
Like a director who makes his film better through excellent casting, Robinson uses the right two ex-heroes in the apparent role of the villains. His bait-and-switch works, although I was personally disappointed that the threat turned out to be external (evil villains) and not the corruption of these characters from within.
Robinson uses other characters to show the corruption of innocence and loss of the heroic dream. Robotman, so noble in Roy Thomas's All-Star Squadron, has lost any humanity by the time of this story—he's pure machine, while Alan Scott, Green Lantern is conflicted about his duty as a business leader and law-abiding citizen and his passion for ring-slinging and butt-kicking. Hourman is shown to be addicted to his Miraclo pills, while the man once known as the Tarantula is an egoist with writer's block. Ted Knight, Starman, who Robinson would go on to write with great depth and sensitivity in the ongoing series about Jack Knight, is a mad genius who is trying to put the pieces of this shattered world together through science.
I should add here that Robinson, unlike Cooke, isn't drawing from the original sources as the basis for his story. He's adapting his characterizations from the work done during contemporary comics, as Roy Thomas provided retroactive characterization (and explanations) for the WWII-era heroes. Robinson is building on the layers which Roy Thomas built upon the layers which Gardner Fox (among others) built.
Overall, Robinson does provide a sense of disillusionment in his characterizations in this story, even if his narrative technique is sometimes sloppy or inconsistent. Cooke tried to add a bit of humanity to iconic characters in his work, but he was mostly interested in the icons of the era. Robinson drags his characters down into the muck and then builds them back up again, hoping to show how their inner humanity wins out (with all of its flaws) in the face of systematic adversity. Cooke's characters inhabit the skies, the stars. Robinson's characters live on the ground.
So, the final verdict, after looking at The Golden Age and The New Frontier for a week: Not much different than my initial assessment after reading them both last weekend. The Golden Age is flawed because of its inconsistent narrative point of view and it's cheap, brain-swapping revelations. Robinson and Smith capture the disillusionment and paranoia of the time quite well, but it all amounts to nothing except a superhero slug fest in the end. It's 80% of a great work, and 20% of stuff that doesn't quite fit (including the optimistic ending, which seems unearned). As part of a larger, genre-wide trend to make super-heroes more "realistic," violent, and depressing, I'm not a huge fan of its influence.
The New Frontier is flawed, but it's a flawed masterpiece, and I can imagine revisiting the story many times in the future (and I can't say the same about The Golden Age). Cooke tries to include too much in the narrative, and the main threat of Monster Island isn't presented as well as it needs to be, but the book contains dozens of amazing sequences, and it features sharp, engaging characters who flash in and out of the story. The speed of the narrative demands that the book be read quickly, and it works best when read this way, not because it allows the reader to gloss over the weak parts of the story, but because The New Frontier is an overture, and can be best appreciated when all of its notes are heard in rapid sequence. I didn't love it when it first came out, in the completely inappropriate floppy installments, but I loved it after reading the Absolute version a week ago, and I love it just as much after studying it closely all week.
As one final thought: Both The Golden Age and The New Frontier tap so deeply into comic book lore, and I am so deeply embedded in it myself, that I wonder if either of these works has any merit for a "civilian" reader. And I wonder if, perhaps, the darker, more "realistic" tone would be appealing to a non-comics fan, more so, perhaps, than the wide-eyed optimism (tinged with bits of darkness) seen in Cooke's work. Or would the non-comics fan find both stories completely useless and without merit? Are both works examples of the snake swallowing its own tail? I've already been swallowed by the snake of comic book geekery, so I can't answer that one.
SOURCE

https://preview.redd.it/h42gu8nv642d1.jpg?width=475&format=pjpg&auto=webp&s=62d139d83894957a378b31418f24cfb8f94d06ec
These guys, specifically Roberto and Ainsley, started because I was just doing a funny exaggerated voice of a father being distressed at their son being a femboy sex worker. The voice I did for some reason sounded similar to a stereotypical mafia boss, and that's where the whole "mafia dad, femboy son" scenario came from.
Now the Silanos are easily some of my favorite characters to write, as they are all so entertaining to write into any story scenario, and I started adding more members until it feels like an actual crime family and not just a regular family who happen to be gangsters.
Even more funny, Gabriele, Ainsley's big brother, started off as just being planned to be a one-off joke of being the more mafia-leaning son. Now, he's easily my favorite of the Silanos, and he's easily one of the most sadistic and violent characters I've ever created.

Harvey King is the protagonist of a short story series that I'm working on titled "The King Has No Clothes". Read the story here: https://www.reddit.com/OverwatchHeroConcepts/comments/1cvx6di/the_king_has_no_clothes_part_1_short_story/?utm_source=share&utm_medium=web3x&utm_name=web3xcss&utm_term=1&utm_content=share_button
This is not a character concept, I don't like doing those anymore. I don't like the game Overwatch anymore, though I still like the stories tied to it and still enjoy writing fanon for it. This is going to be in-game dialogue, quips, and character interactions for King, a hypothetical "if King was an Overwatch hero, here's what his in-game dailogue would be" type deal.
I'm doing for two reasons: 1. cuz I wanna, and 2. to showcase his personality through banter, where there aren't deep lore implications in each line of dialogue like there is in my short stories

Chatter:

Hero Select:
"The King has arrived!"
During Set-Up:
"This'll be the easiest tussle of your guys' lives with me on the team."
"There ain't no one who can mess with the King, you boys'll see."
"One sec, I gotta comb my hair."
"Not to brag, but ain't no one's been able to break my nose, and it ain't happenin' today."
1st Round Start:
"Let 'em at me!"
"Wait till they see my right hook, [arrogant laughter] they won't see it coming."
"They have no clue what kind of whollopin' they're in for."
"Time for knuckle-bruisin'!"
2nd Round Start (Won Previous Round):
"Life's pretty easy with a King on your side, eh?"
"Hey, Hey, Hey! My hair didn't even get messed up!"
"They're gonna be feelin' that for a while!"
2nd Round Start (Lost Previous Round):
"Why do I always gotta get stuck with a team full of punks?"
"Hey, it ain't my job to carry you wimps."
"Hey, on the bright side, my face is still perfect as ever."
Final Round:
"They ain't that tough, let's get 'em boys."
"Hey, I almost got a hair knocked outta place that last round!"
Respawn:
"Not the face, not the face!"
"Phew, at least the money maker's still intact."
"That was a cheap shot, ya punk!"
"Great, my jacket got scuffed!"
"Whattaloada bull!"
"I don't have to take this crap!"
"Hey, you ruined my face! My perfect face!"
"I'm gonna have your wrists broken for that!"
"Oohh, I'm gonna break your face!"
Respawn (Team Kill):
"Oh yeah, leave me on my own. Whatever!"
"Maybe now I can get somethin' done without you punks getting in my way."
"Hey, you guys think this is nap time? I need some boys out here!"
Pick Up Health Pack:
"My face is back to perfect condition, and that's all that matters."
"Hooh! I am feelin' alive!"
"Ain't nothin' gets your blood pumpin' better than a near-death-experience!"
On Fire:
"Man I'm pretty!" (Johnny Bravo reference)
"I. Am. Hot! In a lotta ways!"
Fully Healed:
"Hello, nurse!" (Looney Toons reference)
"Thanks, doc!"
"You're A-OK by the King's book."
Damage Boosted:
"Hell. Yeah!"
"Like a new hair gel."
Negative Status Effect:
"Hey! My mojo's gone!" (Austin Powers reference)
"I'm gonna need to hit the showers after this."
Enemy Resurrected:
"Alright, round two, chump!"
"You wanna 'nother whoopin'? Fine by me!"
"You didn't catch the hint? Lemme give it to you again!"
"You just can't stay away from me."
Witnessing an Ultimate:
"Hey, watch the face!"- Reaper's ult
"(In a flirtatious tone) You can see me anytime, y'know."- Widowmaker's Ult

Call-Outs:

Hero Change:
"Harvey King here."
Enemy Sighted:
"There they are, get em'!"
"Hey, I see em'!"
Outnumbered Against Enemy Team:
"Please, I can't take em'!"
"There's alotta guys here and not alotta me!"
Sniper Sighted:
"Keep your head down, there's a sniper!"
"Sniper, I'd like to see what they're like up close and personal!"
Turret Sighted:
"Hey, look, a turret!"
Ally Damaged from Behind:
"They're comin at you from behind, idiot!"
"They're right behind you, use your eyes!"
Enemy Ultimate:
"That's a cheap shot!"
Nano-Boosted:
"Damn, I'm even sexier than before!"
"Woah, nelly!"
Time Running Out (Defense):
"Don't start slackin' off on me now, ya chumps!"
"Watch yourselves, we're too close to winnin' for screw ups!"
Time Running Out (Offense):
"Hey, we should really get a move on."
"Gimme a sec to wipe this dirt outta my pants, then we'll win."
Final Blow:
"Whapow, That's what happens when you mess with a King!"
"Thanks for the warm up, punk."
"Get outta my ring!"
"Get outta my way!"
"Hey, I'm walkin' here!"
"Look at that, your nose got broke!"
"You gotta mouse in your trousers!"
"Go back home, you ain't tough enough for this."
"I ain't big on hittin' women, but since you wanted a fight..." -Eliminating a female hero
"Someone oughta put you in a box floating down the river, grandma!" -Eliminating Ana (Spongebob reference, because it's hilarious.)
"Great, now your stench is gonna rub offa me." -Eliminating Junkrat
"Lose some weight, porky!" -Eliminating Roadhog
"Ditch the hammer and fight me mano y mano!" -Eliminating Rienhardt
"You're a crappy boss!" -Eliminating Doomfist
"That's for leavin' me in that hole!" -Also eliminating Doomfist
"Ain't personal, I just don't like women who're more man than me." -Eliminating Zarya
"Stupid, weird-lookin' rat." -Eliminating Wrecking Ball
"You ain't no gangster, lady." -Eliminating Ashe
"Can't deflect my right hook, huh?" -Eliminating Genji
"Takes more than primitive weaponry to kill a King!" -Eliminating Hanzo
"Ain't worst than a cold shower." -Eliminating Mei
"You ain't scarin' me no more!" -Eliminating Sombra
"So, I take it you aren't free friday?" -Eliminating Tracer
"As the french say, (In the worst, most American accent ever concieved by mankind) tu es mort!" -Eliminating Widowmaker
"Just to be clear, I'm still free this saturday." -Eliminating Brigitte
"Zen my ass." -Eliminating Zenyatta
"You really should be on the same side, you and me." -Eliminating Baptiste
"Pff hahah, you hit like a girl!" -Eliminating Life Weaver
"Sorry doc, you're a bit old for my tastes." -Eliminating Moira
Kill Streak:
"I am owning these losers!"
"I am SUCH a big deal!"
"This is easy, this is so easy!"
Multi Kill:
"These fists are rated E, cuz everyone's gettin' 'em!"
"Watch me go, I'm killin' all of 'em!"
Team Kill:
"Hey, look at 'em, they're all dead!"
Revenge:
"That's what happens when you cross a King!"
"Try me again, see what happens!"
Elimination with Ally on Low HP:
"I know, I know, I'm sexy."
"Yeah, I'd ogle too."
"It's nice having a King on your team, isn't it?"
"Did my jawline look good from your angle? Should I do that again?"
"(In a flirtatious tone) Hey, noticed you needed a little help there." -Assisting a female hero
"(Signature flirtatious tone) That was, like, totally hot, right?" -Also assiting a female hero
"See? I'm worth my hide!" -Assisting Doomfist
"Did that earn me that date I wanted?" -Assisting Sombra
Ally Eliminates Enemy:
"Hey, I would've gotten to 'em!"
"I could've taken 'em."
"Please, just leave it to me."

Character Interactions:

Doomfist: "You didn't have what it takes to be one of us."
King: "I do too! Someone ratted me out, what was I s'posed to do?"
Doomfist: "I figured you'd have a childish response like that."

King: "You and your pals better start watching your backs."
Doomfist: "We aren't intimidated by children."
King: "I ain't no children, I'm a King. You'll learn what happens you cross a King." ("I ain't no children" is intentional)

King: "Hey Tons-of-Fun, how 'bout you start workin' for me?"
Roadhog: "Not interested."
King: "Fine, there's more muscle I can find than you."

King: "Talon's using you old man, and they'll throw you away when you ain't useful no more."
Sigma: "Oh, Harvey, it's been too long since I've seen you last! Where have you been?"
King: "I was- oh nevermind, delerious old man."

Winston: "We trusted you, King."
King: "Yeah? Well I trusted people too, once upon a time."
Winston: "It was more than trust, Harvey. I considered you a friend."
King: "Big whoop."

King: "Stupid monkey!"
Winston: "Why are you so angry?"
King: "Why? Cuz, you ruined my damn face, costed me thousands to fix it!"

King: "Outta my way, old man. Let someone in their prime do the heavy lifting."
Rienhardt: "Hah! Alright kid, go ahead, lets put you to work."
King: "So, what's gangin' like out in the west?"

Ashe: "Where I come from, we don't get pretty boys like you running around ing gangs."
King: "I figured, perfection ain't in your people's gene pool."
Ashe: "That, and the fact that they get eaten alive."

King: "I enjoyed our times drinking together."
McCree: "Not enough to not shoot us from behind, appearanty."
King: "Why is everyone so upset about that? I was just doin' my job."

McCree: "If you want people to think you're tough, you need some hair on your chin."
King: "And cover this beautiful jawline? No way."
McCree: "It would also cusion blows to the face."
King: "As if anyone could hit me there."

King: "Hey, Sombra, you got an espionage tips?"
Sombra: "Are you asking because you screwed up the last time?"
King: "I got ratted out and you know it!" / "I had to pretend to be a good guy, at least you get to be honest about being a criminal."

Sombra: "Look King, a mirror!"
King: "Where?!"
Sombra: "[Laughing] Knew you'd fall for it!"

King: "So... you haven't been going through my phones and stuff, have you?"
Sombra: "Suprising as it may be, no. I don't even want to imagine the stuff you've been watching."
King: "Good. Better for both of us that way."

King: "You and I should get together and play poker again."
Sombra: "Hohoho, not a chance. I still owe you 500 from the last time we played."
King: "Oh right, you DO still owe me..."

Sombra: "It must be nice, having family ties like yours."
King: "Yeah? What's it to you?"
Sombra: "Nothing, just thinking about your father's corporate secrets."

Sombra: "Did Leonhard ever tell you what happened to you mother?"
King: "Uhh, yeah. She didn't approve of my dad's business, so she left him."
Sombra: "[Laughs] Oh you poor, innocent little thing."

Echo: "I should've known you were a traitor from the start."
King: "Not even you could see through my facade, I was the perfect spy."
Echo: "Is that why you got caught?"
King: "Someone on my side squealed. Ain't my fault."

Reaper: "I'm glad we got rid of you, you always got on my nerves."
King: "I'm gonna start really getting on your nerves once I show you what I'm capable of."
Reaper: "Don't keep me waiting."

Sojourn: "If it were up to me, you would never have made it to that prison."
King: "You couldn't kill me if you tried."
Sojourn: "Wouldn't be my greatest feat."

King: "Hey, don't I need your blessing to go get your daughter or somethin'?"
Torb: "If you go anywhere near Brigitte, my hammer's going right into that face of yours."
King: "Whoahoho, nope!" / "Eh, I'm used to going behind people's backs."

Tracer: "To think, you of all people..."
King: "I know, you know, we all know that big thing I did."
Tracer: "How can you be so nonchalant about this? I confided in you!'

King: "Hey, is this whole 'I was feeding information to your enemies" fiasco gonna come between us?"
Tracer: "I can't imagine a world where it doesn't."
King: "Fine, be that way, see if I care."

Widowmaker: "You incorrigable child."
King: "Hey, ain't you supposed to be incapable of controversial thought?"
Widowmaker: "Hating you is hardly controversial."

King: "[Whistles]"
Widowmaker: "What are you looking at?"
King: "Huh, what was that?"

Lucio: "So, I'm trying to ask everyone this, what's your favorite animal?"
King: "Chickens. My uncle rubbed off on me"
Lucio: "Uhh, yeah, I can see it!"

Baptiste: "I can't believe you, working for Talon behind our backs, behind my back!"
King: "Hey, I hate them just as much as you do now."
Baptiste: "Which would be fine if you weren't still a mobster."

King: "Hey doc, I got a problem with my blood, it's all going below my waist."
Mercy: "That must be why your brain works so poorly."
King: "Woah."
Mercy: "Sorry, that just kinda came out."
King: "No, no, no, I deserved that. I just didn't expect it outta you."

Zenyatta: "You betrayed your friends, and now you have also been betrayed."
King: "Is this gonna be some stupid lecture?"
Zenyatta: "No, I am simply highlighting the irony of your situation."

The familiar sounds of the office fill the ears of the "Adventurer" as he steps into his home away from home. To him "Familiar sounds" means the voices of about three-quarters of the hundreds of employees who work in this building, thanks to the progressive, passive, perpetual boosts to his senses that he has simply always been accruing. He still can't quite hear everything in the office, indeed as powerful as his senses are he can only actively sense enough space around him to be firmly aware of events occurring about half of the building's length and width away from him at a time, but those are still incredibly powerful senses.
Lucas steps past several cubicles and heads to his own with a calm smile on his face. He actually enjoys his job, not because he finds the work fulfilling but because it presents him with a chance to level up his skills and work towards becoming altogether stronger in a hilariously safe environment. The figure sits in his cubicle and logs into his work computer with a bright grin on his face. As he grabs the last pieces of paper in the backlog that was a big problem when he began to work for this company he feels a pang of pride.
The workday is pleasant enough. He successfully finishes the last pile of paperwork that was considered part of the backlog and this effort is celebrated by his direct supervisor and a few of the friends he's made in his department, a group composed of several men and only a few pair of women, who have been working here for years but lacked the abilities he possesses that allow him to grind out progress at a rapid rate and allow him to improve the work he does every single day without fail. The news quickly spreads throughout the office, and various people, including other departmental supervisors and managers, come to him and congratulate him.
When the day ends Lucas is one of the first people out the door. This is commonly expected Lucas-like behavior at this point so no one bats an eye at it. The figure works and then leaves, and he seems to have an incredibly strict policy about work-life balance to the point that no one from the office has seen his apartment or even seen him outside of the office aside from on social media.
The lad walks towards a nearby mall even as he checks his phone. When the decently cautious man is sure he's not being watched he uses his inventory to swap outfits, changing into something much more casual than his work uniform so he can do his equivalent of trolling. His clothes go from being the professional outfit someone might expect to see an accountant in, to the much more casual clothes of someone who works at a Game Station the local equivalent of a Game Stop.
The minute the figure reaches the mall he relaxes and steps into it with a smile on his face as he is suddenly and powerfully aware of events going on all around him now that the sounds he's been passively hearing for the last few minutes are not muffled by layers of solid American construction. The mall is a favorite haunt of his, a place where there are enough people that even if something goes awry he can pretty easily escape in the chaos and commotion that any sort of hostile actions would necessarily cause. Still, to the figure's credit he has not been caught yet.
The thief begins his training by carefully studying the department store he's in. He can be a bit bolder now than he could weeks ago, as in the time since he began to hone this skill he's enhanced it in such a way that he can teleport objects directly into his inventory, which is a tremendous improvement even if he can't take anything bigger or heavier than a cleaver. He eventually spots a teenager with a wallet that is just visible out of the corner of his pockets. Lucas diligently uses "Observe" on him and the powerful skill is strong enough now that Lucas can use it to determine someone's affiliations. When the young adult spots that the teen belongs to a gang he decides it's worth taking his potentially ill-gotten gains.
The clever trickster points a single finger in the direction of the teen's pocket and silently casts the handy spell. A thin line of energy lances out of his extended digit and sails through the air toward the teenager. When the teen begins to move Lucas hisses in annoyance and expends a bit more magical energy to take advantage of the first skill he's gained as a result of an attribute hitting 50: arcane manipulation.
Days ago the young adventurer's passion for magic and healing resulted in two classes leveling up on the same day: mage and white mage. This resulted in his intelligence going from 49 to 52, and as a result of that he gained the ability to manipulate magical energy, so long as he can detect the magic in question and is willing to spend some magic of his own. In this world, where the figure is reasonably certain that no other magical beings exist, this means that to hone this skill the wizard needs to manipulate his own magic. Still, that hasn't stopped the young professional from tirelessly doing just that.
With a significant amount of focus the mage is able to manipulate the thin beam and twists and turns it so that it circles around the teen before snaking into his pocket and striking the young gangster's wallet. When Lucas feels the wallet enter his inventory he chuckles and makes his way out of the department store. The rest of this particular bout of training is filled with similar feats of arcane finesse and hilariously minor acts that will steal from those willing to enact violence on others in exchange for money. Lucas's clever usage of his skills coupled with his willingness to act in stunningly petty and annoying ways make him great at harassing those he designates his foes. Lucas, lacking an ability to kill those he fights thanks to a drawback affecting him, has thus far refused to actually engage those he has marked as his foes in direct battle but his desire to annoy them has led to willingly target people associated with criminal groups with some of his spatial magic.
In hours the figure is back home and he is toying with the newest toy he's received from his gacha system. A guitar sits on his lap and he fiddles with the instrument, even he listens to a video about how to tune the thing. Lucas is experimenting with something, and behind the tablet he gained some time ago is a book that contains information on tuning guitars. The tablet is in use, recording what the man is up to. An app is in use and it records the sounds the guitar chords make. The self-taught musician relies on some of his new skills for this, as he has only recently gained the "Guitar" and "Guitar Maintenance" skills, and he got them at different times so they are different levels. Nonetheless, the figure patiently records himself, occasionally stopping the recording and examining it. He is diligently using his long-term planning skills and sticking to his broad plan. At the same time the figure patiently uses magic and steadily hones the "Mage" class, using his magic skills to farm multiple sources of experience while adhering to the schedule he has informally given himself.
Eventually the next day rolls around and the figure, predictably, gets out of his apartment and goes to work. If you had explained the concept of "Jumping" to Lucas a year ago and asked him if he thought so much of it would be just working a 9-5 job he'd not have believed you and yet in the context of his experience with the unusual profession a stunning amount of time has just been him being a regular employee of a perfectly mundane business.
Time continues to pass for the would-be adventurer at a steady pace. In this mundane world a figure with legitimate supernatural abilities is a uniquely powerful presence, and this is especially true of one that is determined to keep his head down and nose clean. Lucas's determination to live a regular, relatively risk-free life does not stop him from living, but it does stop him from suffering from some sort of "Middle School Second Year Syndrome" as a result of the fact that he has gained trainable superpowers. Instead of going mad with power or gaining an unhealthy mentality Lucas has just enough knowledge of how jumping works to know that while he might be a big fish in this world he is not a big fish in other worlds like Fallout, The Elder Scrolls, or even something as aggressively hostile and oppressive as the general setting of Minecraft is.
If an objective, impartial onlooker viewing Lucas's life is given the chance to describe the sort of "Television Show" that they are watching, they'd say it could easily be considered slice-of-life. For the first few months of his time here the most exciting times are the rare moments he adds something new to his slowly expanding list of activities and the even more slowly growing list of things he can do, such as when he begins to walk the streets of the city he lives in at night and cast healing, positive, restorative magic on the sleeping homeless people he encounters. This activity ultimately earns him the peculiar title of "Unsung Saint", a title which enhances the effectiveness of his restorative or otherwise beneficial magic on those not aware of the fact that he is using magic on them.
Days of work, training, and controlled, planned forays into new pastimes, turn into weeks of steady and anticipated progress. Weeks of steady and anticipated progress turn into months of upward mobility and the healthy establishments of new baseline feats. That said, eventually progress slows and becomes more difficult for the jumper in a world as relatively safe, for supernatural beings, as this one. It doesn't take terribly long for Lucas to go from a somewhat predictable, fairly focused figure who is very specialized in a number of areas, to a somewhat more well-rounded figure with a steadily increasing repository of skills and abilities, thanks to a subtle shift in growth strategies.
​Just a few days short of eleven months into his stay in this jump, the jumper is facing a new foe but is participating in an activity he's come to enjoy; sparring.
_____________________________________________________________________________________________________________________
I dodge a well-aimed right-handed punch intended for my face, though thanks to my agility I easily had enough time to dodge it, It took a long time, from my viewpoint, for it to get close to me so long enough that I only let it get this close on purpose. I'm holding back in terms of my speed and strength but my opponent, a friend I made at the gym a few weeks ago, doesn't need to know that. I have way too many supernatural advantages for it to be a fair fight if I don't hold back.
I give my opponent enough time to register that I've dodged the blow before I begin to telegraph, purposefully, my next attack. I purposefully overextend my left arm and launch a powerful, but slow, strike. The man grits his teeth and moves to intercept my strike. He is fast enough to position his arm in front of it but that is still a mistake. I guide my blow into his arm and watch as he lets out a sincere, pained, grunt. Even with me holding back I still allow DPS to work its magic, and that perk coupled with both my trained and perk-enhanced strength is enough for me to deal him a decently powerful blow.
I retract my fist with a sly smile and note that the bars that cover my field of view are all going up at different rates. The bar for "Brawler", a class that's the result of "Fighter" giving me access to a new class when it hit level 10, my currently equipped class, is going up at a healthy clip as I spar with this man, as is the bar for "Precision Strikes" and "Acting", some of my skills. Most of the things going up at a decent clip are affected by "Jack of All Trades" a perk thatreduces the time and effort it takes for me to train up new skills to around the level of my average. Most of my other bars are only slightly going up, but this is acceptable. This sort of training is vital, long term, for my very survival, and thanks to my perks is pretty easy for me to do.
Behind me I hear a familiar voice cheering; Hannah's. The lovely redhead has begun to accompany me to the gym, but this is a somewhat recent development. Before a few weeks ago we only occasionally saw each other on Saturdays at the cafe she worked at, though we have been texting buddies ever since we met. Marcus, my sparring partner, grins savagely at me as he listens to my friend and gym buddy's cheers.
"I can't let you show me up in front of your girl, Lucas. We're not close like that." Marcus tells me, though the words are insincere. Marcus is a friend of mine, one who has even tasted my food, and that's something I don't let others do as much as I once did, barring people who go to the soup kitchen when I'm one of the volunteers on duty. My cooking can now do some decent stuff so I don't want to get anyone who isn't an ally or someone I need in my pocket overly reliant on my skills. I grin at the muscular bruiser of a warrior and dart back before gesturing for him to come at me like he means it. The man lets out a hearty laugh as he begins to pursue me. He is a touch taller than me and he has muscular, wide arms that take up a lot of space.
I watch, diligently, as he swings them at me when he is in the martial sweet spot of being close enough to hit me with a fully extended fist and being far enough away for me to strike back in an effort to preempt or counter his blow. I dart forward even as he stops advancing and duck underneath the strike before I use an active skill from my "Dancer" class to infuse my agility into my strength and hit him with a blow that disorients him. He steps back, a look of pain and confusion on his face as I step forward and move close enough to hit the man with a much softer blow to the chest. I feel his solid muscles block part of the harm done to him, but the blow is still solid enough that I watch his HP lower.
He gasps in pain and staggers back, and I smile at him and sense my triumph. He's only lost a small portion of his total hit points, but for normal people, one's total stock of HP is an abstraction of their physical health. For me, my HP serves as a skillful shield that protects me at all times, and for me to fall in battle someone has to whittle away my entire bar before they take me out. In fact, right now my HP is not maxed out; earlier I took a hit from Marcus that I'm still recovering from.
I take a step forward before Marcus signals that he needs a break. I laugh, the sound filling the part of the gym we're fighting in, and stop approaching the man. Hannah walks up to the ring and offers me some of her water as I walk toward one of the corners of the small ring. I silently gesture that I'll accept it and she tosses it at me. When the object is in my hand I use subtle telekinesis to mess with my boxing glove just enough to more easily hold onto the water bottle and sip from it. The cool water tastes good, and I smile as I feel it helping me relax as I wait to continue the fight. This is the sixth time I've beaten Marcus, but I'll give the man one bit of praise: he's persistent. He likes fighting enough that he is always eager to try and fight me, and I like fighting just enough to appreciate his resistance to the idea that I can beat him. It's not always easy for me to keep on finding partners that I can spar with.
_____________________________________________________________________________________________________________________
In the days that follow this fight, the young jumper continues to spar with Marcus. He steadily trains his "Brawler" class, and takes on class skills that do things like make him a more efficient hand-to-hand fighter, even gaining skills that he suspects, and hopes that he won't need here; like the ability to launch a punch that can inflict damage at a distance.
The figure's volunteering remains a steadfast facet of his in-jump identity. The man gains popularity throughout the place that is, functionally, his hometown, as he becomes a well-known volunteer. He even makes the places he volunteers at more popular, using a steadily increasing amount of local and online popularity to advocate for the organizations he supports. This first began to occur about three months into his stay in the jump, but he really begins to leverage it at the six month mark and he quickly begins to slowly become a minor force in the community, taking advantage of his heavy charisma build to sway hearts and minds to his cause.
His days at work continue to remain fairly unchanged from how they were at the start of his time in the jump, though on very rare occasions he creates reports and the in-jump equivalent of PowerPoint presentations about the data he has compiled to his supervisor. He has also overseen a day of service for members of his department to go and volunteer at the soup kitchen where he volunteered on the day he met Hannah, allowing him a pleasant chance to practice his leadership skills. He earns his first pay raise just under a year into his stay in this setting.
Minor missteps occur along the way, such as the figure overbooking himself during one particularly hectic weekend, which annoys his friends and fellow volunteers but serves as a decently humbling experience for the overly eager adventurer and also shows his friends that he is, ultimately, human.
Lucas continues his relaxed, fairly peaceful days for more and more time. By the time he has been in the jump for a full two years his pre-jump life feels like a memory or a strange dream, though this change to his state of mind does not actually mean he cannot recall such a time only that he has fully acclimated to the realities of being a jumper. At least as much as someone who is still on their first jump can acclimate to such a thing.
A/N: I like this episodic style for the necessary time skips that a standard (or mostly standard) jumpchain story will require. Now I'm gonna say that this style won't be universal across all jumps since some jumps may be better suited to shorter timeframes. Heck some more story-intensive jumps may benefit from longer focuses on individual events and sequences of events, but we've gone past the tutorial phase for this jump and I think minor episodic looks at broad timescales is better than a thousand chapter story that only hits one year in a jump and ultimately gets dropped. That said, I know that I'm not doing this style of writing PERFECTLY, so I hope that I can use this to grow as a writer and to become better able to convey how long time skips affect the characters, relationships, and strengths of the people involved over time. Still, if nothing else this was fun.
ALSO, as an author's note that is unique to the subreddit: this story is being published on Spacebattles and the white line that cuts through parts of the story indicates a narration/viewpoint shift. On Spacebattles and several other places I write there are in-built formatting options that allow you to cut through a textbox with a horizontal line which serves as a visual marker for some significant change to some aspect of the story. The line I made was my attempt to do that here on Reddit. It's... not perfect, but hey I'm trying.

I am writing an animated piece, so any non-speaking role is just animation and not indicative of someone that needs to be hired as a actor. Right? So my question is, do only the speaking roles get capitalized names in the script, or do all characters get capitalized names upon their introduction no matter if they require an voice-actor or not?
For example, say I have:
The TAXI DRIVER stands by his car.
This taxi driver shows up a small handful of times in separate scenes to drive main characters around, and then he gets shot a few scenes later. He never says anything. Is the above format correct, or can I just introduce him with The taxi driver stands by his car ?
Is it The crowd of gangsters looks on, then a BURLY GANGSTER runs forward. He is immediately shot. Or is it The crowd of gangsters looks on, then a burly gangster runs forward. He is immediately shot ?

I was a busboy at the Cocoanut Grove. That Saturday, the place was a heaving mass of humanity. Soldiers on leave, couples on dates, socialites, and gangsters—the club was their playground, and I was just an invisible part of the scenery. The air was a haze of smoke and alcohol, thick enough to choke on.
It was around 10:15 PM when I first saw him. A man in a dark, heavy coat, standing by the service door near the kitchen. Odd attire for such a warm, crowded club, but what really caught my eye was his face. His eyes were black pits, empty yet somehow full of a cold, malevolent hunger. His smile was a razor-thin line, cutting through his face like a wound. He gestured for me to come closer, but before I could move, he slipped into the kitchen.
Seconds later, the lights flickered, and fire erupted in the Melody Lounge. The flames didn’t spread—they leapt, as if alive, cutting off exits with a terrifying, unnatural precision. Panic ignited, and the crowd became a stampede. I tried to guide people to safety, but the fire seemed to anticipate our every move.
As I fought my way toward the kitchen, hoping for another way out, I witnessed horrors that will forever be etched into my memory.
The first was a young woman in a red dress. She had been dancing with her boyfriend moments before the fire broke out. When the flames began to spread, she tried to run, but the crowd was too thick. She stumbled and fell right in front of me. In the chaos, no one stopped to help her. The flames reached her, and her screams pierced through the cacophony. Her dress ignited, the fabric melting into her skin. I watched in horror as her flesh bubbled and peeled away, revealing raw, charred muscle beneath. Her eyes locked onto mine, pleading for help, before the fire consumed her completely. I couldn’t do anything but keep moving, the image of her agony seared into my mind.
Further ahead, near the bar, a middle-aged man, a regular at the club, was pounding on a locked door that led to the staff area. His hands were bloody, and his face was contorted in sheer panic. The smoke was thickening, making it hard to breathe. I saw him drop to his knees, clawing at his throat as he began to choke. His skin turned a sickly blue as he suffocated. The fire found him next, wrapping around his legs and creeping up his body. His screams were a mix of terror and pain as the flames cooked him alive, turning him into a grotesque statue of blackened bone and seared flesh. I wanted to help, but the fire was relentless, and I had to keep moving.
Near the back exit, which had been illegally locked to prevent people from sneaking in without paying, I saw a young couple—newlyweds celebrating their honeymoon. The husband was trying to shield his wife with his body as they pounded on the unyielding door. The fire closed in, and I heard their desperate cries for help. The flames licked at their legs, their screams merging into a single, horrifying wail. The husband’s back blistered and burst, his skin sloughing off in sheets. The wife’s hair ignited, and she clawed at her scalp in a futile attempt to extinguish the flames. They held each other as they burned, their bodies fusing together in a grotesque, charred embrace. I was frozen in place, unable to look away, until a surge of heat pushed me to keep moving.
I fought through the flames, dodging falling debris and stumbling over lifeless bodies. The heat was unbearable, the air thick with smoke and the stench of burning flesh. Finally, I found a side door and burst into the alley, gulping in the cool night air. As I looked back, the building was fully engulfed, the screams of the trapped mingling with an unholy laughter that echoed in my ears long after.
The official reports blamed faulty wiring and overcrowding, but I know better. The man in the dark coat—he wasn’t human. He was something ancient, something that revels in chaos and feeds on fear. Since that night, I’ve been plagued by dark dreams and even darker realities. Doors in my house creak open on their own, whispers drift through the night, and I see shadows moving just beyond my vision.
Every anniversary, the nightmares get worse, and I feel his presence more acutely. It’s as if the fire forged a bond between us, a bond I can’t break. I’ve tried to tell my story, but no one believes me. They think I’m just a traumatized survivor, driven mad by the horrors I witnessed.
But I know the truth. And now, so do you.
If you’re reading this, I’m begging, heed my warning. On the anniversary of the Cocoanut Grove fire, stay away from dark, crowded places. If you see a man in a dark coat with eyes like voids, don’t approach him. Run, and don’t look back.
Because once he marks you, there’s no escape. The flames will find you, and Hell will claim its due.
Tonight, as I write this, I can feel the heat building, the shadows lengthening. He’s close. I can hear his whisper just beyond the door. I don’t know if I’ll survive another anniversary, but if I don’t, remember my story.
Remember that some fires are more than just flames. They are gateways, and some doors should never be opened.

I was a busboy at the Cocoanut Grove. That Saturday, the place was a heaving mass of humanity. Soldiers on leave, couples on dates, socialites, and gangsters—the club was their playground, and I was just an invisible part of the scenery. The air was a haze of smoke and alcohol, thick enough to choke on.
It was around 10:15 PM when I first saw him. A man in a dark, heavy coat, standing by the service door near the kitchen. Odd attire for such a warm, crowded club, but what really caught my eye was his face. His eyes were black pits, empty yet somehow full of a cold, malevolent hunger. His smile was a razor-thin line, cutting through his face like a wound. He gestured for me to come closer, but before I could move, he slipped into the kitchen.
Seconds later, the lights flickered, and fire erupted in the Melody Lounge. The flames didn’t spread—they leapt, as if alive, cutting off exits with a terrifying, unnatural precision. Panic ignited, and the crowd became a stampede. I tried to guide people to safety, but the fire seemed to anticipate our every move.
As I fought my way toward the kitchen, hoping for another way out, I witnessed horrors that will forever be etched into my memory.
The first was a young woman in a red dress. She had been dancing with her boyfriend moments before the fire broke out. When the flames began to spread, she tried to run, but the crowd was too thick. She stumbled and fell right in front of me. In the chaos, no one stopped to help her. The flames reached her, and her screams pierced through the cacophony. Her dress ignited, the fabric melting into her skin. I watched in horror as her flesh bubbled and peeled away, revealing raw, charred muscle beneath. Her eyes locked onto mine, pleading for help, before the fire consumed her completely. I couldn’t do anything but keep moving, the image of her agony seared into my mind.
Further ahead, near the bar, a middle-aged man, a regular at the club, was pounding on a locked door that led to the staff area. His hands were bloody, and his face was contorted in sheer panic. The smoke was thickening, making it hard to breathe. I saw him drop to his knees, clawing at his throat as he began to choke. His skin turned a sickly blue as he suffocated. The fire found him next, wrapping around his legs and creeping up his body. His screams were a mix of terror and pain as the flames cooked him alive, turning him into a grotesque statue of blackened bone and seared flesh. I wanted to help, but the fire was relentless, and I had to keep moving.
Near the back exit, which had been illegally locked to prevent people from sneaking in without paying, I saw a young couple—newlyweds celebrating their honeymoon. The husband was trying to shield his wife with his body as they pounded on the unyielding door. The fire closed in, and I heard their desperate cries for help. The flames licked at their legs, their screams merging into a single, horrifying wail. The husband’s back blistered and burst, his skin sloughing off in sheets. The wife’s hair ignited, and she clawed at her scalp in a futile attempt to extinguish the flames. They held each other as they burned, their bodies fusing together in a grotesque, charred embrace. I was frozen in place, unable to look away, until a surge of heat pushed me to keep moving.
I fought through the flames, dodging falling debris and stumbling over lifeless bodies. The heat was unbearable, the air thick with smoke and the stench of burning flesh. Finally, I found a side door and burst into the alley, gulping in the cool night air. As I looked back, the building was fully engulfed, the screams of the trapped mingling with an unholy laughter that echoed in my ears long after.
The official reports blamed faulty wiring and overcrowding, but I know better. The man in the dark coat—he wasn’t human. He was something ancient, something that revels in chaos and feeds on fear. Since that night, I’ve been plagued by dark dreams and even darker realities. Doors in my house creak open on their own, whispers drift through the night, and I see shadows moving just beyond my vision.
Every anniversary, the nightmares get worse, and I feel his presence more acutely. It’s as if the fire forged a bond between us, a bond I can’t break. I’ve tried to tell my story, but no one believes me. They think I’m just a traumatized survivor, driven mad by the horrors I witnessed.
But I know the truth. And now, so do you.
If you’re reading this, I’m begging, heed my warning. On the anniversary of the Cocoanut Grove fire, stay away from dark, crowded places. If you see a man in a dark coat with eyes like voids, don’t approach him. Run, and don’t look back.
Because once he marks you, there’s no escape. The flames will find you, and Hell will claim its due.
Tonight, as I write this, I can feel the heat building, the shadows lengthening. He’s close. I can hear his whisper just beyond the door. I don’t know if I’ll survive another anniversary, but if I don’t, remember my story.
Remember that some fires are more than just flames. They are gateways, and some doors should never be opened.

I tried to write down every single movie available on my flights in March 2024. I handwrote some of my notes to pass the 13 hours which is why there are ??? when I couldn't read my own writing/abbreviations. Note that not all titles were available on all flights, and my list is missing a chunk of them (especially titles beginning with "S" for some reason). Hope someone finds it useful! Maybe someone will get to creating a Letterboxd list of them all before me! [Posted this in movies and thought delta users might find it useful too]

10 Things I Hate About You
101 Dalmatians
12 Angry Men
13 Going on 30
17 Again
2001: A Space Odyssey
27 Dresses
500 Days of Summer
80 for Brady
A Beautiful Mind
A Bug's Life
A Cinderella Story
A Compassionate Spy
A Fantastic Woman
A Few Good Men
A Good Year
A Haunting in Venice
A League of Their Own
A Room with a View
A Separation
A Simple Plan
A Simple Wish
A.I. Artificial Intelligence
Abominable
Adam's Rib
Airheads
Akeelah and the Bee
Aladdin
Alice Through the Looking Glass
Alvin and the Chipmunks
Alvin and the Chipmunks: Chipwrecked
American Graffiti
American Street Kid
Amores Perros
An Inconvenient Truth
Anatomy of a Fall
Angels in the Outfield
Aquaman
Assassin Club
Asteroid City
Avatar: Way of Water
Avengers: Infinity War
Back to the Future
Bad Company
Barb and Star: Vista del Mar
Barbie
Batman
Batman Begins
Batman Returns
Batman vs. Superman Dawn
Battle of the Sexes
Beauty and the Beast
Beetlejuice
Being Mary Tyler Moore
Bend it Like Beckham
Better Luck Tomorrow
Big
Big George Foreman
Billy Elliott
Birds of Prey: Harley Quinn
Birthright Outlaw
Blackberry
Blade
Blade II
Blade Runner 2049
Blade Trinity
Blended
Blinded by the Light
Blue Beetle
Bolt
Bottoms
Brave
Brazil
Bridesmaids
Bridget Jones' Diary
Bridget Jones: Edge of Reason
Bring It On
Brown Sugar
Buoyancy
But I'm a Cheerleader
Call Me by Your Name
Carmen Jones
Central Intelligence
Charlie and the Chocolate Factory
Cheaper by the Dozen
Chevalier
Chicken Run
Child's Play
Children of a Lesser God
Chinatown
Cinderella
Clifford the Big Red Dog
Cloudy with a Chance of Meatballs
Clueless
Colossal
Condor's Nest
Cool Hand Luke
Coraline
Couples Retreat
Crazy Rich Asians
Crazy Stupid Love
Creed
Creed II
Crooklyn
Cruella
Chr. G
Dark Waters
Darkest Hour
Dawnland
Dazed and Confused
DC: League of Super Pets
Dear White People
Dee. Boys
Delivery Man
Desperately Seeking Susan
Despicable Me
Despicable Me 2
Despicable Me 3
Diary of a Wimpy Kid
Dret ard
Dr. Doolittle
Down with Love
Dr. Seuss Horton Hears a Who
Dr. Seuss The Grinch
Dr. Grinch The Lorax
Dreamgirls
Drop Dead Gorgeous
Drumline
Due Date
Dumb and Dumber
Dumb Money
Dune
Dunkirk
E.T.
Edge of Tomorrow
Eggs Over Easy
Elemental
Enter the Dragon
E????
Erin Brockovich
Eternals
Evan Almighty
Everest
Everything Everywhere All at Once
Evil Dead Rises
Expendables 4
F9: Fast Saga
Fallen
Fantastic Beasts
Fantastic Beasts: Crimes of Grindewald
Fantastic Beasts: Secrets of Dumbledore
Fargo
F&F: Hobbes and Shaw
Fast X
Father of the Bride
Feramana???
Ferner????
Field of Dreams
Finding Dory
Finding Nemo
First Man
Focus
Following
Fools Rush In
Forrest Gump
Freaky
Freaky Friday
Freelance
Frida
Friday
Frozen 2
Frozen River
Game Night
Gangster Squad
Garfield
Garfield: Tail of 2 Kitties
Get Smart
Ghostbusters
Glass
Glory
Godzilla vs Kong
Going in Style
Good Morning Vietnam
Gosford Park
Grand Torino
Gran Turismo
Gravity
Grease
Grease 2
Gremlins
Guardians of the Galaxy Vol 3
Guy Richie's The Covenant
Hacksaw Ridge
Half Nelson
Hanna
Happy Death Day
Happy Feet 2
Harlan County USA
Harold and Kumar: White Castle
Harry Potter 1-8
Haunted Mansion
He's Just Not That Into You
Her
Hereafter
Hocus Pocus
Honor Society
Horrible Bosses
Hotel Transylvania
House Party
How to Be Single
How to Lose a Guy in 10 Days
How to Train your Dragon
Hypnotic
I Am Legend
I Didn't See You There
I, Tonya
Ice Age: Collision Course
Ice Age: Continental Drift
Ice Age: Dawn of Dinosaurs
Ice Age: Meltdown
Ice on Fire
If Beale Street Could Talk
In the Heart of the Sea
In the Heights
In the Name of the Father
Inception
Incredibles 2
Indiana Jones: Dial of Destiny
Indiana Jones: Temple of Doom
Insidious: The Red Door
Insomnia
Instructions not INcluded
It
Jerry & Marge Go Large
Jersey Boys
John Wick
John Wick 2
John Wick 3
Joker
Jonah: A VeggieTales Movie
Journey to the Center of the Earth
Judas and the Black Messiah
Jules
Jumanji
Jumanji: Welcome to the Jungle
Jurassic Park
Jurassic World
Just Married
Just my Luck
Kazaam
Kit Kittredge
Kramer vs Kramer
Kubo and the Two Strings
Kung Fu Panda
Kung Fu Panda 2
Kung Fu??????
La La Land
Labyrinth
Lady in the Water
Lakota Nation vs United States
Legally Blonde
Liar Liar
Life of the Party
Lightyear
Lilo and Stitch
Lion
Little Women
Living
Lo------
Lone Survivor
Love and Basketball
Love Again
Love Jones
Ma-d_____ ?
Madagascar
Madagascar Escape
Made of Honor
Mafia Mamma
Magic Mike's Last Dance
Malt------
Momma's Boy
Mamma Mia
Mamma Mia Here We Go Again
March of the Penguins
Mat------
Mean Girls
Meet the Parents?
Memento
Michael Clayton
Milk
Minions
Minions: Rise of Gru
Misery
Miss Congeniality
Missing Link
Mission Impossible Dead Reckoning
Mississippi Masala
Moana
Monster In Law
Monsters Inc
Monsters University
Moonlight
Mortal Enemies
Mr. Malcolm's List
Mulan
Mummies
Murder by Numbers
Murder on the Orient Express
Muriel's Wedding
My Animal
My Big Fat Greek Wedding
My Family
My Girl
National Lampoon's Vacation
Neighbors 2
Neruda
New Year's Eve
News of the World
Nights in Rodanthe
Nine Queens
No
No Country for Old Men
No Murches Frida??
Nomadland
Notting Hill
Ocean's 8
Ocean's 13
October Sky
Of tn age??
Once Upon a Time in Hollywood
Onward
Oppenheimer
Origin
Over the Hedge
Pacific Rim
Pandas
Pan's Labyrinth
ParaNorman
Paris is Burning
Past Lives
Paw Patrol: Mighty
Paw Patrol: More
Pee Wee's Big Adventure
Perfect Strangers
Persepolis
Phantom Thread
Pinball: The Man Who Saved the Game
Pitch Perfect
Pitch Perfect 3
Planes
Planes, Trains, and Automobiles
Pokemon: Detective Pikachu
Practical Magic
Pride and Prejudice
Primal Fear
Priscilla
Psycho
Pulp Fiction
Puppy Love
Puss in Boots
Queen and Slim
Radical
RRadi--- Wwi?/
Raging Bull
Ra the Breata?
Rat Race?
Ratatouille
Ready Player One
Real Women Have Curves
Red Tails
Reforge
Renfield
Repo Man
Rocky
Ruby Gillman
Rumor Has It
Rush Hour 2
RV
Róise & Frank
Sacfint??
Saving Face
Saving Private Ryan
School Daze
Scoob!
Scooby Doo
Scrapper
Scream VI
Searching
Selena
Selma
Semi Pro
Seven
Shaft
?
?
?
?
?
?
?
?
?
Significant Other
?
?
Skyfall
Smallfoot
Smoke?
Snowpiercer
?
Something's Gotta Give
?
?
Soul Surfer
Space Jam
Space Oddity
Sp Ra ????
Spider-Man: Across the Spider-Verse
Spider-Man: Homecoming
Spider-Man Into the Spider-Verse
Split
Spy Game?
Spy Kids
Stone and D????
Ste W s5t?
Stomp the Yard
Storks
Sweet Home Alabama
Tag
Talk to Me
Tangled
Tee as Go!??
Teenage Mutant Ninja Turtles
Tenet
The Adia Prse?
The Angry Black Girl and Her Monster
The Baby-Sitters Club
The Best Man
The Big Lebowski
The Big Short
The Biggest Little Farm
The Bird Cage
The Blind Side
The Blues Brothers
The Bodyguard
The Boogeyman
The Book of Life
The Boss Baby: Family Business
The Bourne Identity
The Boxer
The Breakfast Club
The Bucket List
The Caine Mutiny
The Campaign
The Castle
The Chronicles of Narnia
The Chronicles of Narnia 2
The Chronicles of Narnia 3
The Creator
The Croods New Age
The Curious Case of Benjamin Button
The Dark Knight Rises
The Dark Side
The Dead Don't Die
The Dry?
The Equalizer
The Exorcist: Believer
The Fabulous Filipino Brothers
The Fast and Furious (#1)
The S Heartbeats?
The Has???
The Gentlemen
The Good Nurse
The Goonies
The Great Wall
The Guard
The Harvest (La Cosecha)
The H????
The Hobbit
The Hobbit 2
The Hobbit 3
The Holdovers
The Hunger Games: Ballad of Snakes and Songbirds
The Hunger Games
The Hunger Games 2
The Hunger Games 3
The Hunger Games 4
The Hunt for Red October
The Huntsman: Winter’s War
The Incredibles
The Intern
The Invention of Lying
The Iron Giant
The Island
The Jungle Book
The Karate Kid
The Kids are Alright
The Lake House
The Land Before Time
The Last Out
The Last Samurai
The Lego Batman Movie
The Lego Movie
The Lesson
The Lion King
The Lion King
The Little Mermaid
The Little Mermaid
The Lord of the Rings: Fellowship
The Losers
The Man from UNCLE
The Marsh King’s Doughter
The Marvels
The Matrix: Resurrections
The Mitchells vs The Machines
The Mummy
The Neverending Story
The Nice Guys
The Nun II
The Odd Life of Timothy Green
The Other Zoey
The Outsiders
The Peanuts Movie
The Persian Version
The Pirates Who Don't Do Anything
The Place Beyond the Pines
The Popes Exorcist
The Pre--?
The Purge: Election Year
The Replacements
The Ring
The Secret Garden
The Secret Life of Pets
The Silence of the Lambs
The S --------
The ?
The ?
The ?
The ?
The ?
The Take
The Time Traveler's Wife
The True Cost
The Umbrellas of Cherbourg
The Un---- Country
The Usual Suspects
The ???
The ????
The ?????
The Wedding Singer
The Wizard of Oz
The Wood
The Zookeeper's Wife
Theater Camp
Them---?
There Will Be Blood
Thurs?
Titanic
To Kill a Mockingbird
Tooooo?
Tom ??
Tommy Boy
Top Gun
Top Gun: Maverick
Toy Story 2
Toy Story 3
Toy Story 4
Train to Busan
Training Day
Transformers Rise
Trolls
Trolls World Tour
Troy
Tully
Turning Red
Umami
Us
??
V for Vendetta
V????
VeggieTales: Abe and the Amazing Promise
VeggieTales: Merry Larry and the True Light of Christmas
Vindicta
Vivo
Wallace & Gromit: The Curse of the Were-Rabbit
War Dogs
We Were Soldiers
We're the Millers
Wedding Crashers
West Side Story
Wet Hot American Summer
Where the Wild Things Are
Wildhood
Willy Wonka and the Chocolate Factory
Winters Bone
Wonder
Wonder Woman 1984
Wonka
Wreck It Ralph
Yes, Man
Yesterday
Young Punx: A Punk Parable
Zombieland

I tried to write down every single movie available on my Delta flights in March 2024. I handwrote some of my notes to pass the 13 hours which is why there are ??? when I couldn't read my own writing/abbreviations. Note that not all titles were available on all flights, and my list is missing a chunk of them (especially titles beginning with "S" for some reason). Hope someone finds it useful! Maybe someone will get to creating a Letterboxd list of them all before me!

10 Things I Hate About You
101 Dalmatians
12 Angry Men
13 Going on 30
17 Again
2001: A Space Odyssey
27 Dresses
500 Days of Summer
80 for Brady
A Beautiful Mind
A Bug's Life
A Cinderella Story
A Compassionate Spy
A Fantastic Woman
A Few Good Men
A Good Year
A Haunting in Venice
A League of Their Own
A Room with a View
A Separation
A Simple Plan
A Simple Wish
A.I. Artificial Intelligence
Abominable
Adam's Rib
Airheads
Akeelah and the Bee
Aladdin
Alice Through the Looking Glass
Alvin and the Chipmunks
Alvin and the Chipmunks: Chipwrecked
American Graffiti
American Street Kid
Amores Perros
An Inconvenient Truth
Anatomy of a Fall
Angels in the Outfield
Aquaman
Assassin Club
Asteroid City
Avatar: Way of Water
Avengers: Infinity War
Back to the Future
Bad Company
Barb and Star: Vista del Mar
Barbie
Batman
Batman Begins
Batman Returns
Batman vs. Superman Dawn
Battle of the Sexes
Beauty and the Beast
Beetlejuice
Being Mary Tyler Moore
Bend it Like Beckham
Better Luck Tomorrow
Big
Big George Foreman
Billy Elliott
Birds of Prey: Harley Quinn
Birthright Outlaw
Blackberry
Blade
Blade II
Blade Runner 2049
Blade Trinity
Blended
Blinded by the Light
Blue Beetle
Bolt
Bottoms
Brave
Brazil
Bridesmaids
Bridget Jones' Diary
Bridget Jones: Edge of Reason
Bring It On
Brown Sugar
Buoyancy
But I'm a Cheerleader
Call Me by Your Name
Carmen Jones
Central Intelligence
Charlie and the Chocolate Factory
Cheaper by the Dozen
Chevalier
Chicken Run
Child's Play
Children of a Lesser God
Chinatown
Cinderella
Clifford the Big Red Dog
Cloudy with a Chance of Meatballs
Clueless
Colossal
Condor's Nest
Cool Hand Luke
Coraline
Couples Retreat
Crazy Rich Asians
Crazy Stupid Love
Creed
Creed II
Crooklyn
Cruella
Chr. G
Dark Waters
Darkest Hour
Dawnland
Dazed and Confused
DC: League of Super Pets
Dear White People
Dee. Boys
Delivery Man
Desperately Seeking Susan
Despicable Me
Despicable Me 2
Despicable Me 3
Diary of a Wimpy Kid
Dret ard
Dr. Doolittle
Down with Love
Dr. Seuss Horton Hears a Who
Dr. Seuss The Grinch
Dr. Grinch The Lorax
Dreamgirls
Drop Dead Gorgeous
Drumline
Due Date
Dumb and Dumber
Dumb Money
Dune
Dunkirk
E.T.
Edge of Tomorrow
Eggs Over Easy
Elemental
Enter the Dragon
E????
Erin Brockovich
Eternals
Evan Almighty
Everest
Everything Everywhere All at Once
Evil Dead Rises
Expendables 4
F9: Fast Saga
Fallen
Fantastic Beasts
Fantastic Beasts: Crimes of Grindewald
Fantastic Beasts: Secrets of Dumbledore
Fargo
F&F: Hobbes and Shaw
Fast X
Father of the Bride
Feramana???
Ferner????
Field of Dreams
Finding Dory
Finding Nemo
First Man
Focus
Following
Fools Rush In
Forrest Gump
Freaky
Freaky Friday
Freelance
Frida
Friday
Frozen 2
Frozen River
Game Night
Gangster Squad
Garfield
Garfield: Tail of 2 Kitties
Get Smart
Ghostbusters
Glass
Glory
Godzilla vs Kong
Going in Style
Good Morning Vietnam
Gosford Park
Grand Torino
Gran Turismo
Gravity
Grease
Grease 2
Gremlins
Guardians of the Galaxy Vol 3
Guy Richie's The Covenant
Hacksaw Ridge
Half Nelson
Hanna
Happy Death Day
Happy Feet 2
Harlan County USA
Harold and Kumar: White Castle
Harry Potter 1-8
Haunted Mansion
He's Just Not That Into You
Her
Hereafter
Hocus Pocus
Honor Society
Horrible Bosses
Hotel Transylvania
House Party
How to Be Single
How to Lose a Guy in 10 Days
How to Train your Dragon
Hypnotic
I Am Legend
I Didn't See You There
I, Tonya
Ice Age: Collision Course
Ice Age: Continental Drift
Ice Age: Dawn of Dinosaurs
Ice Age: Meltdown
Ice on Fire
If Beale Street Could Talk
In the Heart of the Sea
In the Heights
In the Name of the Father
Inception
Incredibles 2
Indiana Jones: Dial of Destiny
Indiana Jones: Temple of Doom
Insidious: The Red Door
Insomnia
Instructions not INcluded
It
Jerry & Marge Go Large
Jersey Boys
John Wick
John Wick 2
John Wick 3
Joker
Jonah: A VeggieTales Movie
Journey to the Center of the Earth
Judas and the Black Messiah
Jules
Jumanji
Jumanji: Welcome to the Jungle
Jurassic Park
Jurassic World
Just Married
Just my Luck
Kazaam
Kit Kittredge
Kramer vs Kramer
Kubo and the Two Strings
Kung Fu Panda
Kung Fu Panda 2
Kung Fu??????
La La Land
Labyrinth
Lady in the Water
Lakota Nation vs United States
Legally Blonde
Liar Liar
Life of the Party
Lightyear
Lilo and Stitch
Lion
Little Women
Living
Lo------
Lone Survivor
Love and Basketball
Love Again
Love Jones
Ma-d_____ ?
Madagascar
Madagascar Escape
Made of Honor
Mafia Mamma
Magic Mike's Last Dance
Malt------
Momma's Boy
Mamma Mia
Mamma Mia Here We Go Again
March of the Penguins
Mat------
Mean Girls
Meet the Parents?
Memento
Michael Clayton
Milk
Minions
Minions: Rise of Gru
Misery
Miss Congeniality
Missing Link
Mission Impossible Dead Reckoning
Mississippi Masala
Moana
Monster In Law
Monsters Inc
Monsters University
Moonlight
Mortal Enemies
Mr. Malcolm's List
Mulan
Mummies
Murder by Numbers
Murder on the Orient Express
Muriel's Wedding
My Animal
My Big Fat Greek Wedding
My Family
My Girl
National Lampoon's Vacation
Neighbors 2
Neruda
New Year's Eve
News of the World
Nights in Rodanthe
Nine Queens
No
No Country for Old Men
No Murches Frida??
Nomadland
Notting Hill
Ocean's 8
Ocean's 13
October Sky
Of tn age??
Once Upon a Time in Hollywood
Onward
Oppenheimer
Origin
Over the Hedge
Pacific Rim
Pandas
Pan's Labyrinth
ParaNorman
Paris is Burning
Past Lives
Paw Patrol: Mighty
Paw Patrol: More
Pee Wee's Big Adventure
Perfect Strangers
Persepolis
Phantom Thread
Pinball: The Man Who Saved the Game
Pitch Perfect
Pitch Perfect 3
Planes
Planes, Trains, and Automobiles
Pokemon: Detective Pikachu
Practical Magic
Pride and Prejudice
Primal Fear
Priscilla
Psycho
Pulp Fiction
Puppy Love
Puss in Boots
Queen and Slim
Radical
RRadi--- Wwi?/
Raging Bull
Ra the Breata?
Rat Race?
Ratatouille
Ready Player One
Real Women Have Curves
Red Tails
Reforge
Renfield
Repo Man
Rocky
Ruby Gillman
Rumor Has It
Rush Hour 2
RV
Róise & Frank
Sacfint??
Saving Face
Saving Private Ryan
School Daze
Scoob!
Scooby Doo
Scrapper
Scream VI
Searching
Selena
Selma
Semi Pro
Seven
Shaft
?
?
?
?
?
?
?
?
?
Significant Other
?
?
Skyfall
Smallfoot
Smoke?
Snowpiercer
?
Something's Gotta Give
?
?
Soul Surfer
Space Jam
Space Oddity
Sp Ra ????
Spider-Man: Across the Spider-Verse
Spider-Man: Homecoming
Spider-Man Into the Spider-Verse
Split
Spy Game?
Spy Kids
Stone and D????
Ste W s5t?
Stomp the Yard
Storks
Sweet Home Alabama
Tag
Talk to Me
Tangled
Tee as Go!??
Teenage Mutant Ninja Turtles
Tenet
The Adia Prse?
The Angry Black Girl and Her Monster
The Baby-Sitters Club
The Best Man
The Big Lebowski
The Big Short
The Biggest Little Farm
The Bird Cage
The Blind Side
The Blues Brothers
The Bodyguard
The Boogeyman
The Book of Life
The Boss Baby: Family Business
The Bourne Identity
The Boxer
The Breakfast Club
The Bucket List
The Caine Mutiny
The Campaign
The Castle
The Chronicles of Narnia
The Chronicles of Narnia 2
The Chronicles of Narnia 3
The Creator
The Croods New Age
The Curious Case of Benjamin Button
The Dark Knight Rises
The Dark Side
The Dead Don't Die
The Dry?
The Equalizer
The Exorcist: Believer
The Fabulous Filipino Brothers
The Fast and Furious (#1)
The S Heartbeats?
The Has???
The Gentlemen
The Good Nurse
The Goonies
The Great Wall
The Guard
The Harvest (La Cosecha)
The H????
The Hobbit
The Hobbit 2
The Hobbit 3
The Holdovers
The Hunger Games: Ballad of Snakes and Songbirds
The Hunger Games
The Hunger Games 2
The Hunger Games 3
The Hunger Games 4
The Hunt for Red October
The Huntsman: Winter’s War
The Incredibles
The Intern
The Invention of Lying
The Iron Giant
The Island
The Jungle Book
The Karate Kid
The Kids are Alright
The Lake House
The Land Before Time
The Last Out
The Last Samurai
The Lego Batman Movie
The Lego Movie
The Lesson
The Lion King
The Lion King
The Little Mermaid
The Little Mermaid
The Lord of the Rings: Fellowship
The Losers
The Man from UNCLE
The Marsh King’s Doughter
The Marvels
The Matrix: Resurrections
The Mitchells vs The Machines
The Mummy
The Neverending Story
The Nice Guys
The Nun II
The Odd Life of Timothy Green
The Other Zoey
The Outsiders
The Peanuts Movie
The Persian Version
The Pirates Who Don't Do Anything
The Place Beyond the Pines
The Popes Exorcist
The Pre--?
The Purge: Election Year
The Replacements
The Ring
The Secret Garden
The Secret Life of Pets
The Silence of the Lambs
The S --------
The ?
The ?
The ?
The ?
The ?
The Take
The Time Traveler's Wife
The True Cost
The Umbrellas of Cherbourg
The Un---- Country
The Usual Suspects
The ???
The ????
The ?????
The Wedding Singer
The Wizard of Oz
The Wood
The Zookeeper's Wife
Theater Camp
Them---?
There Will Be Blood
Thurs?
Titanic
To Kill a Mockingbird
Tooooo?
Tom ??
Tommy Boy
Top Gun
Top Gun: Maverick
Toy Story 2
Toy Story 3
Toy Story 4
Train to Busan
Training Day
Transformers Rise
Trolls
Trolls World Tour
Troy
Tully
Turning Red
Umami
Us
??
V for Vendetta
V????
VeggieTales: Abe and the Amazing Promise
VeggieTales: Merry Larry and the True Light of Christmas
Vindicta
Vivo
Wallace & Gromit: The Curse of the Were-Rabbit
War Dogs
We Were Soldiers
We're the Millers
Wedding Crashers
West Side Story
Wet Hot American Summer
Where the Wild Things Are
Wildhood
Willy Wonka and the Chocolate Factory
Winters Bone
Wonder
Wonder Woman 1984
Wonka
Wreck It Ralph
Yes, Man
Yesterday
Young Punx: A Punk Parable
Zombieland

You have:
Maniac- mlds, mcb’s etc
Insane- isc, iao, iav, i22b etc
Almighty- alk,aig, ahg etc
Gangster- gangster 26
Insane Gangster- Insane Gangster SD
Spanish- Spanish vl, Spanish 4ch ?
Spanish gangster- SGD ?
Universal- Universal Latin Lovers
Am I right on these or am I off with some and there is some sets that don’t claim any right like la raza… I never seen them write insane or almighty or anything like that

[I shared this in girls and gays but wanted to share here as well for those of you not in that sub]
With Kendrick Lamar and Drake’s rap feud raging over the last month, I got curious about what their natal charts say about each of them as rappers, and how the astrological synastry between the two has fueled this chart-topping fight. Luckily we have an accurate birth time for both Drake and Kendrick, so we can see exactly how their charts overlap.
Here’s Drake’s chart:
And here’s Kendrick’s chart:
Inconjunct Suns
Kendrick has a Gemini sun, like many of hip hop’s greatest rappers, including Notorious B.I.G., Tupac, Lauryn Hill and Outkast’s Andre 3000. Geminis are well-suited to rap as the wordsmiths of the zodiac, one of the two signs ruled by Mercury, the planet of communication. Virgo, the other sign ruled by Mercury, expresses the analytical, practical, pragmatic side of the mind, the so-called “left brain” which sorts the wheat from the chaff (and, fittingly, Virgo season aligns with the harvest season of late summer).
Gemini expresses the more playful, self-expressive, hyper-curious “right brain” side of the mind - the monkey mind that swings from branch to branch, seeing connections as it goes. “Curious to a fault, Geminis have a finger in every pie. Solar Geminis are flexible and changeable people. Usually quite clever and witty, Geminis enjoy intellectual conversations and they are easily bored if they are not getting enough mental stimulation.”
Drake is a Scorpio sun, bringing a very different energy to the table. Scorpios seek power above all, and they live life intensely. If Gemini is the court jester, taking life lightly and poking fun at it all, Scorpio is the dark knight plotting and positioning himself for a coup. As one of the two signs ruled by Mars, the planet of war and competition, Scorpios don’t back down from competition, and as a fixed modality sign, they can struggle to let go–even of what hurts them. Scorpios are drawn to the darker sides of life - they know that secrets hold power, so they tend toward privacy, as shown in Drake’s last rap beef, when Pusha T revealed that he had secretly fathered a son with a porn star.
Gemini and Scorpio have a tricky inter-dynamic, with an aspect between them known as a quincunx, or an inconjunct. Quincunxes occur when planets are 150 degrees apart, and therefore share neither an element (water, fire, earth, or air) nor a modality (cardinal, fixed, or mutable). They are at odds in a very fundamental way, and though they can teach each other a lot, in order to get along they will have to make some serious adjustments.
“When these signs get together, they just can’t understand each other. They have almost nothing in common, so it’s hard to find common ground. When a quincunx shows up in a synastry or relationship reading, this can make for a tense or difficult relationship.” This natural repelling dynamic is expressed in Kendrick’s diss song Euphoria (“I hate the way that you walk, the way that you talk/I hate the way that you dress/I hate the way you sneak diss, if I catch flight, it's gon' be direct”).
Drake’s ascendant is placed at 29 degrees Leo, exactly conjunct the royal fixed star Regulus. Regulus is one of the luckiest stars in the zodiac, and it is often seen in the charts of celebrities. “On the Ascendant, it will give a courageous and frank character. A splendid and illustrious life; glorious, mighty and commanding nature; fame, busy with many activities, bountiful resources, well known or feared in cities and regions.” But with Regulus on the ascendant, expanding the already narcissistic tendencies of Leo, there is a risk for an over-expansion of the ego and a lack of humility. Drake wants to be the best by all accounts - not just the biggest commercial superstar, which he is, but also the most critically acclaimed rapper, like Pulitzer Prize-winning Kendrick.
Mercury and Mars vs. Mercury and Venus
When it comes to analyzing writers of any sort, I like to look at their Mercuries, and here we see a fascinating contrast. Kendrick’s Mercury is located in intuitive, emotional Cancer (just like Lana del Rey, who I analyzed last week), and it is conjoined with Mars, the planet of war, which is what makes him such a formidable opponent in a rap battle. “Mercury conjunct Mars natal gives a quick mind, rapid reflexes, and a sharp tongue. These attributes are ideal for making quick decisions in the heat of the moment while others hesitate. Excellent debating skills allow you to stand up not only for yourself but for the rights of others. Your enthusiastic, direct and courageous way of expressing yourself can win admiration in politics, business, and the military.”
I think Mercury in combination with Mars is the ideal aspect for the competitive sport of rap, and interestingly enough, Tupac Shakur and Notorious B.I.G., who famously feuded and are considered by many to be the all-time greatest rappers, both had these planets tightly combined (Tupac had Mercury trine Mars with a 1 degree orb, and Biggie had Mercury septile Mars with a 0 degree orb).
Drake, by contrast, has his Mercury conjoined with Mars’ planetary opposite, Venus. Mercury conjoined with creative Venus is a great aspect for a musician, but it lacks the teeth of competitive Mars. “Mercury conjunct Venus natal makes you a lovable, handsome, neat, refined, romantic, and courteous person. You may tend to be passive and submissive, but this is a means by which you achieve peace in your life. You can lovingly communicate things; a melodic, poetic, and relaxing voice often helps this. Mercury rules trade, and Venus rules money, so you could do well in business and enjoy buying and selling.”
Many of Drake’s biggest hits show this melodic Mercury-Venus aspect - like the no-rapping, all-singing “Hold On, We’re Going Home,” “Hotline Bling” and “One Dance,” or the purported feminist anthem “Nice for What.” Many think Drake is best as a pop star rather than a rapper, which Kendrick references in Euphoria (“I like Drake with the melodies, I don't like Drake when he act tough” “Keep makin' me dance, wavin' my hand and it won't be no threat”).
Mercury conjunct Venus should be a very positive aspect for Drake, and in many ways it is – as two of the planets that rule over money (Mercury the marketplace, and Venus the possessions), this aspect is part of why he’s had such incredible financial success. However, a few factors complicate it. For one thing, they are located together in Scorpio, ruled by Mars. His Mercury is expressed in a Venusian way, but it wants to be expressed in a Martian way. I think this is why Drake returns regularly to gangster rap despite his success in pop and R&B. He wants to be a Mercury-Mars rap powerhouse like Kendrick, Biggie, and Tupac, but he’s fundamentally different. From the beginning of his career he’s been taunted as soft, weak, feminine, privileged–all very Venusian adjectives.
Another complicating factor is that Drake’s Venus is doubly challenged - it is both in detriment in Scorpio, as well as retrograde. Venus is in detriment in Scorpio because it rules over Scorpio’s opposite, Taurus, and so the planet is not at ease in suspicious, jealous Scorpio. “Fears of being too vulnerable or of giving up their own power to others is strong. Scorpio is an “all or nothing” energy, and relationships tend to be somewhat of a rollercoaster ride as a result. Disdain for mediocrity and superficiality can compel them to create crises in order to feel alive and vital.”
Venus retrograde in the natal chart “suggests you have some difficulty in giving and receiving love and affection. You may experience sadness in love or have to endure hardship or delay. Natal Venus in retrograde can also show as excessive use of makeup and jewelry or even disfigurement from cosmetic surgery.” It’s interesting how some of the allegations against Drake in Kendrick’s songs have included a nose job and a Brazilian butt lift. After Drake told Metro Boomin to “shut up and make some drums” in his initial Kendrick diss Push Ups, the producer responded with “BBL Drizzy.”
Drake has never been married or had a public long-term relationship. His highest profile one with Rihanna was on-again, off-again, and at times seemed more like unrequited love than true commitment. When interviewed about the relationship, he said “As life takes shape and teaches you#Personal_life) your own lessons, I end up in this situation where I don't have the fairy tale [of] 'Drake started a family with Rihanna, [it's] so perfect.' It looks so good on paper [and] I wanted it too at one time.” Two years ago Drake had jeweler Alex Moss create a necklace worth $12.5 million dollars built from dozens of engagement rings he had made but never used: ““New piece titled ‘Previous Engagements’ for all the times he thought about it but never did it,” Moss wrote over a video showcasing the stunning necklace, which is made up of “42 engagement rings” totaling “351.38 carats in diamonds.”” It’s quite the testament to a challenged natal Venus.
Lilith Synastry
Here is Drake and Kendrick’s synastry (Drake is on the outer circle):
The most interesting thing I found digging into Drake and Kendrick’s charts was the presence of Lilith in their synastry. Lilith is an asteroid associated with the “angry woman” figure as well as female liberation. In some Jewish folklore Lilith was the first wife of Adam, but she was banished from the Garden of Eden for not obeying him and replaced with Eve.
“In the intricacies of a birth chart, Black Moon Lilith symbolizes the raw essence of femininity, the primal urges, and the suppressed parts of our psyche that lie in the shadows. This point, not a planet but a mathematical point, reveals where one might feel estranged, challenged, or empowered to go against the grain of societal norms. It unveils deep-seated desires, innate instincts, and perhaps the areas where one feels the need to challenge established roles or expectations. It's a place of power, mystique, and, occasionally, friction – pinpointing where one's true nature might clash with the conventional, leading to feelings of marginalization or rebellion.”
The allegations Drake and Kendrick threw at each other both had to do with mistreatment of women - Drake said that Kendrick abused his fiancée, and Kendrick said Drake was a pedophile who shouldn’t be trusted around young women.
Both Drake and Kendrick’s Liliths make tight aspects with the other’s chart. “Whenever Lilith is around, you can expect to feel a wild, intense, deep, and sometimes obsessive energy. If you have Lilith aspects in synastry then this energy will show up in your relationship. Whenever your Lilith touches one of your partner’s planets or vice-versa, you can expect to see your deepest fears revealed. You might also see glimpses of things you desire but can’t have. Ultimately, Lilith aspects in synastry give both partners a chance to work on their shadow sides.”
Kendrick’s sun exactly conjoins Drake’s Lilith at 26 degrees Gemini. “Often, the sun person [Kendrick] represents all that the Lilith person [Drake] wants but can never quite “catch.” There is an illusive vibe to this relationship. The Lilith person may feel somewhat less-than or “bad.” Lilith conjunct sun in synastry is a test for the Lilith person because their most taboo qualities such as obsession and anger will be activated, but it’s also a test for the sun person. The lesson is for the sun individual to stand their ground and follow their inner voice. Lilith is neither good nor bad, and the sun person can share in some of the Lilith partner’s activities without merging.”
This resonates with the fact that despite Drake’s huge commercial success, he is deeply jealous of Kendrick’s critical success. In Family Matters Drake took a jab at Kendrick’s acclaim (“Kendrick just opened his mouth, someone go hand him a Grammy right now”), and the beef between them played out similarly, with many rap fans deciding that Kendrick won before even listening to Drake. I think it’s obvious that Kendrick is a stronger rapper, but it’s also clear that Drake wasn’t given a fair shake.
Drake’s Lilith makes a tight trine to Kendrick’s Mercury. “Both the Lilith person and the Mercury person help each other to bring unhealed deeper wounds and unconscious emotion to the surface and articulate deeper, wild instincts. Mercury person [Kendrick] helps Lilith person [Drake] make sense of their inner restlessness and insecurities, sexual passions and unresolved rage. Mercury person may find Lilith person to be highly emotional but is also intrigued by Lilith person’s edgy and unique perspective.” It’s remarkable that both of their Liliths are interlocked with each other’s inner planets, creating a push-pull, love-hate, shadow-enlightening dynamic between the two.
I think the obsession goes both ways, and that part of the reason Kendrick fought back so viciously was because Drake triggers something in him shown through the Lilith synastry. Drake shows Kendrick what he could be–a charismatic playboy enjoying his fame and money to the fullest. And in engaging with the feud he stooped to a lower level, making unsupported claims about Drake’s supposed secret daughter, and writing a rap song (Meet the Grahams) addressed to Drake’s 5 year old son opening with “Dear Adonis, I’m sorry that man is your father.” All is fair in rap battles–or is it? Questlove called it out, saying on Instagram: “Nobody won the war. This wasn’t about skill. This was a wrestling match level mudslinging and takedown by any means necessary — women & children (& actual facts) be damned.”
Kendrick’s latest diss track Not Like Us has just debuted at number one on the Billboard Top 100, and it’s clear this battle has propelled him to another level of stardom. Drake’s Regulus ascendant arrogance and Scorpionic desire to fight to the death drove him to attack the strongest living rapper, and now he’s dealing with the fallout. Kendrick’s streams of his back catalog are up 50%, while Drake’s are down 5% and his reputation has taken a massive knock. But Kendrick has taken a hit as well. Having rap’s two biggest stars accusing each other of heinous crimes might drive up streams in the short run, but it’s a dangerous game. Astrology helps us understand why these two polar opposites are so intertwined, and why their mutual dislike has spurred on such a captivating firestorm.

[I shared this in girls and gays but wanted to share here as well for those of you not in that sub]
With Kendrick Lamar and Drake’s rap feud raging over the last month, I got curious about what their natal charts say about each of them as rappers, and how the astrological synastry between the two has fueled this chart-topping fight. Luckily we have an accurate birth time for both Drake and Kendrick, so we can see exactly how their charts overlap.
Here’s Drake’s chart:
And here’s Kendrick’s chart:
Inconjunct Suns
Kendrick has a Gemini sun, like many of hip hop’s greatest rappers, including Notorious B.I.G., Tupac, Lauryn Hill and Outkast’s Andre 3000. Geminis are well-suited to rap as the wordsmiths of the zodiac, one of the two signs ruled by Mercury, the planet of communication. Virgo, the other sign ruled by Mercury, expresses the analytical, practical, pragmatic side of the mind, the so-called “left brain” which sorts the wheat from the chaff (and, fittingly, Virgo season aligns with the harvest season of late summer).
Gemini expresses the more playful, self-expressive, hyper-curious “right brain” side of the mind - the monkey mind that swings from branch to branch, seeing connections as it goes. “Curious to a fault, Geminis have a finger in every pie. Solar Geminis are flexible and changeable people. Usually quite clever and witty, Geminis enjoy intellectual conversations and they are easily bored if they are not getting enough mental stimulation.”
Drake is a Scorpio sun, bringing a very different energy to the table. Scorpios seek power above all, and they live life intensely. If Gemini is the court jester, taking life lightly and poking fun at it all, Scorpio is the dark knight plotting and positioning himself for a coup. As one of the two signs ruled by Mars, the planet of war and competition, Scorpios don’t back down from competition, and as a fixed modality sign, they can struggle to let go–even of what hurts them. Scorpios are drawn to the darker sides of life - they know that secrets hold power, so they tend toward privacy, as shown in Drake’s last rap beef, when Pusha T revealed that he had secretly fathered a son with a porn star.
Gemini and Scorpio have a tricky inter-dynamic, with an aspect between them known as a quincunx, or an inconjunct. Quincunxes occur when planets are 150 degrees apart, and therefore share neither an element (water, fire, earth, or air) nor a modality (cardinal, fixed, or mutable). They are at odds in a very fundamental way, and though they can teach each other a lot, in order to get along they will have to make some serious adjustments.
“When these signs get together, they just can’t understand each other. They have almost nothing in common, so it’s hard to find common ground. When a quincunx shows up in a synastry or relationship reading, this can make for a tense or difficult relationship.” This natural repelling dynamic is expressed in Kendrick’s diss song Euphoria (“I hate the way that you walk, the way that you talk/I hate the way that you dress/I hate the way you sneak diss, if I catch flight, it's gon' be direct”).
Drake’s ascendant is placed at 29 degrees Leo, exactly conjunct the royal fixed star Regulus. Regulus is one of the luckiest stars in the zodiac, and it is often seen in the charts of celebrities. “On the Ascendant, it will give a courageous and frank character. A splendid and illustrious life; glorious, mighty and commanding nature; fame, busy with many activities, bountiful resources, well known or feared in cities and regions.” But with Regulus on the ascendant, expanding the already narcissistic tendencies of Leo, there is a risk for an over-expansion of the ego and a lack of humility. Drake wants to be the best by all accounts - not just the biggest commercial superstar, which he is, but also the most critically acclaimed rapper, like Pulitzer Prize-winning Kendrick.
Mercury and Mars vs. Mercury and Venus
When it comes to analyzing writers of any sort, I like to look at their Mercuries, and here we see a fascinating contrast. Kendrick’s Mercury is located in intuitive, emotional Cancer (just like Lana del Rey, who I analyzed last week), and it is conjoined with Mars, the planet of war, which is what makes him such a formidable opponent in a rap battle. “Mercury conjunct Mars natal gives a quick mind, rapid reflexes, and a sharp tongue. These attributes are ideal for making quick decisions in the heat of the moment while others hesitate. Excellent debating skills allow you to stand up not only for yourself but for the rights of others. Your enthusiastic, direct and courageous way of expressing yourself can win admiration in politics, business, and the military.”
I think Mercury in combination with Mars is the ideal aspect for the competitive sport of rap, and interestingly enough, Tupac Shakur and Notorious B.I.G., who famously feuded and are considered by many to be the all-time greatest rappers, both had these planets tightly combined (Tupac had Mercury trine Mars with a 1 degree orb, and Biggie had Mercury septile Mars with a 0 degree orb).
Drake, by contrast, has his Mercury conjoined with Mars’ planetary opposite, Venus. Mercury conjoined with creative Venus is a great aspect for a musician, but it lacks the teeth of competitive Mars. “Mercury conjunct Venus natal makes you a lovable, handsome, neat, refined, romantic, and courteous person. You may tend to be passive and submissive, but this is a means by which you achieve peace in your life. You can lovingly communicate things; a melodic, poetic, and relaxing voice often helps this. Mercury rules trade, and Venus rules money, so you could do well in business and enjoy buying and selling.”
Many of Drake’s biggest hits show this melodic Mercury-Venus aspect - like the no-rapping, all-singing “Hold On, We’re Going Home,” “Hotline Bling” and “One Dance,” or the purported feminist anthem “Nice for What.” Many think Drake is best as a pop star rather than a rapper, which Kendrick references in Euphoria (“I like Drake with the melodies, I don't like Drake when he act tough” “Keep makin' me dance, wavin' my hand and it won't be no threat”).
Mercury conjunct Venus should be a very positive aspect for Drake, and in many ways it is – as two of the planets that rule over money (Mercury the marketplace, and Venus the possessions), this aspect is part of why he’s had such incredible financial success. However, a few factors complicate it. For one thing, they are located together in Scorpio, ruled by Mars. His Mercury is expressed in a Venusian way, but it wants to be expressed in a Martian way. I think this is why Drake returns regularly to gangster rap despite his success in pop and R&B. He wants to be a Mercury-Mars rap powerhouse like Kendrick, Biggie, and Tupac, but he’s fundamentally different. From the beginning of his career he’s been taunted as soft, weak, feminine, privileged–all very Venusian adjectives.
Another complicating factor is that Drake’s Venus is doubly challenged - it is both in detriment in Scorpio, as well as retrograde. Venus is in detriment in Scorpio because it rules over Scorpio’s opposite, Taurus, and so the planet is not at ease in suspicious, jealous Scorpio. “Fears of being too vulnerable or of giving up their own power to others is strong. Scorpio is an “all or nothing” energy, and relationships tend to be somewhat of a rollercoaster ride as a result. Disdain for mediocrity and superficiality can compel them to create crises in order to feel alive and vital.”
Venus retrograde in the natal chart “suggests you have some difficulty in giving and receiving love and affection. You may experience sadness in love or have to endure hardship or delay. Natal Venus in retrograde can also show as excessive use of makeup and jewelry or even disfigurement from cosmetic surgery.” It’s interesting how some of the allegations against Drake in Kendrick’s songs have included a nose job and a Brazilian butt lift. After Drake told Metro Boomin to “shut up and make some drums” in his initial Kendrick diss Push Ups, the producer responded with “BBL Drizzy.”
Drake has never been married or had a public long-term relationship. His highest profile one with Rihanna was on-again, off-again, and at times seemed more like unrequited love than true commitment. When interviewed about the relationship, he said “As life takes shape and teaches you#Personal_life) your own lessons, I end up in this situation where I don't have the fairy tale [of] 'Drake started a family with Rihanna, [it's] so perfect.' It looks so good on paper [and] I wanted it too at one time.” Two years ago Drake had jeweler Alex Moss create a necklace worth $12.5 million dollars built from dozens of engagement rings he had made but never used: ““New piece titled ‘Previous Engagements’ for all the times he thought about it but never did it,” Moss wrote over a video showcasing the stunning necklace, which is made up of “42 engagement rings” totaling “351.38 carats in diamonds.”” It’s quite the testament to a challenged natal Venus.
Lilith Synastry
Here is Drake and Kendrick’s synastry (Drake is on the outer circle):
The most interesting thing I found digging into Drake and Kendrick’s charts was the presence of Lilith in their synastry. Lilith is an asteroid associated with the “angry woman” figure as well as female liberation. In some Jewish folklore Lilith was the first wife of Adam, but she was banished from the Garden of Eden for not obeying him and replaced with Eve.
“In the intricacies of a birth chart, Black Moon Lilith symbolizes the raw essence of femininity, the primal urges, and the suppressed parts of our psyche that lie in the shadows. This point, not a planet but a mathematical point, reveals where one might feel estranged, challenged, or empowered to go against the grain of societal norms. It unveils deep-seated desires, innate instincts, and perhaps the areas where one feels the need to challenge established roles or expectations. It's a place of power, mystique, and, occasionally, friction – pinpointing where one's true nature might clash with the conventional, leading to feelings of marginalization or rebellion.”
The allegations Drake and Kendrick threw at each other both had to do with mistreatment of women - Drake said that Kendrick abused his fiancée, and Kendrick said Drake was a pedophile who shouldn’t be trusted around young women.
Both Drake and Kendrick’s Liliths make tight aspects with the other’s chart. “Whenever Lilith is around, you can expect to feel a wild, intense, deep, and sometimes obsessive energy. If you have Lilith aspects in synastry then this energy will show up in your relationship. Whenever your Lilith touches one of your partner’s planets or vice-versa, you can expect to see your deepest fears revealed. You might also see glimpses of things you desire but can’t have. Ultimately, Lilith aspects in synastry give both partners a chance to work on their shadow sides.”
Kendrick’s sun exactly conjoins Drake’s Lilith at 26 degrees Gemini. “Often, the sun person [Kendrick] represents all that the Lilith person [Drake] wants but can never quite “catch.” There is an illusive vibe to this relationship. The Lilith person may feel somewhat less-than or “bad.” Lilith conjunct sun in synastry is a test for the Lilith person because their most taboo qualities such as obsession and anger will be activated, but it’s also a test for the sun person. The lesson is for the sun individual to stand their ground and follow their inner voice. Lilith is neither good nor bad, and the sun person can share in some of the Lilith partner’s activities without merging.”
This resonates with the fact that despite Drake’s huge commercial success, he is deeply jealous of Kendrick’s critical success. In Family Matters Drake took a jab at Kendrick’s acclaim (“Kendrick just opened his mouth, someone go hand him a Grammy right now”), and the beef between them played out similarly, with many rap fans deciding that Kendrick won before even listening to Drake. I think it’s obvious that Kendrick is a stronger rapper, but it’s also clear that Drake wasn’t given a fair shake.
Drake’s Lilith makes a tight trine to Kendrick’s Mercury. “Both the Lilith person and the Mercury person help each other to bring unhealed deeper wounds and unconscious emotion to the surface and articulate deeper, wild instincts. Mercury person [Kendrick] helps Lilith person [Drake] make sense of their inner restlessness and insecurities, sexual passions and unresolved rage. Mercury person may find Lilith person to be highly emotional but is also intrigued by Lilith person’s edgy and unique perspective.” It’s remarkable that both of their Liliths are interlocked with each other’s inner planets, creating a push-pull, love-hate, shadow-enlightening dynamic between the two.
I think the obsession goes both ways, and that part of the reason Kendrick fought back so viciously was because Drake triggers something in him shown through the Lilith synastry. Drake shows Kendrick what he could be–a charismatic playboy enjoying his fame and money to the fullest. And in engaging with the feud he stooped to a lower level, making unsupported claims about Drake’s supposed secret daughter, and writing a rap song (Meet the Grahams) addressed to Drake’s 5 year old son opening with “Dear Adonis, I’m sorry that man is your father.” All is fair in rap battles–or is it? Questlove called it out, saying on Instagram: “Nobody won the war. This wasn’t about skill. This was a wrestling match level mudslinging and takedown by any means necessary — women & children (& actual facts) be damned.”
Kendrick’s latest diss track Not Like Us has just debuted at number one on the Billboard Top 100, and it’s clear this battle has propelled him to another level of stardom. Drake’s Regulus ascendant arrogance and Scorpionic desire to fight to the death drove him to attack the strongest living rapper, and now he’s dealing with the fallout. Kendrick’s streams of his back catalog are up 50%, while Drake’s are down 5% and his reputation has taken a massive knock. But Kendrick has taken a hit as well. Having rap’s two biggest stars accusing each other of heinous crimes might drive up streams in the short run, but it’s a dangerous game. Astrology helps us understand why these two polar opposites are so intertwined, and why their mutual dislike has spurred on such a captivating firestorm.

So Language is irrelevant as I would love to explore world cinema. Im planning to write a script based on a group of friends who gets involved in a crime committed by a gangster and the actions that follows in a single day. Would love to explore this genre a bit more before starting to write my script.