The last drama post I did about Kuma Miko seemed to have gotten some praise, but some wished to see a Hobby Drama post that had consequences outside “people got angry over it”. So without any further delay, here’s a story about a studio that’s close to my heart, one that I’ve backed twice and seen die twice.
Note: This is a fairly lengthy drama, so forgive me if I’m not able to provide all of my sources. Most of the front half of this comes from
this video, which chronicles the first half of Lab Zero entirely in Russian.
From Ahad to Mike Z Let’s start in the beginning.
Alex Ahad is a freelance illustrator who, in between other work, had created
character designs for a prospective fighting game.
Mike Zaimont is a professional fighting game player best known for games like BlazBlue and Marvel Vs. Capcom, but since 1999 had been coding a custom engine in his free time, which he hoped could be used for a fighting game. The two met in 2008, and the two quickly realized that with each other’s help, their dream could come true. In 2010, the two joined the newly developed game studio Reverge Labs. Joining their team was
Mariel “Kinuko” Cartwright, a friend of Ahad’s and daughter of a Disney animator who helped animate games such as Scott Pilgrim vs. The World and Shantae; Peter Bartholow, who acted as CEO of Reverge as well as their PR arm; and an assortment of other animators and designers. Their goal: a fighting game in the style of Marvel vs. Capcom 2 with hand-drawn animation that they called
Skullgirls.
After obtaining publishers in
Autumn Games and Konami (at the time of development the Microsoft required indie devs to have a retail publisher in order to bring their games to Xbox Live Arcade), the team got to work on Skullgirls. Initial impressions were favorful - people liked Ahad’s unique character designs, the fluid animation, and the solid engine Mike Z built - but upon release, there were some concerns. The time and money needed to develop each character meant a starting roster of only eight characters, a far cry from other fighting games (the original MvC had 15 characters in 1998), and due to the team trying to get the game out, there was no in-game move list. Some were also concerned that the cast, consisting entirely of women, was too fanservice-filled, although Bartholow said that the characters were just attractive women who could fight as opposed to characters using their sexuality in battle (Ahad said that sex wasn’t his main focus, he just wanted to have monster girls fight each other). The team at Reverge Labs stressed that they would continue to update the game, with plans to add DLC if the game sold well enough. Good thing nothing could go wro-
Everything goes wrong Alongside publishing Skullgirls, Autumn Games and Konami had previously published a karaoke game called
Def Jam RapStar. Unfortunately, around March 2012, the time Skullgirls released, both parties were at the end of several lawsuits made against them - one argued that Autumn and Konami did not get the rights to some of the songs used in the game, while another claimed that the game was funded with a bank loan which Autumn Games was unable to pay back. The result of these costly lawsuits was that Autumn was unable to pay Reverge the money made from Skullgirls - this led to the entire Reverge team being laid off around July, and the future of the game in the air.
And so, the team decided on a whim to reconvene as a new development studio, Lab Zero Games. At a fundraiser for breast cancer research which included a fighting game tournament, Mike Z
revealed the first DLC fighter and promised that new information about her and the team would be posted soon. This would turn out to be an
Indiegogo fundraising campaign that asked for $150,000 to develop the first DLC fighter, with more characters promised if people backed enough.
In the end, $829,829 was raised in the campaign, enough to fund five DLC characters, a bevy of stages and voice packs, and other features.
It was quickly becoming a cult classic. The Skullgirls Curse And so work on Skullgirls DLC was underway. However, a variety of events happened to befall Lab Zero during development, some causing controversy and others just annoying the team. Some dubbed this “The Skullgirls Curse”. So let’s go over some of them:
- Paypal Woes: During the Indiegogo DLC campaign, Lab Zero announced that Ahad had created around 30 prospective designs for DLC characters, and that there would be a vote to see which characters would be the two “mystery characters” teased in the Indiegogo campaign. As you would guess, this caused the Skullgirls fanbase to get heated, to the point where some stressed that they would ask Indiegogo for their money back if their character didn’t win. PayPal, who managed the funds for this campaign, was concerned about these threats and put nearly all of the money on hold. Bartholow tried to negotiate with PayPal, and was eventually able to get the funding - once PayPal was given a hefty sum as collateral.
- Bad Juju - If you notice on the list of prospective DLC characters, one character is Juju, a character who was designed by Ahad from a fan’s suggestion on a Whiteboard Wednesday art stream. Ahad seemed to like the idea of the character, and kept building her up until she became a legit character in the game. The original fan made a joke on Facebook that he’d like to be compensated for the design, which led Lab Zero to negotiate obtaining the character rights from him. They eventually worked out a contract that would give them the rights to the character, but only if the original fan didn’t reveal it until Lab Zero announced it themselves. The fan then posted about it on the Skullgirls forum the very next day, breaking the NDA immediately and making it so that Lab Zero couldn’t use the character at all.
- Don’t be (Red) Cross with me: One of the characters included in the base game of Skullgirls is Valentine. As you can tell, the two biggest features of her character are her being a nurse and a ninja - as such, her costume is decorated with red crosses. This was upsetting to the real Red Cross, which fights hard to prevent its trademark from being associated with violence - as such, when they came to the Skullgirls publisher demanding a change, all red crosses in the game had to be changed to magenta.
- #FucKonami: In November 2013, due to Konami barely helping at all with the publishing process for Skullgirls (they refused to greenlight any patch or DLC until Lab Zero tested it itself on their own time and money, they didn’t help with Microsoft’s certification process for Xbox, etc), Lab Zero dissolved their publishing agreement. This led to a massive snafu where, due to the dissolution, the original Skullgirls was taken down on consoles, and Lab Zero had to scramble to get a new publisher on the consoles side and then reupload the game as Skullgirls: Encore. It was a tangled web of issues which the above YouTube video relays, but required certification from both console storefronts and even the Japan storefront, as their publisher there was also coincidentally being dissolved at the same time without Lab Zero knowing.
- EVO 2014: During one of the largest fighting game tournaments of 2014, Skullgirls was promised a space for airing their tournament stream by controller distributor Madcatz. Lab Zero and Autumn provided a pot for the tourney, and everything was smooth sailing - until a multitude of delays made it so that the entire time Skullgirls had for streaming was replaced with Tekken tournaments. By the time these issues were fixed, only the final four matches were able to be shown.
- What’s the worst kind of ship? Censor-SHIP!: In April 2015, one of the patches of Skullgirls altered the animation of some characters, which according to Lab Zero themselves was because of their own artistic values (while they admitted that panty shots in a fighting game comprised entirely of girls is unavoidable, they didn’t want to go out of their way to show them). As you might expect, this led to a massive onslaught of negative Steam reviews and caustic tweets from people who abhor censorship of any kind. Funnily enough, this brigade started around October, six months after the changes were made, and only via word of mouth - people didn’t even notice there was a change until someone told them about it.
- Backer characters: As part of their Indiegogo campaign, some of the highest-paying backers could have their original characters put in the background of some custom stages. Lab Zero warned these backers that these stages would be a casino and a ballroom, respectively, so their OCs should ideally be designed with a formal flair. Some backers did follow this unspoken rule - ZONE, a notoriously NSFW Flash animator who helped work on the DLC characters, made a perfectly formal look for his mascot Zone-tan. As for the others, well...
- SonicFox: This isn’t included in the compilation video mentioned above as this occurred way after all the initial Skullgirls drama. Basically, SonicFox is a five-time EVO champion and one of the best Skullgirls players in the world. In May 2020, after Skullgirls was mostly complete, they were given a cameo in Skullgirls’ training stage. Of note is that SonicFox is black, non-binary, and a furry, and the character added to the game was their fursona, who has a trans rights flag in the inside of their jacket you can only see for like one frame. People reacted as you would expect. Also, one of the original backers requested to change their character as they were now transitioning, which didn’t get as much flak, so that’s nice I guess.
So as you can see, Skullgirls had a menagerie of problems and issues during its dev time. However, their Skullgirls curse seemed to have faded away, as they had a new game in store.
If I was Indivisible Indivisible was a new project of Lab Zero, announced in 2015 as Skullgirls DLC production was nearing an end.
Billed as a platformer RPG similar to games like Valkyrie Profile, it would tell the story of Ajna, a young girl whose town is stricken by tragedy and she finds out that she’s a portion of the god of creation, who has grown discontent with the world and wishes to remake it anew. Its Indiegogo campaign focused on
Incarnations, party members who came from a variety of cultures, religions, and demographics not usually represented in popular culture. And as you can see by the fact that it got over two million dollars in funding, people were excited to see what Lab Zero could do. They even got enough funding to
get Studio Trigger, of anime fame, to create the opening for the game. Of course, it wouldn’t be Lab Zero without the occasional issue here and there. As shown above, some Incarnations were changed or scrapped during development, which irked some who backed because of that character specifically (not naming any names, but look in the incarnation list and see if you notice any). Backer characters were included again, and although there were more places to add them so they didn’t look out of place, you still had the occasional few that did. Critics liked the art and presentation of the game, but disliked some gameplay issues: the second half of the game became a cakewalk once you progressed far enough, it was a bit of a pain to go from one end of the map to another, especially for side quests, and a bunch of party members simply weren’t complete. Most egregiously of all, the Nintendo Switch version of the game was ported by a different company and released
before Lab Zero was even aware of it - which forced them to scramble
again to patch it up so it was on par with other consoles.
Still, it was a better situation they were in than when Skullgirls started. They had a legit publisher in 505 Games, people were satisfied with the base game,
and Mike Z mentioned how the base game would continue to be refined with gameplay changes, small additions, and guest incarnations from other indie games. NBC even announced that Indivisible would be adapted into a television program for their Peacock streaming service. Things were looking up for Lab Zero.
Everything goes wrong... AGAIN During the production of Indivisible,
Alex Ahad was let go by Lab Zero. Not much is mentioned about it except that he was growing increasingly hostile, making it difficult to work with him, and his art was not meeting the standards for the game. He left, tried to sue Lab Zero, and eventually agreed to a sizable settlement. Mariel became the lead artistic director in his stead, and the art team had to be rearranged to compensate.
Now, as Lab Zero was preparing to transition from being employee-owned, Mike Z was made the temporary head of the studio. In June of 2020, Mike Z did an “I can’t breathe” joke during a Skullgirls livestream just days after George Floyd’s death -
he later apologized for this, claiming he was trying to bring attention to the issue. Soon,
more people provided proof that Mike Z has had a history of sexual harassment. Kinuko chimes in as well, noting that while she tolerated inappropriate behavior for years, when she talked to Mike Z about it, he blamed her for his actions. She talked with others in the team, who came to the conclusion that Zaimont
had treated all of them like this. Some Lab Zero employees resigned on their own, while others pushed for Zaimont to resign. However, as Mike was still head of the studio,
he dissolved the studio board and laid off the rest of the staff. So where does that leave everyone?
- Ahad is still doing art on his own, and gets by with commissions and his Patreon.
- Kinuko, as well as the majority of Lab Zero, created a new studio called Future Club, which has promised to create new titles with the same art style they refined from Skullgirls and Indivisible.
- Autumn Games still own the rights to Skullgirls, and with the help of some former Lab Zero devs, created a mobile version of the game. It’s surprisingly not bad, although it’s of course stuffed with microtransactions. However, they’ve apparently made enough to fund a completely new character for the game for both the mobile and console/PC versions.
- After everything with Mike Z, 505 games put out a statement which signaled the end of all development of the game, leaving it unfinished. Mike Z has been suspended from Skullgirls streams and the like, making his future in the gaming world unclear.
There’s probably something I’ve missed in all of this, but yep. I backed them twice, both for Skullgirls and Indivisible. I don’t regret it, and I’m looking forward to whatever Future Club does, but I won’t lie - I’ll always miss what could have been.
submitted by The results are in for Match 8.
Agnes and Arpeggi, in their shrunken states, continued to fight, surrounded by the rising flames of their lilliputian tower, fists flying and Stand blows being taken one after the other.
“You… Callous mother
fucker!” Arpeggi cursed, Agnes feeling the singe of a heat blast both from behind and from launched wood. “We’re not aiming for a
massacre!” “You’re not,” Agnes spat out, then, pulling a tab on the table, a massive geyser erupting and launching his so-called ally away, “I don’t give a fuck about this place, and we’re in a Stand battle… And it’s all worthless, greedy scumbags watching! Let the fire spread! Let this place hit the ground so they see what someone with
style can do!”
“You heard it here, folks! Agnes talked you all down… C’mon, where’s your passion! Don’t run out and away, c’mon! And here I thought you cared y’had money ridin’ on this…” Conqueror Worm’s laughs reverberated as Glitch and William found themselves cooled by Ocean Eyes’ nectar, which found itself dissolving quickly but, for the moment, a functional barrier for the injured fighters, watching and listening to what happened.
“Th… They’re fighting each other up there…” William remarked, physically looking as though he was straining to force Ocean Eyes not to hurry up there and tear them a new one. “Glitch, we don’t have time to keep the flames at bay
and call up another KST, and if I let Ocean Eyes up there it’ll eviscerate them, and-”
“What’s this? The kid is holdin’ back, afraid of his own Stand! Hey, kid, don’t hate this part of yourself! Ocean Eyes, it ain’t your enemy, that’s a part of you, what makes you special, so don’t be at odds with it! Embrace what it says, because it’s what YOU’RE sayin’!” William was speechless, there, but his companion was less inactive in that time. Tiger “Glitch” Ricky simply hissed, then, her and her Stand hopping up out of the flames in an effort to brutally, mercilessly pounce upon the self-styled villain and the ally he had come to blows with. If they moved fast, they could bite through that shitty little twink’s neck right now!
Arpeggi grit his teeth, scrambling to find his footing as he witnessed the pouncing cat-stand, finding it hard to breathe among all the burning rubble, fading fast then.
Is… Is this how it ends..? Crushed and mangled as some lowlife’s burnt-up game piece..? “And it looks like Glitch is about to take it! Shout-outs to Tigran, the only real one here, watchin’ through the fire and the flames!” “Heh… This is just a bit of a sweat,” Tigran Sins answered, stifling a cough,
“I’ll see all seven of these bastards run through games until they’re all-” Arpeggi didn’t hear what was said next, only hearing his own defiant heartbeat. If he didn’t act fast, Agnes would die… Good riddance, right? But… Ugh, no, even scum like him, they don’t deserve…
He clutched at NEXT LEVEL until his fingers bled, and Glitch and William, both looking at him past their Stands waiting to attack, made curious sounds as yet more crumbled away.
“Mrr?!”
And then, there was white. An overwhelming cascade of baking soda burst from NEXT LEVEL, smothering the flames rapidly as an obscured form zipped up the tower again, grabbing Agnes and hurrying away from the thrown-off Glitch.
“You… Why did you…” Agnes rubbed baking soda out of his eyes, coughing and looking at the form of Arpeggi in this new Stand. “Motherfucker…”
“I have responsibility over even a scumbag like you… You tailed me here, and I’m not gonna let you die and escape responsibility easy.” He turned, then, to William and Glitch, his new form revealed. “Now, actually help me, follow my lead, and I’ll kick your ass later. We need to survive this-”
All four of the fighters, then, felt themselves grow rapidly, their combined weight so close together crushing the table they were on, much as a nearby tabletop wargame that had been setup found itself buckling under the weight of Metra, Oh No, the Black Angel, and their motorcycle.
“Welp,” Worm said with a bemused laugh, holding up the slumped body of Tigran.
“Your fire couldn’t hurt him, but smoke inhalation sure could! I guess that means…” “The winner is FIRE, with a score of 65!” Category | Winner | Point Totals | Comments |
Popularity | Graveyard Shift | 12-17 | |
Quality | Graveyard Shift | 19-20 | Reasoning |
JoJolity | BADD GUYS | 24-18 | Reasoning |
Conduct | Tie | 10-10 | |
With no more reason to fight, it got really awkward and everyone just sort of ran out of Heartache Casino. William Eyelash, recalling his stand and lost in thoughts, was the last to leave, joining the others in leaping single-file out a window into a nearby alley.
There, though everyone else seemed tensely uninvolved, the Black Angel’s motorcycle revved, and she stared down Worm as he safely stowed Tigran inside his Stand-body, leaning on his golden sword.
“There’s still something I need, Jones… I’ll run you down to get it if it means saving the city.” Worm laughed, gesturing with his sword. “This thing? You’re huntin’ me down for this… Ah! I see! You’re tryin’ to do
that.” Callously, he tossed it, so suddenly they fumbled with it in hand. “Here ya go, then! I don’t much want what Jack Aurel’s cookin’ up either!”
The Angel, worn and exhausted, stammered. “I… You just… But…”
“Lookin’ forward to killin’ me, huh? Get in line, kid… Or waste your time right now! See, nobody here is botherin’, they can all read that it’d be a waste when I’m in such good health! City’s countin’ on you, yeah, and you won’t get many opportunities for bein’ called a hero as an adult. Make it count!”
Then, before anyone could say more, he darted through a nearby wall, waving William and the rest off with a,
“Ah, we safely may trust to its gleaming and be sure it will lead us aright!” …
…
“Asshole.” The Angel turned away, strapping the sword to their back and driving away.
“Thank you, all of you. I’ll take this from here… Get yourselves help.” There was silence as they drove into the sky, scarf billowing before them, and then Agnes started cackling. “You’re all fucking morons… If I didn’t burn that place down, we wouldn’t have gotten away, and some wannabe with no
style would be going down as Los Fortuna’s worst villain! Fucking bow and grovel, Jack Aurel’s grave is gonna say ‘spat on by Agnes!’”
Nobody had the energy to dignify that with a response.
An anticlimax is leading into a super-climax, and meanwhile,
an ant-loving little boy and an aid worker are racing through their dreamscapes, with a day left to vote there.
Narration:
What is, as of the 1990s, ‘Capital Island,’ was the epicenter of Los Fortuna’s founding several hundred years ago, in the midst of a bloody Stand User conflict, many militias clashing for superiority, in the 1680s, starting with the death of the era’s own Andrew Tiffany, the missionary William Mandolin, and towards its end, knocking people into their senses through the awakening of exactly what he had tried to warn them of.
A grand T-Rex by the name of Megalomania had survived, dormant, underneath the land through the might of its Stand, coated in a goldlike substance, and awoken in a deep rage by the conflict of the locals. Megalomania was met in battle by a man out of place named Aaron Bruno, ‘Sir Aurel’ to most, and Memory Management, and when slain, crumbled where it stood into a pile of bones, feet firm in the ground.
Los Fortuna’s natural history museum was built around this monster’s remains, and Sir Aurel would turn its golden coat into a ceremonial weapon. The power these symbols were imbued with, even with their old purposes lost, were of great importance to the city’s stability.
Scenario:
Outside Los Fortuna’s Natural History Museum, Early Evening
In the blink of an eye, the attention of everyone within Los Fortuna had been turned to the natural history museum. That made sense, of course - considering the looming dark clouds containing the ghosts of the dead within them, the scuffles of the stand users outside of the building, and the vague knowledge that a ritual with the purpose of destroying fate itself was currently being performed within it, it would be out of the ordinary for people to not be paying it any attention. Even those who weren’t stand users that were up to date with the situation were drawn to it by the unusual level of activity surrounding it, from emergency services and VALKYRIE forces alike.
And then there was Bert. They were invested in the whole situation, of course - keeping up with the latest reality-breaking ancient rituals was the least that a wannabe god like them could do. Their status as an observer did raise a few eyebrows - they’d had to shake off both emergency service workers and VALKYRIE forces, who’d both taken the time to try and encourage Bert to leave the area for their own safety, clearly underestimating Bert’s own prowess.
Within the chaos, one could be excused for not failing to notice the drones Bert had been sending around to overhear and oversee it all. First, they paid attention to the chief of security at VALKYRIE, Ugo McBasie, who seemed to be getting interviewed by someone from the Fortuna Hermod, an ODIN-owned news publication (not their usual guy at scenes like this… Wonder what happened to him). Bert had heard that the man was a violent and irresponsible meathead who’d caused plenty of trouble in the past, but he seemed to be keeping a thin veil of professionalism for now. However, Bert couldn’t help but notice a young man in a blue aviator cap standing a few meters behind the reporter and staring daggers at him, perhaps keeping him in check somehow, occasionally piping in for comment about how it was all they could do to surround the place and wait for an opening if they didn’t want a meat grinder on their hands.
Meanwhile, Los Fortuna’s own city council chairman, Raymond Delwin Shimizu was discussing something of note with someone else, who seemed to have just finished an interview of his own. Bert didn’t recognize him, but the interviewer had called him “Chief Prosecutor Cavallo”, and she seemed as if she knew what she was talking about, so Bert opted to believe her. The interviewer, Jillian Something-or-other, had been running all over the scene, trying to get interviews alongside her oversized cameraman Bert recognized as having been that really huge cop who used to hang around Aurelio a lot of the time not successfully doing his job. Not worth Bert’s time.
Cavallo scratched his head in frustration. “Chairman, please tell me that you’ve made progress of some kind here...”
Ray shook his head. “Not much. That stand user that’s working alongside Jack Aurel, Akiko Mizushima, is making it impossible to get in - anyone we do send in is as good as gone. We haven’t even been able to get Admiral Pineapples out. Judging by your demeanor, I assume that the board hasn’t made much progress either.”
“No, doesn’t seem like it.” Cavallo let out a long sigh. “Every day, it’s just more and more work… Now we’re stuck having to deal with this. If nothing’s done, the board’s thinking it might very well cause a disaster unmatched by… Well, anything but the earthquake from thirty years ago. Something like this, bending the rules of the city, and breaking free from it… Los Fortuna’s probably not going to let that slide easily.” He shook his head. “Where the hell is the mayor through all this? Watching anime at home or something, probably.”
Ray remained silent for a bit, thinking to himself. “Well, we’ve got emergency services ready to act for now, and we’re working on evacuating any susceptible areas, but it only works so much.” Before Cavallo could respond, another reporter came up to Raymond, ready with a batch of questions for him. “Well, Cavallo, our work isn’t done yet, so let’s get to it. Saving as many people as possible here should be our utmost priority.” And with that, the two men parted ways for the time being.
Having listened enough, Bert began thinking to themselves. This was a tricky situation - they clearly couldn’t get in as is, but they certainly wanted to. Learning more about the situation at hand would improve their knowledge of the mechanisms holding Los Fortuna together, and gaining control over the ritual somehow would certainly be a feat befitting of a god such as them.
Bert stood in front of the museum entrance, taking another look at the chaos in front of them and continuing to think about the next step they’d take. So many different possibilities, so little time. They thought, and thought, and then one of their drones’ eyes glanced upon someone familiar - a blue haired, red eyed woman wearing a mask, trying to blend in and clearly resenting it, skulking around the perimeter of the area as though she, too, wished to enter.
Yet despite her efforts, Bert recognized her.
“Emilie ‘Dread’ Delacroix!” They declared it loudly, thoughtlessly so, approaching her with a hand raised. “Are you perhaps looking to find a crevasse through which to enter that place as well? It’s quite fortified, isn’t it?”
“Hm?” She wasn’t bothered by the way Bert drew attention to her, still wearing her same very extra outfit under the also quite extra hooded dark robe she was using to blend in. “Ah, pardon me dearly for having failed to notice you… You are Bert, from that incident where we fought on equal terms, yes?”
“I am that same Bert, Emilie ‘Dread’ Delacroix, yes. Though I doubt I could be much mistaken for others…”
“We are both quite conspicuous individuals, yes,” Dread said, taking the conversation into a nearby alley before VALKYRIE goons on the scene could prove it was her, “but no, I’m not terribly nonplussed about my abilities to infiltrate that place… Simply, I am attempting to assess the probability by which my approach itself, through the barricades erected, might occur. If your intentions happen to be helping me sneak through, then it is simply not necessary on any fronts… I have formulated a plan now.”
Dread, now appearing alone, walked through that alley curiously, looking around her and beginning to see her opportunity of approach - there appeared to be a side door there, at which a certain fish-themed hero was sitting outside, looking, Dread knew from their DMs, at funny images of her wife atop the T-Rex skull in the museum.
Yes, certainly, this would be-
“Whoa, hey, it’s you!”
Damnable. Had she been spotted, or..?
No, no, wait. The one speaking, a man also in this alleyway who smelled of cannabis, holding what looked like a GAP bag, was speaking to someone on the opposite side of it, disembarking from a sportbike and handing it to the rider, who was wearing a very ornate-looking golden sword which Dread had sworn she’d seen somewhere before.
“Thanks,” the Black Angel told this young man, accepting the bag and producing its contents - a Roman helmet and black bird-looking tokusatsu cosplay? “Green couldn’t make it himself, huh?”
“I made it,” the guy said, pointing proudly to himself, before blinking. “Oh, you mean like… Showing up. Yeah, no, there was a thing with a mammoth coming down from the mountains, he’s helping East deal with that. Feel like lighting up before you go in? It’ll take the edge off..!”
The rider removed their helmet, coincidentally perfectly timed for the strawberry-blonde with pale blue eyes to stare him down incredulously. “About a million people live on this island, Weedboy. Now is not the time…” The Angel ducked into the nearby building to change, finishing, “shit, yeah, it looks just like the Flying Men do… uh. you should get out of here now.”
“You kidding?” He asked. “I don’t wanna bow out right before it gets good! That’s, like, saying I think you can’t do it!”
Well, these two appeared distracted, so Dread would continue along her way, walking right past them and towards the blockade, towards where Jo was sitting casually, only to be interrupted by-
“Holy shit, it really is her! Stop right there, Dread!”
Oh boy, here we go. This had been happening more lately, since a somewhat frustrating individual went and opened his big mouth about her dangers on Bifrost. Turned out that the head of VALKYRIE was literally in the server, so now she had a bounty on her head after a modicum of investigation into her after that public statement, and her casual admittance thereof!
Two armored guards were pointing guns at her as she stood there, unfazed.
“Don’t come any closer!” One of them, an older woman, said, turning to her younger partner and quickly telling him, “if she approaches, open fire. She’ll eat you alive if not!”
“This again, are you being serious?” Dread was less than pleased. “I am evil, and a murderer, unrepentantly so, yes, but I do not eat people. This rumor is being so blown out of proportion that I find it quite tiresome.”
“F-fuck off and die!” The younger moved to fire his weapon, only to realize there was a knife through him, catching the gun by the trigger after running from his shoulderblade to his fingertip.
Dread didn’t need the help, but like a true friend, Kimijo Kaneko offered it anyway
“Wh-what the-” The older woman cursed as her partner was cut open and dropped. “Fucking useless moron! HEY, EVERYONE, KANEKO BROKE RANK AND DREAD IS HERE TO! NOW’S OUR CHANCE TO-”
The distraction, then, was all it took for Dread to take her first kill of the day. Of course it was fine. She read the news, she knew how these VALKYRIE people were literally at war with poor people.
“Sh-shit, those people just died! More VALKYRIE corpses, and Jo again..!” The stoner declared in the background, and the Black Angel, now dressed exactly like the birdmen many had seen before, paused in her efforts to run past the opening created by Jo breaking formation.
Nobody could hear it or see her lips move, but she apologized under her breath, clenching her fist, but the disguise had worked. 32 Footsteps, the primary guard which would warp away anyone who tried to enter, apparently had instructions to allow in anybody dressed like this, yet none of the intended recipients of this deliberate loophole made their way in.
“Dread, hello, friend!” Jo exclaimed in high spirits, sheathing her knife, but still speaking quietly as she hurried back into place, “good to see you!”
“Yes, it is most certainly fortuitous for us to encounter one another…” Dread agreed, walking and talking with her as the pair were watched in horror. “By any chance, may I come into this museum? I am absolutely curiously intrigued by what is going on within here…”
“Sure!”
A VALKYRIE sniper was taking aim at Dread, then, as she entered, muttering under her breath, “got a shot lined up… I can take her out, and Jo a second later! Two bastards out of the way, at least, and-”
“Wait,” the youth in a blue aviator hat and goggles, speaking as VALKYRIE’s tactician, instructed, “hold your fire.”
“Sir, she just made one of our senior officers fall into rotten pieces! She’s chatting it up with this fish-bitch like it’s nothing!”
“I know, and I’m appalled too, but I think…” The Blue Kid paused, contemplatively. “No, I know it. Dread is here to defeat John Aurel, just like the Black Angel.”
Spinning and pivoting through the air, “Lou” Reed, dressed like a dark, sixth Flying Man, landed atop the skull of the t-rex, which had apparently been adorned in a cute little pirate hat. It made for a fine vantage point, then, to look all over the halls of the Natural History museum, noting one, two, three, four spots, grotesque and morbid statues Remix had apparently erected of ghostly abominations.
She was exhausted, injured from the three-way skirmish she, Metra, and Oh No had been forced to undergo and riding like hell to get here, but she had made it this far, and others had managed to get in too. She couldn’t choke now.
Seven minutes… I’ll just have to destroy those, and be back here in seven minutes. Easy enough… I don’t think I’ve been-
“Green, Orange, and Purple… I don’t believe a ‘Flying Man Black’ was ever mentioned, nor that any of the brothers were into swords.”
Shit. That voice, too… Lou turned around, then, seeing someone standing behind her, a man with long dark hair, brandishing a hammer and looking up at her.
John “Jack” Aurel.
“Even if you are what you appear to be and not in disguise, you should realize that you aren’t welcome here. There’s nothing to be done in this museum worth dying for, and no way to accomplish any more foolish goal if I were to raise attention now. Care to waste some of the time you have left and explain?”
Of course this would happen. Lou removed her faux-beak, helmet, and goggles, staring down at him as her hair billowed in the ceiling fans’ wind. “Jack… I’ve come here to put a stop to this.”
“You’re that kid who’s always running around, huh?” Jack frowned, twirling his hammer. “I hear what you talk about through the grapevine… About how we’re all victims of fate, forced against each other by Gravity. That Stand Users are always going to be molded by this… You understand it too. You understand that people like us prey upon the weak, that it’s in our natures and our place in the world. I want to remove myself from that… Remove these people from that, and atone for what I’ve done.”
“By killing even more people! There’s no way they’ll get everyone away from your blast radius, and you haven’t even given them the chance to!” Lou protested. “It doesn’t have to be this way… Don’t say this is how it has to be! We can save this place, free everyone from gravity, without barreling towards its destruction! I don’t want to kill you, Jack. I want you to stop this crazy, self-indulgent crap and help me do something real!”
“You think everyone deserves this? That Stand Users will simply reform without this? The cycle has started, and it will push to the end even if the wave guiding it fades away completely… Bastards, the lot of us, and I don’t intend to run from what I’ve done. I’ll give you one chance to run away, kid… the worst I can call you is naive.”
Lou drew the golden blade, seeing Jack wince as he clearly recognized its significance, all as her Stand appeared behind her. “We both know I can’t do that, even if I can barely keep my balance up here. And hey, maybe I will die here… Maybe I am fated not to see this through. But then, someone is gonna finish this for me! Your security is already compromised!”
“Fascinating… And you are utterly convinced that, should it work, those he’s slain to commence this ritual to begin with will return outside the city?”
“Remix is full of himself,” Jo said, nodding quietly, “but he and Jack, they researched a lot… Akiko and I, for helping this finish, we can finally go home! Be done with the bad city…”
“She has made this place remarkably impregnable,” Dread agreed, thinking aloud, “anyone who waltzes in waltzes into her backrooms…”
“Unless they have a ‘pass!’” A voice from within Dread’s cloak spoke, and as Jo raised her knife at it in defense, the pure-white, terribly contorted form of Bert tumbled onto the ground, stretching and reshaping into their typical humanlike shape.
“Don’t worry, don’t worry, they are fine, with me!” Dread assured Jo, frankly thankful to have that weight literally off her back. Bert was very light, but even then it was hard to walk carrying someone, let alone not give it away. “We have… Some history, and so I thought I might as well indulge Bert’s request to see this place as well. I apologize for not mentioning earlier, but it was quite dire getting in here past guards attacking us.”
Jo didn’t seem to mind, continuing to lead the pair around, even passing Akiko who was casually, distractedly reading some manga while in a bit of a pirate mood.
They also passed by another scene, slightly more concerning, of an injured old man in a Hawaiian Shirt, close by the frontmost entrance of the place and clutching himself as his fleet of four Stand-starships remaining fired at Remix, who guarded against it with ghost-objects while a Flying Man Red tried to find an opening to strike.
“You’ve been at this for hours, old man, die already! You have no place in the world I mean to birth from your bloodied, pulped remains!”
Pineapples stood, then, leaning against the wall, trying not to show weakness.
“I think that guy is going to lose, at this rate… It’s a shame, too,” Bert, the loudmouth again, remarked. “He might have been a worthwhile pawn in wrestling control away from this operation.”
Dread, Jo, Remix, and Red all gave Bert simultaneous incredulous looks, all in completely unique ways.
Jo drew her knife again, about to transform, only to dodge out of the way of the injured ‘Lou’ Reed, blacked out, helmetless, being knocked away and into the floor, the shock of which made her rise quickly, feeling around. “Where’s the- Shit!” As she sat up, then, feeling around for the saber no longer in her possession, she noticed that she was smack in the middle of something else here.
Hurriedly, she rolled away, standing herself up and looking to the injured Admiral. “You… You’re one of those MFAs, right? How did you-?”
Weakly, he gestured to Remix. “He brought me here in a damned urn! I’ve been fending them off to buy others in the museum time to escape… Everyone in this hall here and Jack, those are the only ones left in the building, minus masses and masses of ghosts. They’re harmless, though… Don’t worry about them attacking unless that guy takes them.”
“I see…” Lou, then, smiled sadly, clutching her bloodied suit. She looked to Bert and Dread, then, moving to get between them and Jack’s incredulous accomplices. “You said you wanted to take him out, right? I overheard…”
“Well, Bert has let yet another cat out of the bag,” Dread admitted, “indeed, I came here with the intent of dethroning Jack Aurel before he had a chance to complete his little ritual. Few others would even be able to get in here.”
“So that’s my role, then…” Lou smiled, then, sighing, ducking out of the way of the Flying Man sending a kick her way, a gauntlet-clad arm emerging from her body, grabbing his ankle hard, and swinging him into the Jo who was shocked to hear Dread say that. “I can’t do anything about Jack… Too fucked up from that ED match…” She grinned, then, mouth bleeding as she stared Remix down. “But this old man and I can at least keep these assholes from interfering!”
Dread, then, watched passively as the five erupted into battle, she and Bert curious about what was to come as, from each hand, the Stand which emerged seemed to fire odd projectiles at their foes. “The ‘I’ll hold them off…’ You’re styling yourself as some sort of exceptional hero, aren’t you?” She seemed amused by that, the irony of their cooperation. “I’m evil, you know… And Bert, at least, is morally ambiguous. But if you’ve settled on putting the city in our hands, have you any advice?”
Over the sounds of laser fire, Lou quickly found time to answer, “yeah, there’s… I brought this golden ‘saber’ with me, and it must’ve fallen somewhere by the T-Rex… In, in a bit over six minutes from now, this ritual of theirs is gonna go through and rip this island open. Before that… They have these ‘failsafe’ statue things, and…” She took a breath, retracting and wincing from a blow her Stand had taken. “Look, I don’t have time to explain it, but you need to smash those up first! They’re there, made up of spirits fused together, to keep these guys safe from the consequences of their own actions… To ensure their safety, and at the same time act as a ‘failsafe’ for the ritual. Gives you the ‘power’ over it, too, in the way that right now Jack himself does… That’s important to stopping it. So you need to smash them first, and then, right as the time passes for the ritual, when the skull of the T-Rex in the center starts to split open and glow and its mouth starts gushing water… Embed the sword into the opening in its forehead, right as it starts to shape. That’s the only way to prevent this at this stage!”
“The forehead particularly, hmm?” Bert asked, pacing curiously and avoiding a cross split attack from Red, who barreled into Lou and was barely blocked. “Why there, per se? Why nowhere else on the thing?”
“Ngh..!” Lou grunted, saved from a follow-up by Pineapples. “I dunno, that’s just where you have to do it!”
“Black Angel… That’s what you’re called, yes?” Dread smiled, turning away. “You will be thanked for this victory… Try to live long enough to witness it firsthand, won’t you?”
“I’d… I’d love to,” Lou answered, smiling sadly, “for five years now, when I first learned there was anything worth a damn in this world, I’ve wanted to protect that… The dark pit of despair that was the first thirteen years of my life, and even so much since, I’d love nothing more than a world where no person is fated beyond impossible odds to suffer that.” She grew serious, then, raising her voice. “Go, now! Leave this to us!”
Bert and Dread approached the T-Rex, impressed at the amazing height and Akiko’s snazzy pirate duds upon the thing, the lab-grown being whistling with impression. “A T-Rex lived ‘til three-hundred years ago… Preserved whole, in this city. It’s astonishing, isn’t it, Emilie ‘Dread’ Delacroix?”
“A curious anomaly,” Dread agreed, examining it from afar, even noticing that alleged sword in the distance. “I wonder why it survived that long, so far after its brethren…”
“It’s because it was a ‘Stand User.’”
Jack approached from the same room in which Dread spotted glints of the golden saber, announcing his presence with that. “That was its ‘fate…’ A savage, cunning animal, ripped from where it belonged. to be a problem to solve and squabble over, to found this city on its literal bones.”
“John ‘Jack’ Aurel… You’d best stand down.” Bert, helpfully, started. “You cannot beat us… Even if we only had seconds to overcome you, I would be too much for you to handle!”
“No, he’s going to fight, I know it.” Dread, meanwhile, prepared Joywave, staring him down with a pointed, grinning lethality. “I suppose introductions are not necessary, with how Bert here loves to say my full name… I am not one to make things curt or brief, John, but consider yourself toppled, usurped, bloodied and dead.”
“The lab accident with a God complex and by far the worst, most grisly of Jo’s friends…” With no real amusement, no happiness in his eyes, Jack chuckled, looking them over. “Of course, right at the end, my final test isn’t some hero… It’s exactly the worst kind of Stand User! The apex predators that I’ve preyed upon, that stand in the way of saving everyone who’s died to reach this point! Of course it would be someone like me to gain entry, wouldn’t it?”
“You speak with such confidence you’ll raise the dead…” Bert was curious. “Even if it costs more lives, such a thing is… That is the realm of gods, John ‘Jack’ Aurel.”
“Not today it’s not,” Jack answered, twirling his hammer in his hand. “Both of you… You’ve been driven here, standing in my way, as agents of ‘fate’ itself. Isn’t that the reason you were ‘lucky’ enough to pass through our defenses… Because you were meant to stand here, and you were meant to watch as every horrible, cruel thing you’ve done amounts to nothing in the face of these circumstances.”
He looks the two intruders over with sympathy for a moment, before steeling himself and clenching his weapon, Stand appearing behind him just as stone-faced. “You may be the puppet of something beyond your control, but you must understand that I can’t let you ruin the plan I’ve bet my life on. I bear you no anger as people, but your role here is something I can’t ignore. I’ll waste our time no longer in arguing ethics, let there be no apologies or restraint until this is settled.”
The other conspirators had been instructed not to intervene if it came to this point, even if it risked the collapse of everything they had worked for. Not if it threatened lives. An enemy to make it this far was deserving of being dealt with reasonably. As the critical moment drew near, Jack readied all the fury that months of waiting had stored within him, and accepted that this may very well be his final true fight.
“Five minutes on the dot now, until ‘that time…’ If what the Black Angel said is true.” Dread looked to Bert. “What do you say we demonstrate incontrovertibly to John exactly how confused he truly is?”
OPEN THE GAME!
(Image credit to CaptainSpooky27!)
Location: A part of the Los Fortuna’s Natural History Museum. The area here is 75 by 75 meters with each tile being 5 by 5 meters. The ceilings here are 8 meters tall. The yellow tiles are the hallways and the green and purple tiles form the different rooms.
The white tiles have ritual shrines built on those areas. There are 7 shrines total and will be explained in further detail in the additional information.
The players start at the south of the map and Jack starts at the top of the map as represented by their tokens. The walls are represented by thicker borders and the dotted lines are the doorways.
At the top of the map, in the pink tile and yellow symbols, is the Golden Sword. It is currently pinned under 2 meters of rubble.
Each wing of the museum houses an exhibit, in the center is the main attraction a large T-Rex in display as denoted by the large grey circle.
The other exhibits are denoted by the letter on them:
- G: The geologic exhibit, displaying and teaching about different rock formations and types
- O: The two Oceanic exhibits, displaying the marine life and seabed of Los Fortuna.
- C: The climatography exhibit, displaying the different temperature maps and features across Los Fortuna.
- A: The Agricultural exhibit, displaying the various fruits and crops grown around Los Fortuna.
- T: The two Taxidermy exhibits, displaying a wide range of animals in roped off and glass displays.
- E:The Entomology exhibit, displaying photos and models of various bugs.
Goal: For the players, desecrate all the shrines and, when time runs out, have at least one of you, living and conscious, at the T-Rex with the golden sword in hand! For Jack, make sure the players don’t stop your ritual before it goes off!
The match will last exactly five minutes, unless of course players are dead before then. It doesn’t end just because players reach the goal.
Additional Information:
The shrines are 2 meter tall marked wood and metal structures, each having an strange carve effigy sitting in the center of them. In order to properly desecrate a shrine the players can do one of a few things, destroy the shrine outright, deface all the carvings made into the shrine, or destroy the effigy hidden within the shrine.
After destroying or defacing a shrine, the ghosts of the dead will begin harassing the players - three ghosts will move towards the player responsible for destroying the shrine (even in a situation where the stands are responsible: the ghosts will target Bert if a Perfect Hair minion destroys a shrine, and same for if anything affected by Joywave does so). These aren't strong, having flat 222 physicals and being partially see-through, but will increase in numbers as more and more shrines are destroyed. Strong enough hits can phase them out of existence, but they'll respawn ten seconds after at the spot that they previously were. They will go directly towards the players and can phase through any walls or objects that may be in their paths (but not out of any attacks), grabbing onto the players and trying to gang up on them once they're close enough to do so, dealing minor damage.
Team | Combatant | JoJolity |
Red Carpet Rennaisance | Emilie "Dread" Delacroix | "Wow! It's a hand drawn original color illustration!" You’re a cultured woman, and this museum might very well end up being wiped off of the face of the earth quite soon, so you need to make the most of it while you still can! Make sure to visit and appreciate the various exhibits on display here! (Character Specific) |
Suburban Regalia | Bert | "What a terrible person. If I wrote about someone like you, none of my readers would like it." So this man is playing at god, trying to control life, death, and fate themselves? What foolishness! Clearly, only you can do such things, and you do them best! Over the course of the strategy, prove your superiority to this “Jack Aurel“ and take him down a notch! (Character Specific) |
??? | Jack Aurel | "Where the hell did you go?! Come out, you fucker!" It's now or never. This is the culmination of all of your plans, and failing is absolutely not an option here. During the fight, hold nothing back, and make sure to thoroughly defeat your opponents so that no one and nothing will ever stand in your way again! |
(Jack sheet plain text version)
Link to the Official Player Spreadsheet
Link to Match Schedule
As always, if you would like to interact with the tournament community and be among the first to get updates for the tournament, please feel free to PM a member of our Judge staff for an invite to our Official Discord Server!
submitted by Kennedy and Heidi: Vicarious Patricide as Tony’s Decompensation
At the risk of needless redundancy, I think it’s helpful to summarize Tony’s state of mind going into the episode Kennedy and Heidi. His consciousness is teeming with ancient but recently-agitated memories showcasing his father’s violence and toxic influence, like Johnny shooting a hole through Livia’s hairdo and baptizing him in the act of murder. He’s unable to shake stories of parental neglect leading to tragic outcomes for children. He’s painfully aware of Christopher’s hatred of him and desire for murderous revenge, feelings ultimately rooted in the fact that Tony guided him into the same corrupt existence into which he himself had been led by Johnny, Junior, and company, suggesting a reciprocal, if unconscious, rage by Tony towards those men. His subconscious mind is under constant assault from hats and movie posters and coffee mugs bearing the image of a bloody meat cleaver, an emblem of his own lost childhood innocence and inculcation by his father into his brutal, ugly vocation. He is racked with acute but intense guilt over the role he thinks his life’s example has played in shaping his son’s values and poor sense of self-worth. And he is still repressing a mountain of hurt over the fact that his uncle and second father tried not once but twice to kill him, a repression Melfi warned would someday result in a total collapse of his defense mechanisms, that is, a collapse of his paternal hero-worship and related quest for the macho validation that has prevented him from critically examining his father, uncle, and the men upon whom he modeled his life.
Now consider the circumstances immediately before the crash. Tony and Chris are on a routine drive back from business in Christopher’s new black Cadillac SUV (the first Cadillac Chris has ever owned, incidentally.) The conversation turns to life priorities. Chris, conspicuously clad in a Cleaver hat, specifically mentions how Kaitlyn has changed his priorities, and Tony mentions the “shit with Junior”. So the context is immediately pregnant with the fact that Junior shot and nearly killed Tony within the past year and with the fact that Chris is in a new place of responsibility, a position where he is, for the first time, truly the custodian and trustee for another life.
In a perfectly-timed illustration of just how ill-equipped Chris is to live up to those responsibilities, he nervously and repeatedly fiddles with the car stereo, fidgets, and widens his eyes, telegraphing to Tony that he is high as a kite on drugs. “Comfortably Numb” swells on the sound system as Tony stares at him, the lyrics underscoring that, in that moment, he does not see Chris as a youngster, as the “adorable kid” he once road around in the basket of his bicycle, but as a grown man:
When I was a child I caught a fleeting glimpse Out of the corner of my eye I turned to look but it was gone I cannot put my finger on it now The child is grown, the dream is gone Chris swerves, and the crash happens seconds later.
Tony as the Child in the Carseat
It’s critical to note that Tony initially manifests every intention of helping Chris, even as he’s fighting his own injuries. “I’m comin’,” he says as Chris asks for help. His expression and demeanor only change when he realizes what Chris means by “help”. “I’ll never pass a drug test,” Chris moans. “What?” Tony asks incredulously as Chris is inhaling his own blood. Almost simultaneously, Tony turns towards the back and sees that a tree limb has penetrated the passenger compartment, lodging in Kaitlyn’s car seat like a spear. While Tony would somewhat exaggerate the size of the branch in later narrations of the event, there’s no question that it was large enough to have impaled or seriously injured an infant.
Even after this warning shot over the bow, Tony apparently intends to help Chris, coming over to the driver’s side and breaking the window when he couldn’t get the door open. He draws his cell phone to call for help but stops when Chris again mentions being doped up, which suggests that Chris is more concerned about the legal consequences of his intoxication than about the fact that he is drowning in his own blood, completely belying his claim to a life newly ordered around the lofty priority of fatherhood.
That’s the moment when Tony forms a genuine murderous intent, an intent that has little to do with Christopher’s animosity towards him or the danger that he might flip. Those are conscious, background motives that help Tony rationalize and make sense of his actions later. But the factor impelling him to end Christopher’s life is his own, fundamental identification with the child who might just as easily have been killed or seriously harmed in that carseat.
To objectify this point, there is a slow pan of the limb sticking through the seat as Tony performs the suffocation, clearly not a shot representing Tony’s vision or gaze at that moment but objectively corroborating the earlier angle when Tony glances back and we see the seat from his point of view. The juxtaposition of these shots – subjective and objective – tells me the carseat is not just a convenient excuse for Tony. This is what he’s really feeling. In this moment, he is the phantom child in that carseat, a child whose safety and well-being come second to his father’s corrupt values and reckless self-indulgence, a child whose soul and humanity are metaphorically impaled by riding in and being taught to drive his father’s black Cadillac.
The exclamation point on the symbolism is provided by Christopher’s hat. Incredibly, it remains on his head throughout the crash and suffocation, its bloody cleaver logo pointing towards Tony when the car comes to rest. As Tony acts consciously on behalf of an innocent child, the symbol of his own lost childhood innocence is directly before him. And, for good measure, the cap and logo stare back at him in the hospital from the gurney laden with Christopher’s bloody clothing and the black bag containing his dead body. (The logo antagonizes Tony a final time from his coffee mug the next morning before he angrily tosses the mug into his backyard woods.)
Several points about the suffocation itself are remarkable. First was the look of absolute depravity on Tony’s face as he watched Christopher struggle to breathe. This look was unlike any ever seen on Tony’s face at any other moment in the series. Even when committing other personal and deadly acts of violence, his face and demeanor had always betrayed a commensurate level of animus, an active, passionate intent. In contrast, he reached through the window and pinched Christopher’s nose – and maintained that hold – with remarkable calm. His face and eyes throughout the suffocation were paradoxically both incredibly intense and completely devoid of human emotion, a look far more disturbing than any look of mere rage he’d ever worn before.
Second, although this act was, in my judgment, clearly about the release of Tony’s pent up rage towards his father figures, the method of killing evokes Livia. Besides her conspiracy with Junior to kill Tony (which she rationalized was for his own good) and general obsession with stories of child deaths, she had once threatened to “smother [her children] with a pillow” to save them from a fate she deemed even worse. Tony grabbed a pillow intending to smother her in the season one finale before nursing home personnel intervened. In Members Only, Tony spoke of being smothered with a pillow as a suitable form of euthanasia. Its functional equivalent at the scene of the crash had a definite vibe of putting Chris out of his own – and everyone’s – misery. So, in killing his “father”, Tony was also paradoxically suffocating his “son”, thereby channeling Livia’s filicidal urges and concept of mercy killing.
The most spine-tingling resonance with the scene comes from two season four episodes where Tony’s deep identification with “innocents” – be they children or animals – once again comes to the fore, as does his appreciation for the consequences of Chris continuing to use drugs. In Whoever Did This, Tony warns Christopher that he “can’t be high on heroine and raise kids.” And in The Strong, Silent Type, after learning that a doped-up Chris accidentally smothered and suffocated Adriana’s dog, Tony ominously snaps, “You suffocated little Cossette? I oughta suffocate you, you prick!” It’s such perfect foreshadowing that the earlier episodes seem to have been written with the outcome of Kennedy and Heidi in mind.
Righteous Retribution as the Explanation for Tony’s Lack of Sorrow
As previously noted, the most troubling aspect of the episode from the standpoint of character consistency and plausibility was not the fact that Tony murdered Chris. It was his vacuous expression during the killing and the fact that he never betrayed a moment’s genuine sorrow or regret afterwards. He remained, in fact, defiantly happy and unconflicted about it, especially to Melfi, and was sincerely troubled that neither she nor anyone else could see how Christopher’s death rescued Kaitlyn from a lifetime of risks and harm that she would naturally suffer as the daughter of a drug addict (and mob captain).
In his therapy scenes with Melfi, real and dream, Tony even makes the very contrast I raise, noting that he’s never felt this way after murdering any other person close to him. He alludes to his sorrow over Pussy and specifically allows that murdering Tony B left him “prostate [sic] with grief.” In effect, Tony himself is revealing that this killing feels righteous and justified to him on an instinctive level and is therefore not one about which he can feel guilt or sorrow.
That sentiment makes no sense if his dominant motives were those he talked about in therapy: Christopher’s animosity and resentment towards him after the Adriana hit and his drug-use and consequent risk to flip. Whatever weight those factors carry in justifying murder in the corrupt “ethics” of the mob (which, in any case, is less than the weight of the transgressions by Pussy and Tony B), they carry absolutely no legitimate moral weight outside it and could not sustain in Tony the sense of just triumph that he felt in response to Christopher’s death. What could inspire that sense of triumph is the perceived liberation of a child from a dangerous and toxic father, experienced subconsciously as vicarious retribution for the abuse and harm he himself suffered at the hands of his own father and uncle.
Significance of the Names “Kennedy” and “Heidi”
“Kennedy” and “Heidi” are the names of the young passenger and driver, respectively, in the car that sideswipes Christopher’s SUV before the fateful crash. The girls are barely onscreen a few seconds, just long enough to (somewhat artificially) learn their names in the following exchange:
Kennedy: Maybe we should go back, Heidi! Heidi: Kennedy, I’m on my learner’s permit after dark! Much forum debate after the first airing of the episode centered around the significance, if any, of these names. I propose a related but even more basic question: why are the girls present in the scene at all?
Tony’s windfall opportunity to murder Chris and pass it off as death from accidental injury was entirely dependent upon being unobserved by others after the crash. Given Christopher’s intoxicated state and inattention to the curvy road while he fiddled with radio controls, a mere swerve and over-correction or swerve to avoid an animal (Tony’s crash with Adriana, anyone?) would have easily sufficed to trigger the accident but without the problematic involvement of another car, the driver of which would have to be made to flee the scene illegally and in contravention of the ethics and instincts of at least 95% of the motorists on the road. So the very fact that another car is involved, complicating both the story and the filming, suggests some symbolic or subtextual design to the involvement related specifically to the momentous event occurring right after the crash.
One aspect of that design is revealed and amplified when a grieving Kelly shows up at Christopher’s wake with dark hair framing her face and large, dark sunglasses covering her eyes. A member of the crew remarks, “Look at her. Like a movie star.” An odd look immediately crosses Tony’s face as he spontaneously responds, “Jackie Kennedy”, noting Kelly’s resemblance to the widow of John F. Kennedy.
In my mind, this striking moment in the episode can have only one purpose, and that’s to evoke Johnny Boy in relation to Christopher via a kind of symbolic math. If Kelly = Jackie Kennedy, then Chris = JFK = Johnny Boy since JFK was the explicit parallel figure for Johnny in In Camelot, the first episode of the series depicting cracks in the foundation of Tony’s paternal hero worship. When that foundation completely crumbles inside Tony’s subconscious a season and a half later, it’s entirely fitting that the JFK/Johnny parallel is renewed.
As for the name “Heidi”, most folks around these parts felt it was meant to evoke the idea of “orphan” because of the famous Swiss orphan tale of the same name and because Kaitlyn (and Paulie) both lost parents in the episode. That’s an entirely plausible analysis that requires no expansion, although I’m inclined to think there’s more to it than that, starting with the analogy of Tony himself to “Heidi”. No, Tony was never technically orphaned, though he arguably suffered more as the son of Johnny and Livia than if he had been. He was certainly deprived of real parental love and guidance, on both sides, and that roughly equates to the definition of “orphan”.
Before discussing this episode for the first time, I never knew that Heidi was the story of an orphan, only that it was some kind of tale for children. And I knew that only because of the epic 1968 football game between Joe Namath’s Jets and the Oakland Raiders, the climactic ending of which (an improbable comeback by the Raiders) was cut off abruptly for television viewers at the end of its scheduled broadcast slot so that a movie version of Heidi could begin airing on time. I was only four at the time of this debacle but recall my parents talking about it – and the considerable chaos it caused at NBC and at telephone switchboards around the country – for years afterwards.
http://en.wikipedia.org/wiki/Heidi_Game It wouldn’t become clear until the end of Made In America, but there’s an obvious parallel to the Heidi phenomenon in the wind-up of The Sopranos. Consider that, like the Heidi Game broadcast, Made in America featured an abrupt, unexpected termination of excruciatingly tense action at a penultimate moment, pre-empting audience experience of what appeared to be an imminent and momentous climax. The Sopranos ending may not have disabled an entire telephone network, but it certainly generated an enormous amount of controversy that, for better or worse, persists to this day.
Beyond that, there were enough other football references in the final Sopranos episodes, and especially Jets references, to warrant further consideration of this football connotation for “Heidi”. In Remember When, Tony’s betting losses on Jets football games prompt his call to Hesh for a bridge loan. Later that same episode, Paulie annoys Tony and company with yet another old tale, this one relating how, after witnessing Joe Namath stagger drunk into a bar the night before a game, he bet a load of cash the following day on the Jets’ opponent. In Chasing It, Tony gets inside information on a Jets football game and is irate when Carmela refuses to bet money on it. The episode features a closeup of a large newspaper headline, “Jets Bomb Chargers”.
In Blue Comet, then-current coach of the Jets, Eric Mangini, makes a cameo appearance in Vesuvio, with Artie informing a suitably-impressed Tony so the two can go over and shake hands. News articles at the time clarified that the cameo wasn’t Mangini’s idea but the idea of Sopranos producers, who contacted him months in advance and made accommodations in the shooting schedule around his availability. So this seemed more than a casual desire to have some generic celebrity show up.
That especially seems true considering Mangini was given no dialog and that his meeting with Tony and Artie was only depicted in the silent background of a conversation between Charmaine and Carmela. Mangini’s only purpose on set was apparently to show his face briefly and to have the fact of his identity (Tony has to tell a bewildered Carm that Mangini is the head coach of the Jets) permeate the minds of the audience and the subtext of the scene, which is ultimately about chickens coming home to roost on Tony and Carmela because of the lives they chose.
As alter egos for Tony and Carmela throughout the series, folks who took the proverbial “other path” in life, Artie and (especially) Charmaine engage in subtle gloating in the scene. Football coaching was firmly established as Tony’s “road not taken” in Test Dream, so having an actual football coach present in the episode where the unsavory and downright deadly consequences of his chosen vocation are crashing in all around him provides dramatic ballast. All the better to have the coach in the scene be the coach of the team involved in the Heidi game in view of the ending planned for the following episode.
And speaking again of that ending, the wall behind Tony in Holsten’s is consumed with four large murals specifically brought in by the production crew for the shoot. The largest and most centered depicts a huge, light-colored building with lots of windows, somewhat reminiscent of the Inn at the Oaks in Tony’s coma dream. It’s apparently a high school, however, as it is flanked on either side by images of football players in full uniform with what appear to be names and year of graduation engraved at the bottom. To the side and extreme left is a mural of a tiger and the caption “Class of 1973” at the bottom. The tiger is presumably the mascot for the team and school represented in the other murals. So there is a strong symbolic presence of “football” in the last scene of the series, particularly of high school football from roughly the era when Tony would have entered high school.
Finally, though it may be completely insignificant, when Tony tells Carm about the accident from his hospital stretcher in Kennedy and Heidi, he mentions that he re-injured his knee, “the one from high school.” That certainly sounds like a reference to an old high school football injury.
If these loose strands from multiple episodes are indeed intended to connote football in relation to the name “Heidi”, what does that actually mean in the context of the episode Kennedy and Heidi? What does football have to do with Tony killing Chris or, more precisely, with him killing his father in the guise of Chris?
The linchpin in that symbolism, it seems to me, is Tony’s old high school football coach, the guy who would have been his coach when he originally injured his knee, the guy Tony dreamt repeatedly of trying to silence or kill, the guy whose puzzling duality in Test Dream suddenly makes sense when he’s viewed as a classic, Freudian composite of opposites, specifically a composite of Tony’s opposing father figures with Johnny dressed in the physiognomy of Coach Molinaro by Tony’s subconscious in order to render acceptable imagery of his latent, patricidal feelings.
If you further allow, as I do, that the Johnny look-alike shooting at Tony with a scoped rifle (ala Oswald/”Kennedy”) in that same dream is yet another Freudian “reversal into the opposite” by Tony’s subconscious to disguise his repressed paternal rage, then the Kennedy/Heidi connection is pretty clear. The names are presented proximate to the crash to connote that, in killing Chris, Tony has finally acted out the Test Dream imagery that haunted him for years: he has (symbolically) killed his father, the “Kennedy” and “Heidi” of his dream.
“He’s Dead”
In my judgment, this explains Tony’s otherwise puzzling, peyote-induced insight when he proclaims, “He’s dead,” after winning at roulette on 3 successive spins, prompting him to fall to the floor in spectacular and uncontrollable laughter. What other, real death could have inspired such a euphoric and epiphanic reaction? What real death could Tony only have appreciated while in a drug-induced, altered state of consciousness?
Many felt the line referred to Christopher because he’d just died, obviously, and because Tony’s gambling luck suddenly changed afterward. That analysis never made sense to me.
First, Tony plays roulette at the casino while sober when he first arrives in Vegas and loses every round. Chris was already dead at that time, as Tony well knew and accepted. Indeed, Tony was never in any state of denial about Christopher’s death (or about having killed him.) He embraced it, both consciously and in his dream therapy session with Melfi after the crash.
The “he’s dead” insight occurs only after Tony takes peyote and notices a sudden and complete about-face in gambling luck. Why would he need psychedelic drugs to suddenly realize what he already knew and accepted about Chris? And why would Christopher’s death be tied in his mind to his own gambling luck anyway? No prior connection between those two things had ever been suggested.
On the other hand, Tony’s sudden escalation in gambling, which coincided with the agitation and intensification of his latent rage towards his father(s), could easily be seen as a subconscious rebellion against the stern, anti-gambling lecture Johnny imparted the night Tony witnessed the cleaver incident. To the extent that the rebellion results in huge financial losses and self destruction, it obviously fails. His father retains ultimate power and authority. To the extent the rebellion results in huge winnings, it succeeds, and Tony vanquishes his father.
That conquest was the ineffable and elusive “high” that Tony was subconsciously pursuing in Chasing It but which he could not articulate to Melfi. Thus the sudden change in gambling fortune on his Vegas trip is easily tied in Tony’s drug-altered psyche to a euphoric realization that he has conquered or symbolically killed his father, none of which Tony could appreciate without a vastly altered state of consciousness.
And that leads to why he went to Vegas in the first place. He asks that question out loud to the Vegas prostitute, Sonia, immediately before admitting that Christopher once mentioned taking peyote with her. Tony then confesses to having always wanted to try the drug.
Clearly, then, he didn’t just happen to pick Vegas and didn’t just happen to make contact with this girl. His subconscious was pushing him to that venue because he craved the enlightenment of a peyote experience. So while Tony’s real motives for the murder, and for his otherwise inexplicable jubilance afterward, were completely closed off to his conscious mind, somehow he sensed their existence and yearned to unlock and understand them. However his peyote revelations didn’t stop with simply understanding why he killed Chris.
“I Get It. I Get It!”
Tony’s desert epiphany is a bookend to his near-death coma experience and, I believe, can only be fully understood in relation to it. Yet exploring that relationship is a journey all unto itself, calling not only for consideration of the coma episodes and Kennedy and Heidi but the meaning of the cut to black that ends the series. While exploring the religious and spiritual underpinnings of those episodes is of even more weight and interest to me personally than the issue of Tony’s motives in killing Christopher, it deserves and demands its own, dedicated discussion. For now, I’d simply like to posit what I strongly believe Tony’s epiphany to have been with only minimal argumentation as to why I hold that belief.
The epiphany is presaged when Tony enters the casino on his peyote trip and notes that the roulette wheel is built on the same principle as the solar system. The ball spins round and round the center or “sun” of the wheel because of two delicately-balanced but largely opposing phenomena: the momentum of the ball (which, without the wheel, would carry the ball away in a straight line) and the centripetal force of the wheel (applied by the rim, which continuously pulls the ball towards the center even as the ball’s momentum continuously pulls it on a path perpendicular to the centripetal force.) The antagonism (or cooperation, if you prefer) of the forces gives rise to a unified system: an orbit.
If this sounds a bit like the Bell Labs scientist’s explanation of how two tornadoes are in fact just facets of one, unified system of wind, it’s likely no mere coincidence. As Hal Holbrook’s character argued, separateness is a mirage. The universe, and everything in it, is one big soup of molecules interacting in cause/effect fashion according to laws, making it one whole, not a bunch of discrete parts. “Everything is everything,” as the black rapper reduced it.
That was the philosophy that really made an impression on Tony in the days and weeks following his coma. The principles of quantum physics articulated by Holbrook’s character are likely as close as you can get to a scientific codification of Bhuddism and therefore reinforced much of what the Bhuddist monks conveyed to Tony in his coma. The monks laughed when Tony claimed he wasn’t Finnerty and explained that there really is no “you” and “me, that death would bring an obliteration of individuality. Separate consciousness – and the consciousness of separateness – is an illusion of the living.
So all this laid the philosophical groundwork for Tony’s Las Vegas trip. In that trip, Tony seeks out a girl with whom Chris had slept, then sleeps with her himself. He mentions having refrained from a longstanding desire to try peyote because he always felt the weight of his responsibilities, an implied contrast to Christopher, who always indulged in drugs despite his responsibilities. The idea that Tony was seeking to almost live life in Christopher’s skin in the Las Vegas portion of the episode was something several posters mentioned in first discussions after Kennedy and Heidi aired. Even the girl, Sonia, remarks how similar Tony and Chris are, a somewhat dubious observation that somehow offends Tony but which also helps define his impending epiphany.
That epiphany is spurred when the rising sun flares at him over the desert mountain vista. This recalls Tony’s earlier comparison of the roulette wheel to the solar system. It also resonates completely with the fact that Kevin Finnerty was a solar heating salesman from Kingman, Arizona, a town which, not coincidentally, lies 95 miles southeast of Las Vegas and shares the same desert landscape. Also not coincidental, IMO, is the fact that in the prior episode, Christopher spoke of the perks of joining witness protection and of “living large” in Arizona.
So I believe that, in that desert sunrise on the cusp of Arizona, in fulfillment of his identity as Kevin Finnerty, solar heating salesman, Tony saw his “son” – Christopher – “rise” and realized that, in murdering him days before, he (Tony) was really “rising” as a “son” against Johnny Boy. And in that linkage, he suddenly realized that “everything is [indeed] everything.” He is both Chris and Johnny Boy, both abused and misguided son and abusing, misguiding father. He is murdering uncle and would-be murdered nephew. He is both the mother that sees suffocation as mercy killing and the son who is suffocated. Christopher is both his son and his father. Johnny Boy is Coach Molinaro. “Kennedy” is “Heidi”. Opposites are really two sides of the same coin. In that fleeting moment of insight, Tony was truly feeling “one” with the universe.
The Second Coming
The episode following Kennedy and Heidi is titled The Second Coming after the Yeats poem that grips AJ in the English lit class he’s auditing. While the poem speaks to the bleakness of his depression and outlook on life at that particular time, there’s little doubt that – like everything of substantial weight in the Sopranos universe – it ultimately relates, first and foremost, to Tony. First referenced in the Cold Cuts therapy session dealing with pent-up rage where Tony’s deep shame from the cleaver incident is finally revealed, the poem seems the veritable inspiration for the storyline (as interpreted in this article) that culminates in Christopher’s murder:
The Second Coming By William Butler Yeats Turning and turning in the widening gyre The falcon cannot hear the falconer; Things fall apart; the centre cannot hold; Mere anarchy is loosed upon the world, The blood-dimmed tide is loosed, and everywhere The ceremony of innocence is drowned; The best lack all conviction, while the worst Are full of passionate intensity. Surely some revelation is at hand; Surely the Second Coming is at hand. The Second Coming! Hardly are those words out When a vast image out of Spiritus Mundi Troubles my sight; somewhere in sands of the desert A shape with lion body and the head of a man, A gaze blank and pitiless as the sun, Is moving its slow thighs, while all about it Reel shadows of indignant desert birds. The darkness drops again; but now I know That twenty centuries of stony sleep Were vexed to nightmare by a rocking cradle, And what rough beast, its hour come round at last, Slouches towards Bethlehem to be born? The widening gyre, the orbit that breaks down when the center can no longer hold, is clearly a parallel to the decompensation of which Melfi warned, the point at which Tony’s defenses after Junior’s second murder attempt could no longer hold and the underlying pathological rage at his fathers would take over. True to the poem, a “blood-dimmed tide was loosed”, inspired by a perverse compassion for the “innocent”. While “the best” all mourned Christopher and thought his death a tragedy, Tony, “the worst”, was full of passionate intensity and could not understand why no one else saw the greater good in Christopher’s death.
The “revelation” occurs in a “waste of desert sand”, imagery easily compatible with Tony’s “I get it” moment in the Nevada/Arizona desert. The uniquely depraved look on his face as he suffocated Christopher is evoked by the line describing a “gaze as blank and pitiless as the sun”. “Twenty years of stony sleep” refers to the decades of denial Tony maintained, the defense mechanisms that kept him all his life from confronting and admitting that, in some very real ways, he hated his father. It’s a figurative sleep that was suggested literally in the noted fact that so many episodes in season 6B started with Tony in a deep sleep. Somnolence was suggested even in the choice of the song “Comfortably Numb” as soundtrack in the moments immediately preceding the crash, the moments right before the hour of the “rough beast” finally arrived. Even the incidentals are perfect allusions, as with the image of “stony sleep” being turned into a nightmare by a “rocking cradle”, or, in this case, by a car seat with a branch sticking through it.
I’m intrigued by the line describing the emerging beast as having “lion body”. It may mean absolutely nothing. But among the story points worth considering in relation to it are the tiger on the wall in Holsten’s and the enigmatic cat in Made In America.
More obscure is the fact that in Remember When, the single episode most explicitly dealing with the violent release of stifled paternal rage, Carter Chong described his grandfather as a “lion” and noted that his father owned “Grumman” stock. (Grumman manufactured a number of high-profile fighter military aircraft, most of them named for some kind of cat, e.g., Panther, Jaguar, Tomcat, Tigercat.) Carter was reviewing these facts to himself in the scene immediately preceding his vicious attack on Junior, suggesting that, in acting out on his stifled paternal hatred, he was adopting the predatory, aggressive characteristics of a wild cat. Notably, when Junior, the paternal surrogate who modeled this kind of aggressive behavior to Carter, was seen at the end of that episode bruised and literally defanged, his sunken mouth void of false teeth, he was stroking a harmless little housecat on his lap. Once a lion, the former mob boss was a lion no more.
Asbestos Dumping as a Metaphor for Tony’s Toxic Spill of Rage
Kennedy and Heidi opens with a controversy between Tony and Phil Leotardo over asbestos disposal. One of Tony’s contractors was removing asbestos from old buildings, while following none of the strict (and expensive) asbestos-handling laws regulating worker and public safety, and was seeking to dump completely uncontained truck-fulls at waste stations controlled by Phil. Phil’s guys were denying the trucks the right to dump. As a consequence, huge, openly-smoking asbestos mounds were building up at job sites.
After Christopher’s death, Tony was doing little to find a solution, skipping town to gamble, get laid, and get high and leaving the contractor high and dry. Finally, near the very end of the episode, the contractor dumps heaps of asbestos at dawn in an open marsh area resembling the New Jersey Meadowlands.
Asbestos is a naturally occurring mineral that gained widespread use in the 19th and 20th centuries as an ingredient in various building industry materials – including wall compounds, insulation, and roofing materials – primarily because of its extreme insulative properties and resistance to heat and fire. In the last 40 years, it’s become better-known for its cancer-causing and toxic effects on those mining and working with it in manufacturing, demolition/remodeling, or other “raw” environments.
Both the heat resistance and toxicity of asbestos make the shoddy removal/dumping storyline a compelling metaphor for Tony’s equally shoddy “dumping” in Kennedy and Heidi. The smoldering heat and flames from his hatred towards his father and uncle were contained beneath his consciousness by an insulating firewall of denial and repression. In essence, this denial and repression was Tony’s psychological asbestos, and it (more or less) contained the heat and fire within him for 47 years.
But it finally broke down, allowing the flames to rage and do damage and necessitating a messy disposal. Unfortunately the breakdown didn’t happen where it should have, in his therapist’s office as the result of honest introspection and dialog about little things like his uncle trying to kill him twice and his father indoctrinating him to murder at 22. That would have been the equivalent of careful, legally-compliant asbestos removal. Instead the breakdown occurred in a roadside ravine and the resulting “waste [in the] desert sand” was every bit as toxic as the smoking piles illegally dumped in the Meadowlands immediately before the desert epiphany and which we saw reprised in the very first shot of the following episode.
Think about that for a moment. Tony’s “I get it” moment was literally sandwiched between shots of noxious mounds of asbestos blowing in the New Jersey wind, a significant clue that some other kind of perversely cathartic disposal was in the middle of that sandwich.
The Orbit of the ‘Blue Comet’: Long Journey to Nowhere
It’s fair to ask: if the broad strokes of my interpretation are valid, what impact did the epiphany have on Tony going forward? After the drugs wore off, did he actually retain any specific understanding of his subconscious motives for killing Chris? Was he left only with the impression that he had enjoyed a very brief moment of enlightenment but without intellectual distillation of the enlightenment itself?
Because the insight was founded upon the secret that he had murdered Chris, even if Tony had retained it, he couldn’t overtly share it with anyone. Still, I lean toward the interpretation that the specifics (at least the ones I proffered) were lost to him when the altered state of consciousness ceased. When he tried to describe the magic of what he experienced in the desert to his crew, he could only come up with the most mundane, inadequate words: “The sun . . . came up.” They all looked at him like he was half retarded.
He was slightly more specific with Melfi, offering that he saw “for pretty certain” that this reality is not all there is. He couldn’t define the alternative but was still convinced there was “something else”.
He did speak in therapy of appreciating a balance and unity in opposites that he hadn’t appreciated before, a “ying” [sic] and “yang”. And he offered that “mothers are like buses . . . the vehicle that gets us here,” but that, once here, we are all on our own, individual journeys (mothers included.) So, to the extent his epiphany comported with what he revealed in therapy, it seems to have had little to do with fathers and with Christopher’s murder and more to do with letting go (finally) of some of his issues with his mother.
But perhaps the best clue to his residual state of understanding came when he indicated that some of what he thought he had grasped in the desert now eluded him. “You think you know, you think you learn something . . . like when I got shot,” he begins. Then, speaking specifically about the peyote experience, he reports that the insight gained is “kinda hard to describe. . . . You know, you have these thoughts, and you almost grab it . . . and then . . . ftt.” He flicks his fingers away from his chin as if to indicate “nothing”. So, to paraphrase Edna St. Vincent Millay, a fragment of what he knew remains, but, apparently, the best is lost.
It wouldn’t take long for all of it to be lost. By the time Tony sits with AJ’s female therapist in Made In America, “going about in pity” for himself because of who his mother was, he has come full circle, essentially back to where he was to start the series. Like a “blue comet”, his orbit was highly elliptical, if not erratic, and carried with it the potential of veering off into deep space or crashing into the sun. But despite killing his own nephew, having a near-death experience himself, and saving his son from an act of suicide, the orbit held. The sober breakthrough never came. The repudiation of his father and of his way of life never took hold in his consciousness. And so, by series’ end, we, like Tony, were exhausted from a long journey that ultimately took us nowhere.
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