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guppiecatLast night I went to Target to pick up apples, banananananas, and various salad-making supplies. While there, I wandered by the DVD section and saw that they had some for only $4.00. Given that I've been on something of a superhero movie kick, and Daredevil was only $4.00, I picked it up. I mean, it's hard to go wrong with a $4.00 movie, right?
It was drastically overpriced.
Most movies inspired by comic books fail because the writers start with a comic-like script. The two media forms are not alike enough for this to really work well. Sometimes you get lucky, most times you don't. However, it's much much worse when the movie wouldn't even make a good comic book.
I have never before seen a movie where people were both over and underacting... sometimes in the same scene. It boggles the mind.
So, for those of you have not seen the movie (and those who have), a brief plot synopsis.
The main character, Matt, grows up in a bad part of New York City (just once, I'd like to see an action movie that takes place in Boise, there have to be superheros there too, right?). Things are terrible there. The streets are disheveled, the people's clothing isn't of the latest fashion, and the rats haven't had baths in at least three days.
Anyway, he's picked on by some classmates... well, one classmate taunts him. The other two generally agree with the boss. One would suppose that there is some sort of violence because Matt has a cut lip, but there's mostly just taunting... mean vicious evil nasty taunting. It is Hell's Kitchen, after all.
Oh, Matt's dad is a boxer. Well, he was a boxer, now he's a thug. Somehow, Matt manages to live for 12 years in a really bad part of New York City and still be bothered by the sudden discovery that his dad can threaten someone to pay him the money they owe him. So, the fact that his dad isn't a lazy bum, but instead actually works to get money shocks this kid enough that he runs away as fast he can, directly to the toxic waste storage facility.
They are storing toxic bio-hazardous waste, in the middle of a bad part of New York, out in the open, and driving fast-moving forklifts around.
Right.
Anyway, Matt spooks the forklift operator, because hey, there's a kid running around loose in Hell's Kitchen! Must have missed the "children must be accompanied by responsible adult when running pell mell through the toxic waste storage facility" sign. Anyway, the forklift turns rapidly and punctures the paper-thin toxic waste storage containers.
An aside. The containers that they use to store toxic waste are, in reality, strong enough to survive a multi-story drop and constructed to store the waste for several hundred (if not thousand) years. A forklift would just bounce off. But, this a movie, and the plot must go on... inexorably, inexplicably, on.
The toxic waste hits Matt right in the eyes and causes a most fascinating special effect, blowing almost the entire budget of the movie as neurons sparkle and fry. A little bit later, we find that this caused semi-noticeable scarring around the eyes and gave him cataracts. Oh, and it massively increased all of his other senses, to the point where he needs to sleep in an isolation tank, is incredibly sensitive to sound, but somehow doesn't find the smell of living in Hell's Kitchen to be particularly troublesome.
Oh yeah, he's blind.
The movie is quite specific that all he is is blind with enhanced other senses. Apparently, the two primary reasons that people can't leap off of skyscrapers and survive is because:
1) They didn't train enough.
2) They can see.
Young Matt doesn't have this problem, because he and his father start training to rise above their (remarkably kempt) squalor. Later, Matt viciously attacks his schoolyard tormentors and his father is killed in a fairly one dimensional scene that serves as the driving force for Matt's future life. In fact the death of father is so scarring that he becomes a lawyer.
A lawyer who believes in defending the underdogs.
A lawyer who believes in not charging more than his clients can afford.
A lawyer who believes in justice and protecting people from the violence and death inherent in the slums.
A lawyer who believes in brutally killing the defendants when the jury chooses to acquit.
(Methinks there is a disconnect there, but what do I know?)
Anyway, things move on and stuff happens. Matt (who, by this time, has grown into an extremely emotionally distant man (well, not all emotions, he can both express pain and cause it in the viewer)) falls in love with a woman (Electra) who just happens to have a comparable measure of martial arts skill. Of course, they flirt and fight on a schoolyard. Why on a schoolyard? (I hear you ask.) You might as well ask why the pickup line scene is so awful, why the woman claims to dislike being followed yet waits for Matt to come after her, why Ebert and Roeper gave this move two thumbs up. Sometimes you just have to accept things and get through the pain.
Once you're through that pain, you get to meet three characters. One can act, two can overact. One of those two can overact to such an extent that it makes an all-Goth community theatre version of James O Barr's The Crow look like a pastoral in comparison. His name is Bullseye.
Bullseye has the amazing ability to throw things and hit his target. Think Robin Hood without that pesky moral code. He can also apparently straighten paperclips. All in all, not a particularly impressive talent, but you've got to use what you've got, I suppose. Bullseye uses his talents to kill people. This makes him a "bad guy". Matt (now going as Daredevil) uses his talents to kill people. This makes him a "good guy". The difference is that Bullseye kills overweight middle class men and elderly ladies, and Daredevil kills people who lie in the courtroom. It seems like a fine line to me, but then I live in the midwest. Maybe things are different in New York and London. (Bullseye is from London. No real reason for him to be from London, he just is.)
Moving on, there's a power structure among the criminal element (atomic number = 9 to life) in New York, where all crime is run by one man - the Kingpin. Supposing you buy that, there is also a reporter who is good enough to track down Daredevil's secret identity, the Kingpin's secret identity, and after working on the story for ten years, finally connects the dots on the same day that Matt meets Electra. This is also the same day that one of the Kingpin's partners tries to leave the crime ring. This man also happens to be Electra's father.
Yeah.
Then things happen that establish that the Kingpin is bad, that Bullseye is bad, that Ben Affleck and Jennifer Garner are amazingly unconvincing as a couple falling in love, and that Daredevil is blind.
Since Bullseye is the only bad guy with powers in the movie, he goes to kill Electra's father on the Kingpin's orders. Daredevil shows up to foil the dastardly plan which apparently involves stealing a motorcycle and throwing things. Bullseye throws something at Daredevil, who ducks it because it's easier to dodge if you can hear it instead of see it, because sound moves faster than light.
(It's not how I was taught in school, but back then there was also a Soviet Union, a Berlin Wall, and only scientists had heard of global warming. *shrug* Things change.)
When Bullseye misses hitting Daredevil, his emotional world is utterly shattered. That moment is as character defining as when young Matt's father was killed. Apparently, Bullseye was born with the ability to throw things and always hit them and has never missed before in his life.
I paused the movie while I carefully re-suspended my disbelief. (I'm using baling wire at this point.)
So, Bullseye is pissed, Daredevil is hurt, Electra is hurt, and Bullseye kills Electra's father while making it appear to Electra as though Daredevil did it.
Oh noes! A misunderstanding. The female lead loves one man but hates his alter ego! I was so surprised at such a plot twist I had to pause the movie again. When I resumed it, I was again reminded that Daredevil is blind but has good hearing.
There was a touching scene during the funeral when I got to hear Evanescence's "My Immortal" in full 5.1 sound. It was very nice.
Then some things happened that I don't recall. I'm sure they involved angst, blood, violence and some misplaced comic relief. Oh, there was also a character building moment when Daredevil scared a kid. This shocks him because, in his head, he's the "good guy". It never crossed his mind that if you dress up like a devil and go around killing people, some folks might get the wrong idea.
The director pulls the plot along and reminds us that Daredevil is blind but has very good hearing and we go into the penultimate fight scene. There's throwing (by Bullseye), there's stabbing (by Electra), and there's bleeding (by Electra and Daredevil). Electra is killed, but somehow comes back in the $4.00 sequel that is still waiting to be watched. (I'll let you know how that goes, if I find a somewhat humorous way to do so.) Then Daredevil and Bullseye fight it out in a church on a pipe organ.
(Because if I were a blind superhero with super sensitive hearing, I'd choose to fight on a pipe organ.)
Stuff happens and things are thrown. One of these things involves Bullseye breaking a stained glass window and slowly catching every piece of glass so that he has throwing stars to whip at Daredevil. Daredevil, of course, allows him to do this, choosing to simply dodge the flying glass instead of, oh, I don't know, maybe stabbing the villain with his magical white stick that transforms into a rope, axe and stabby thing.
Blah blah blah, Bullseye dies, because it's OK to kill the "bad guy" because he is bad, because killing is wrong. Coincidentally, Bullseye lands on the car of the reporter guy from earlier, which is most surprising... or it would be if you didn't get to see it happen in slow motion. Anyway, the reporter guy is surprised, and that is what really matters.
Then, Daredevil, who I should point out, is blind and seriously injured goes after the Kingpin. That fight doesn't go well. It's poorly choreographed, the wooden acting actually carries over to the stunt doubles. Daredevil winds up disabled on the ground while the Kingpin gloats about irrelevant things. In a surprise move, the tables are turned and Daredevil suddenly heals from multiple stab wounds, bruises and substantial blood loss. Anger is apparently quite powerful. (Anger didn't rapidly heal me when I broke my arm as a youth, but I either wasn't angry enough or I wasn't a blind super-sensitive lawyer from New York with perfect balance and sense of timing. (I probably wasn't angry enough.))
Daredevil wins and defeats the Kingpin, choosing not to kill him, because Daredevil is "the good guy". It seems that it's OK to kill "the bad guy" when he can be replaced easily, but when "the bad guy" is the man responsible for killing ones father, running all criminal activities in a city for a period of over 15 years, the right thing to do is to send him to jail from whence he may later escape and return in a sequel.
So, the movie ends with Matt having learned a moral lesson, his love interest is dead (maybe), Bullseye is dead (maybe), the Kingpin is in jail (maybe) and I am 103 minutes older.
Oh, and in case you didn't pick up on it earlier, Daredevil is blind.
It was drastically overpriced.
Most movies inspired by comic books fail because the writers start with a comic-like script. The two media forms are not alike enough for this to really work well. Sometimes you get lucky, most times you don't. However, it's much much worse when the movie wouldn't even make a good comic book.
I have never before seen a movie where people were both over and underacting... sometimes in the same scene. It boggles the mind.
So, for those of you have not seen the movie (and those who have), a brief plot synopsis.
The main character, Matt, grows up in a bad part of New York City (just once, I'd like to see an action movie that takes place in Boise, there have to be superheros there too, right?). Things are terrible there. The streets are disheveled, the people's clothing isn't of the latest fashion, and the rats haven't had baths in at least three days.
Anyway, he's picked on by some classmates... well, one classmate taunts him. The other two generally agree with the boss. One would suppose that there is some sort of violence because Matt has a cut lip, but there's mostly just taunting... mean vicious evil nasty taunting. It is Hell's Kitchen, after all.
Oh, Matt's dad is a boxer. Well, he was a boxer, now he's a thug. Somehow, Matt manages to live for 12 years in a really bad part of New York City and still be bothered by the sudden discovery that his dad can threaten someone to pay him the money they owe him. So, the fact that his dad isn't a lazy bum, but instead actually works to get money shocks this kid enough that he runs away as fast he can, directly to the toxic waste storage facility.
They are storing toxic bio-hazardous waste, in the middle of a bad part of New York, out in the open, and driving fast-moving forklifts around.
Right.
Anyway, Matt spooks the forklift operator, because hey, there's a kid running around loose in Hell's Kitchen! Must have missed the "children must be accompanied by responsible adult when running pell mell through the toxic waste storage facility" sign. Anyway, the forklift turns rapidly and punctures the paper-thin toxic waste storage containers.
An aside. The containers that they use to store toxic waste are, in reality, strong enough to survive a multi-story drop and constructed to store the waste for several hundred (if not thousand) years. A forklift would just bounce off. But, this a movie, and the plot must go on... inexorably, inexplicably, on.
The toxic waste hits Matt right in the eyes and causes a most fascinating special effect, blowing almost the entire budget of the movie as neurons sparkle and fry. A little bit later, we find that this caused semi-noticeable scarring around the eyes and gave him cataracts. Oh, and it massively increased all of his other senses, to the point where he needs to sleep in an isolation tank, is incredibly sensitive to sound, but somehow doesn't find the smell of living in Hell's Kitchen to be particularly troublesome.
Oh yeah, he's blind.
The movie is quite specific that all he is is blind with enhanced other senses. Apparently, the two primary reasons that people can't leap off of skyscrapers and survive is because:
1) They didn't train enough.
2) They can see.
Young Matt doesn't have this problem, because he and his father start training to rise above their (remarkably kempt) squalor. Later, Matt viciously attacks his schoolyard tormentors and his father is killed in a fairly one dimensional scene that serves as the driving force for Matt's future life. In fact the death of father is so scarring that he becomes a lawyer.
A lawyer who believes in defending the underdogs.
A lawyer who believes in not charging more than his clients can afford.
A lawyer who believes in justice and protecting people from the violence and death inherent in the slums.
A lawyer who believes in brutally killing the defendants when the jury chooses to acquit.
(Methinks there is a disconnect there, but what do I know?)
Anyway, things move on and stuff happens. Matt (who, by this time, has grown into an extremely emotionally distant man (well, not all emotions, he can both express pain and cause it in the viewer)) falls in love with a woman (Electra) who just happens to have a comparable measure of martial arts skill. Of course, they flirt and fight on a schoolyard. Why on a schoolyard? (I hear you ask.) You might as well ask why the pickup line scene is so awful, why the woman claims to dislike being followed yet waits for Matt to come after her, why Ebert and Roeper gave this move two thumbs up. Sometimes you just have to accept things and get through the pain.
Once you're through that pain, you get to meet three characters. One can act, two can overact. One of those two can overact to such an extent that it makes an all-Goth community theatre version of James O Barr's The Crow look like a pastoral in comparison. His name is Bullseye.
Bullseye has the amazing ability to throw things and hit his target. Think Robin Hood without that pesky moral code. He can also apparently straighten paperclips. All in all, not a particularly impressive talent, but you've got to use what you've got, I suppose. Bullseye uses his talents to kill people. This makes him a "bad guy". Matt (now going as Daredevil) uses his talents to kill people. This makes him a "good guy". The difference is that Bullseye kills overweight middle class men and elderly ladies, and Daredevil kills people who lie in the courtroom. It seems like a fine line to me, but then I live in the midwest. Maybe things are different in New York and London. (Bullseye is from London. No real reason for him to be from London, he just is.)
Moving on, there's a power structure among the criminal element (atomic number = 9 to life) in New York, where all crime is run by one man - the Kingpin. Supposing you buy that, there is also a reporter who is good enough to track down Daredevil's secret identity, the Kingpin's secret identity, and after working on the story for ten years, finally connects the dots on the same day that Matt meets Electra. This is also the same day that one of the Kingpin's partners tries to leave the crime ring. This man also happens to be Electra's father.
Yeah.
Then things happen that establish that the Kingpin is bad, that Bullseye is bad, that Ben Affleck and Jennifer Garner are amazingly unconvincing as a couple falling in love, and that Daredevil is blind.
Since Bullseye is the only bad guy with powers in the movie, he goes to kill Electra's father on the Kingpin's orders. Daredevil shows up to foil the dastardly plan which apparently involves stealing a motorcycle and throwing things. Bullseye throws something at Daredevil, who ducks it because it's easier to dodge if you can hear it instead of see it, because sound moves faster than light.
(It's not how I was taught in school, but back then there was also a Soviet Union, a Berlin Wall, and only scientists had heard of global warming. *shrug* Things change.)
When Bullseye misses hitting Daredevil, his emotional world is utterly shattered. That moment is as character defining as when young Matt's father was killed. Apparently, Bullseye was born with the ability to throw things and always hit them and has never missed before in his life.
I paused the movie while I carefully re-suspended my disbelief. (I'm using baling wire at this point.)
So, Bullseye is pissed, Daredevil is hurt, Electra is hurt, and Bullseye kills Electra's father while making it appear to Electra as though Daredevil did it.
Oh noes! A misunderstanding. The female lead loves one man but hates his alter ego! I was so surprised at such a plot twist I had to pause the movie again. When I resumed it, I was again reminded that Daredevil is blind but has good hearing.
There was a touching scene during the funeral when I got to hear Evanescence's "My Immortal" in full 5.1 sound. It was very nice.
Then some things happened that I don't recall. I'm sure they involved angst, blood, violence and some misplaced comic relief. Oh, there was also a character building moment when Daredevil scared a kid. This shocks him because, in his head, he's the "good guy". It never crossed his mind that if you dress up like a devil and go around killing people, some folks might get the wrong idea.
The director pulls the plot along and reminds us that Daredevil is blind but has very good hearing and we go into the penultimate fight scene. There's throwing (by Bullseye), there's stabbing (by Electra), and there's bleeding (by Electra and Daredevil). Electra is killed, but somehow comes back in the $4.00 sequel that is still waiting to be watched. (I'll let you know how that goes, if I find a somewhat humorous way to do so.) Then Daredevil and Bullseye fight it out in a church on a pipe organ.
(Because if I were a blind superhero with super sensitive hearing, I'd choose to fight on a pipe organ.)
Stuff happens and things are thrown. One of these things involves Bullseye breaking a stained glass window and slowly catching every piece of glass so that he has throwing stars to whip at Daredevil. Daredevil, of course, allows him to do this, choosing to simply dodge the flying glass instead of, oh, I don't know, maybe stabbing the villain with his magical white stick that transforms into a rope, axe and stabby thing.
Blah blah blah, Bullseye dies, because it's OK to kill the "bad guy" because he is bad, because killing is wrong. Coincidentally, Bullseye lands on the car of the reporter guy from earlier, which is most surprising... or it would be if you didn't get to see it happen in slow motion. Anyway, the reporter guy is surprised, and that is what really matters.
Then, Daredevil, who I should point out, is blind and seriously injured goes after the Kingpin. That fight doesn't go well. It's poorly choreographed, the wooden acting actually carries over to the stunt doubles. Daredevil winds up disabled on the ground while the Kingpin gloats about irrelevant things. In a surprise move, the tables are turned and Daredevil suddenly heals from multiple stab wounds, bruises and substantial blood loss. Anger is apparently quite powerful. (Anger didn't rapidly heal me when I broke my arm as a youth, but I either wasn't angry enough or I wasn't a blind super-sensitive lawyer from New York with perfect balance and sense of timing. (I probably wasn't angry enough.))
Daredevil wins and defeats the Kingpin, choosing not to kill him, because Daredevil is "the good guy". It seems that it's OK to kill "the bad guy" when he can be replaced easily, but when "the bad guy" is the man responsible for killing ones father, running all criminal activities in a city for a period of over 15 years, the right thing to do is to send him to jail from whence he may later escape and return in a sequel.
So, the movie ends with Matt having learned a moral lesson, his love interest is dead (maybe), Bullseye is dead (maybe), the Kingpin is in jail (maybe) and I am 103 minutes older.
Oh, and in case you didn't pick up on it earlier, Daredevil is blind.
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no subject
Date: 2008-03-05 04:51 am (UTC)Spiderman seems to be it for good Marvel. The last Superman from DC was good, but should have been great...
no subject
Date: 2008-03-05 04:52 am (UTC)i really like michael clarke duncan, but looking at his imdb page, daredevil may be one of the few things he's been in that i can stand to watch. and isn't *that* scary.
i don't usually have a problem with the suspension of disbelief (although as i said, that whole toxic waste thing is a new one on me) while watching this movie, because i am too busy clawing my eyes out over the physics.
no subject
Date: 2008-03-05 05:34 am (UTC)Curiously enough, I can't remember whether I saw this movie or not. I did, however, read the first 100 or so comics in the series - up through the first time Elektra is killed, anyway. And I have to tell you that the ridiculous plot points that you lampoon so effectively are in fact straight out of the comic canon (where they work just fine).
I'm not sure why you are watching all those superhero movies when you aren't even a comics fan. Since I live with a man who actually OWNS every Marvel superhero comic published from 1961 to about 1980, I ended up seeing more of those movies than was good for me. You're right - comics don't translate well to movies. Movies are just too literal a medium, I think.
Incidentally, Daredevil is supposed to be thoroughly morally ambiguous. HE thinks he's a good guy, but not even his best friends are entirely convinced of that. Daredevil was sort of Marvel's answer to Batman (which is the REAL reason he can jump off skyscrapers without any superpowers), but carried to the logical extreme. Where Batman's Gotham is shadowy and atmospheric, Daredevil's New York is filthy, decrepit and crime-ridden. Where Batman is brooding and introverted, Daredevil is borderline psychotic.
Hey, it worked for me. In the comic, anyway, where it makes perfect sense that guys on forklifts are stacking up barrels of toxic waste in the middle of the street in Hell's Kitchen. Comics are like that. *shrug*
no subject
Date: 2008-03-05 05:47 am (UTC)Oh dear. I mentioned this review to David, and I am informed that he didn't pay anything to see this movie, and he still wants his money back. ;)
no subject
Date: 2008-03-05 09:26 am (UTC)no subject
Date: 2008-03-05 11:18 am (UTC)no subject
Date: 2008-03-05 11:56 am (UTC)no subject
Date: 2008-03-05 03:51 pm (UTC)no subject
Date: 2008-03-05 03:52 pm (UTC)no subject
Date: 2008-03-05 04:05 pm (UTC)no subject
Date: 2008-03-05 04:21 pm (UTC)welllllllll. superman? Xmen?
no subject
Date: 2008-03-05 04:34 pm (UTC)The movie/comic divide is interesting. Some work OK. I think that the X-Men and Fantastic Four movies are acceptable. The X-Men movies fiddled with my favorite characters, which annoyed me, but I recognize the difficulty of being true to characters that developed over 30+ years in a 1.5 hour movie. However, they served as decent escapism.
That's why I'm on this kick. My life right now is fairly stressful, and I need a good escape. I used to be able to do this with books, but my tolerance for bad writing had decreased a fair amount in recent years. So, movies it is. The two genres that work as escapism for me are Superhero and Romantic Comedy. Since one of my current issues is general loneliness, the Romantic Comedy genre won't help, so Superheros it is.
The Daredevil movie was something of an experiment. I quite liked Superman Returns and Batman Begins. My theory was that I liked them more than the Marvel line because I hadn't invested as much into knowing the characters, so I wasn't as bothered when they veered off from established continuity. Since I didn't know anything about Daredevil, I thought I might enjoy it on it's own merits.
Things didn't really turn out that way.
I'm sure that there are ways to adapt the Daredevil storyline to the big screen in ways that would be both entertaining and well done. "Aliens vs Predator" is the classic example of this. There is absolutely no reason that such a movie should be good, but it was handled by an excellent director, cast well, and the script was good. The resulting movie was far better than it had any right to be. If the Daredevil movie had had competent actors, it would have been MUCH better. I cannot overstate how bad the acting was. It was REALLY bad (especially Bullseye). I suspect that the plot would have worked better if they had tweaked things a bit for a more modern audience. They did this in Fantastic Four and in Spiderman, and it worked well.
I'm glad that the Daredevil comic worked well for you. Odds are it would work well for me. I can be much more forgiving of the comic format. (Hell, I even read "Speedball", the superhero whose power is to bounce around uncontrollably. It was a lot of fun... but I don't think it would translate to the movie world either.) However, if Daredevil is supposed to be as gritty and dark as you say, then I suspect the another huge error was going for a PG-13 rating. If you moved this movie into the NC-17 range, and had the freedom to make Hells Kitchen look scary, it would help a lot.
Your comments, though, make me curious to see Constanstine. Since Hellblazer is a very dark world (almost too dark for comics), I wonder if I'd dislike that movie for similar reasons.
no subject
Date: 2008-03-05 04:50 pm (UTC)no subject
Date: 2008-03-05 07:03 pm (UTC)The comics I read as a child were DC, mostly Superman and Batman, but that didn't stop me from liking the Superman and Batman movies. Chris Reeves, rest his soul, brought a whole new dimension of likability to Superman. Batman was mostly an animated costume, thoroughly upstaged by the City of Gotham itself and whoever was playing the villain - but what villains! I was particularly fond of whichever movie featured the Riddler.
I absolutely HATED the Fantastic Four movie. That particular comic is all about character interaction, and the character interpretations were idiotic. It was also just a badly written movie - bad pacing and unforgivably poor handling of one of the great comic book villains of all time. I probably disliked that movie more having read the comics, but I'm pretty sure it was just a lousy movie.
The X-Men movie wasn't too bad, but was mangled in the editing. We watched that one on DVD, and after watching the deleted scenes the movie made a lot more sense. They had cut conversations off in the middle, removed transitional scenes and removed scenes that were actually referred to later in the movie (huh?). All for no discernible reason, since it was a short movie anyway. Among other things, they seemed to be trying to remove any scene that remotely suggested a sexual relationship between Scott and Jean, which pretty much cut the balls off one of the central ideas of the movie (a love triangle).
But the main problem (for me) with superhero movies is that they mostly turn into tedious CGI-fests. CGI is great when it lets a director show exactly the visuals that the movie calls for, but when showing off your CGI engine becomes the POINT of the movie - meh.
no subject
Date: 2008-03-05 07:14 pm (UTC)Warning - although this is not classic horror genre fiction, there is a persistent undercurrent of horror that runs beneath the surface. There are funny stories and lively action stories, but the villains tend towards the seriously disturbing, and ultimately it's the plight of the Jokers that sticks with you.
no subject
Date: 2008-03-05 07:22 pm (UTC)And the Jokers? Brrrr. Read the books if you want to know.