Saturday, June 21, 2025

Syd's Notes on Gargoyles Season 2, Episode 18: "Upgrade" PART 1/2

 

 As depicted through the following Podcast Episode of The Loincloth Hour

 

 Trigger Warning: A Bunch of Gay Sex Jokes

Reader Discretion Advised.

 



“Our self image and our habits tend to go together. Change one and you will automatically change the other.” ~Maxwell Maltz (2015). “Psycho-Cybernetics: Updated and Expanded”, p.70, Penguin

“We are built to conquer environment, solve problems, achieve goals, and we find no real satisfaction or happiness in life without obstacles to conquer and goals to achieve.” ~Maxwell Maltz (2016). “Psycho-Cybernetics Deluxe Edition: The Original Text of the Classic Guide to a New Life”, p.82, Penguin

 

So, from the very beginning arc of “Awakening”, moving forward with the franchise of Gargoyles, we can agree on one thing—one of the key components of what makes Gargoyles so awesome is the changes we see unfolding through the character. Motivations, personalities, transformations and of course—Upgrades. Or are they truly upgrades from the audience’s perspective of things…? Take for example, some stuff I rounded up reading about psychologist Maxwell Maltz’s take on the matter, documenting psychological studies in cases in which people pursue plastic surgery for what they think will improve their lifestyle, but afterwards, find themselves not seeing anything that is truly different or has changed about themselves for the better that they like. To see an outside change or physical “Upgrade” is one thing, and the repercussions of getting physical “Upgrades” even when you are willing to, is that you will have an extreme psychological reaction to them. If it’s out of disgust, its perceived as a side effect or an inconvenience, but if it’s out of excitement, we perceive it as, well… an Upgrade. However, what you do with yourself on the outside does not necessarily cure anything that’s going on with you on the inside, and in practice accelerating an already fragile mindset can make unresolved psychological issues much worse in the long run.

 

“Upgrade” to me, and the other werewolf fanatics I’ve influenced out there, is such a pivotal episode. It’s when a character such as Wolf suddenly stops being a backdrop as The Pack’s ‘circus strongman’ aesthetic and develops more texture. I’d almost say it’s a turning point where his arc as an actual character in the Gargoyles universe “truly” begins? We begin to see the decontextualized issues he has with himself as a person. His character turns into this mysterious paper trail of psychological masculinity. Going into “Upgrade” with the context that Wolf is gay brings a whole new perspective on the character I feel a lot of straight audiences are ultimately oblivious to.

 

Anyways! I digress, let’s go ahead and begin our adventure into Gargoyles Season 2, Episode 18: “Upgrade”… At least the first 10 mins and 50 seconds of Upgrade because let’s be real, there’s SO MUCH for us to talk about that I kinda felt itd be easier to make Upgrade a two-parter for this podcast. I definitely went a little information overboard for my notes but god dammit we’re here now and I don’t care, here we are and here we go….

 

So Broadway is delivering the “Previously On” this time around? Like why though? I don’t know, I guess he had to do it at some point…

 

We see clips from Season 2 Episode 1, Leader of the Pack, where Coyote is introducing himself and just breaking Fox and Hyena out of prison. Fox of course we see rejecting Coyote’s offer and wanting to serve her time, which unbeknownst to them, she’s just chasing Xanatos’s millionaire coochie.

 

We get more clips of the Pack on the boat discovering Coyote/Xanatos is actually a robot and they’re just bailing from the hectic scenario, as we last saw them.

 

Fox says, “But they destroyed it!” Kinda hard to hear over the background music?

Xanatos responds with, “Robots are nothing Fox my dear, True Love is so much harder to come by.” See this quote could apply to Fox and Xanatos consistent role throughout this episode, but I think it's also applicable for all the respective groups we focus on; The trio trying to save their guardians from The Pack & The Pack trying to overcome their greatest obstacle presented to them: The Gargoyles. Of course, I’d like to deflect back to Wolf’s quote in “Thrill of the Hunt”, in which he claims he feels unfulfilled with the lack of action in his life. (Or maybe a special guy he can play with just sayiiiiin…) In a way, these are all characters looking for what they would perceive as “True Love”, and I think that is a brilliant quote to send off the previously on segment of the episode.

 

City horizon, Title Drop: “Upgrade”

 

We get this sinister descending orchestral note as we zoom down to the bank with the Pack’s helipad on top. Sorta similar how in “Double Jeopardy”, a lot of the soundtrack pertains to the whole “evil genius” persona Thailog was building up for himself? This descending orchestral note sounds perfect because its foreshadowing how we’re about to descend into more of the pack’s madness.

 

Already as we zoom in on the empty bank’s inside with these empty tables and broad orange wall leading to the safe, we get that sort of technological woofering in the soundtrack that continues to follow us throughout the episode.

 

No clue where the bomb came from, presumably distributed to them by Coyote, but it counts down from 4 seconds with no one in sight and blows up the safe. Probably set up from Dingo?

 

Right after the bomb explodes, Wolf runs onto the scene flaunting his FAT ASS in full detail Solid Snake style in those tights?? Not only is he the first character to appear on screen in this episode but why did they need to detail his butt so big and blue-like? Its not fair! And his hair is like a majestic bushy tail flowing in the wind as he jogs over to what’s left of the safe, screams real loud, “LET’S MOVE!” and then tries to rip what’s left of the safe off the wall, lets out a hefty grunt while still flaunting that ass, and just knocks what’s left of the safe door down.

 

Literally no need for the ass being so good, and his nonchalant show-off of strength. Such a masculine diva. It really does feel like he’s legit made for the gays!!!

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The Pack enters the vault behind where the safe door was, Wolf is flashing his pearly whites though i cant tell if he’s smiling? It looks like his mouth might be hanging open but I’m not sure. Either way, I can certainly tell his coochie be tight as FUCK.

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Wolf struts his way into the vault like a diva with Jackal following behind with a big ol’ smile on his face, which I would probably have the same kinda smile if I were walking behind Wolf. ;3

 

Jackal rushes in with Hyena and Dingo behind him guffawing and saying, “I’d like to make a withdrawal!”

 

Dingo responds with, “So we finally sunk to robbin’ banks?” which it's like, sweetie, what are you still doing here? You clearly want no part in this group and that’s gonna show as we continue throughout the episode. Dingo is disappointed with the Pack stooping to a bank robbery, foreshadowing his upcoming exit from the group.

 

Hyena puts her hand on Jackal’s shoulder and responds to Dingo with, “Hey it's a living!”

 

We cut to the Gargoyles, Goliath, Broadway, Lexington and Brooklyn flying in on the scene from the horizon. Goliath casually says, “Its a quiet night.” Brooklyn responds quickly with, “Guess again! You’re not gonna believe who crawled out of hiding.” Eyeing the Pack helipad on top of the nearby bank they just happen to be flying overhead. So now they are going to stop the team for the third time now.

 

“The Pack!” Broadway exclaims.

 

Lexington grins and says, “Oh, I’ve been WAITING for another shot at them!” Still clearly bitter about all their previous encounters. The queer gargoyle is singling out the fake queers who are actually just queer for being fake queers.

 

Goliath instructs the trio, “Don’t lose the element of surprise—they are FORMIDABLE opponents.” I can’t tell if he’s legit or feigning sarcasm here, but I’d say he’s being cautious for the sake of the trio.

 

So then, the Pack are using ropes to climb out the window skylight to the roof back to the helipad and Wolf is urging them, going, “Move, move, move!” Like he’s trying to assert dominance as a leader, but he’s also nervous himself. Ie, he’s not going to be able to do the best job despite the amount of confidence he has in himself.

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Look at all their little butts, so cute!~~

 

Hyena reaches the top first, gleefully exclaiming that, “This will keep us on the most wanted list!” Like she actually does want that and its so funny.

 

Immediately —and I mean IMMEDIATELY—she gets sucker punched by a Lexington tail? Knocked to the side and everything.

“Should have remembered your ATM card, Hyena!” Lexington proudly proclaims. What a line, honestly tho.

 

Jackal attacks Lexington for saying such a cheesy line. He attacks him with a knife, the sadist. “You ever learn not to bother people at work??” before literally trying to stab Lexington. I know Wolf isn’t partaking in this action but I feel weapons outside his bare hands are a huge turn-off for him, further proving he’s significantly less psychotic than the twins.

Before Jackal can shank Lexington, Broadway swoops in and sucker punches him off of Lexington. Jackal’s head hits the nearby vent on the roof. Dingo takes a few electric potshots at Lexington but misses. Lexington hops out of the way and is carried in kiss position by Goliath by his big strong claws around his little twink arms.

 

Dingo keeps taking shots at them but Goliath and Lexington disperse.

While Dingo is taking shots, Wolf emerges finally. I like the implication that Wolf weighs the most therefore he is the last to appear when the battle has already started.

 

Dingo look like a supermodel the way he’s standing there.

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Wolf emerges close behind Dingo’s taut buttocks. Brooklyn nearby grab a pipe jack sticking out of the rooftop and snaps it off with ease so he can be armed.



As Wolf finally gets his bearings emerging from the skylight behind Dingo, he hoarsely whispers to Dingo, “JUST SAVE THE BIG ONE FOR ME…” Such a character definitive and intense line. Like, there’s already a LOT to dissect here. First off, Dingo’s not even doing that great a job and now Wolf’s telling him to purposefully avoid the biggest Gargoyle because he wants to take him on personally??? Second off, its interesting that while the twins are the ones dealing with the Gargoyles head on, he turns to Dingo and says this, the only other built guy on their squad? Like its something Dingo should personally take into account for given their own relationship and history. Needless to say, while we’ve already gotten a lot of implications that Wolf is gay, this is a huge stepping stone that also ties into that paper trail leading to why he’s currently doing what he’s doing. It’d be different if Dingo and Wolf were out hunting buck but no, Wolf is saying this about taking down a big muscular monster MAN. Dingo and Wolf’s BODY CHEMISTRY on top of everything else? Like Wolf is not only comfortable talking about his “hunting preferences” but it's clear as day that Dingo is the one he’s become most comfortable being physically with, at least since Fox’s departure.


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Its interesting to see Dingo and Wolf share such a pivotal scene together because it is their relationship that makes this episode so profound. Dingo is the last somewhat sane remaining member of the Pack, and Wolf is that bridge segwaying towards the dark roads ahead for the Pack leading to the twins and himself allowing for Coyote’s manipulation.

 

Brooklyn swoops in and attacks Dingo, causing Dingo to lose balance and drop his weapon. While Dingo is resembling a playground child who just sprained his knee, Brooklyn swoops over and before he can wreck Dingo’s shit, is whacked upside the head by Wolf’s giant red bag of money he’s holding. Brooklyn is barely coming to his senses while Jackal looks on in surprise as Broadway swoops in and delivers great war cry? As he slashes Jackal’s chest.

 

Jackal somersaults away from Broadway, and pulls out like a grappling hook type of pistol? He shoots Broadway with it and for some reason, it delivers a combustible explosion knocking Broadway back? Idk what kinda gun this is that can do that but whatever. Broadway weans off the impact of getting hit and just gets angrier while he REALLY wrecks Jackal’s shit and pounces on him.

 

Meanwhile off to the side Hyena is watching this shit happen, and sees Jackal get thrown into the side of their helipad. She tries rushing to his side only to face off with a still angry Broadway. She snarls at him like a literal hyena. She ninja runs against the wall only to get sideswiped by Lexington and knocked to the ground while he kinda holds her in place?

 

Then Lexington turns over and sees in the background what looks like Brooklyn assuming the position for Wolf from behind?

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Like Brooklyn is just walking away from Wolf one second then drops on all fours as if he just got freshly knocked by the sack of money?? Anyways.

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I’m having a hard time interpreting just what’s going on here other than Brooklyn admitting he wants daddy spankies from a meathead like Wolf.

 

So ummm, Wolf is about to do some kinda wrestling move or something on Brooklyn from behind but before he can, Goliath sneaks up behind Wolf! And then, scoops Wolf up and lifts him over his own head.

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This is a really good frame btw.

 

He tosses him out of the way, over by where Dingo still currently is. Wolf’s big ass ragdolls off to the side by Dingo. While Wolf is coming to his senses, Dingo approaches and just wraps his arms around his shoulders and helps him out?

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This is soooo cute y’all. Just more assurance that these two, despite the profession they were in, did care about each other to some extent. Am I implying they rubbed dicks? Yes. There’s like this little operatic choir playing as Dingo trots over and puts his arms around Wolf…

 

As Wolf comes to his senses, Dingo pulls out one of his shock grenades and shows it to Wolf, saying, “If we take out Goliath, this fight is ours!”

 

I love the smile Wolf gives in response, but I can’t stand the fact that they forgot to draw in Dingo’s mustache here!!! Wolf turns to Dingo, gives that real sinister smile he always gives (Ie, the ONLY times he ever smiles normally involving Goliath) and says, “NOW you’re talkin’!”

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These two are SO fucking gay.

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Why does he still have his arm on his shoulder though? Like, he doesn’t NEED to do that but chooses to anyways. So, Dingo tosses the grenade at Goliath’s back and it goes off, zapping him! Lexington turns his back as this distracts him while he’s beating the hell out of Hyena. As well as Broadway who’s currently dominating the hell out of Jackal. Brooklyn leaps back out of surprise, being the closest to Goliath at the moment.

 

Goliath is getting his titties zapped, then falls to his knees before falling forward on his face. Kinda hot ngl.

 

Brooklyn exclaims, “Goliath!” and rushes to his side while he’s lying on the rooftop weakened. So as the trio rushes to Goliath, Dingo has Jackal hauled over his shoulder while he, Hyena and Wolf rush back to the pack’s helipad.

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Look at this fucking diva rushing with his hands at his hips. So dainty! In the middle of his little diva run away though, he turns back at the Gargoyles and growls aloud, “This isn’t over!” And he rushes back to the helipad.

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Butt.

 

Wolf does a gay little runaway and the helipad launches and takes off from the roof.

 

The Gargoyles are left there after the battle ends and Lexington turns to Broadway and is all, “We can’t just let them get away!”

“Helping Goliath is more important.” Brooklyn responds, already foreshadowing the role he plays in this episode.

 

As the trio straddles Goliath by the titties on the rooftop making sure he’s okay, we segway back to the Pack’s helipad taking off and soaring through the night sky…

 

So we focus on The Pack having freshly escaped the Gargoyles again, Wolf is just muttering aloud, “Should’ve stayed and finished them off…” But it contrasts with what we just saw, because he not only did not stay and do  just that if he really felt that strongly about this decision to stay and finish the gargoyles off, but he ALSO ran too because the rest of his team was running, ergo, a Wolf cannot function without a pack? Another piece of proof that he does not make a good leader as he cares more about how he’s perceived by others around him and against him than what is actually important for the group as a whole. All of Wolf’s input and dialogue are displayed to us, the viewers. The Pack in its current state of things is a lost and directionless unit without Fox or Coyote’s manipulative guidance. None of these unhinged individuals are cut out to be leaders, let alone lead a successful criminal operation. Robbing a bank Dingo saw as petty, but without direction, what the hell else were they going to do? As a matter of fact that’s probably exactly how Wolf pitched the idea to the rest of the Pack—Let’s just rob a bank, because what the hell else are we going to do?? I think that Wolf wants to take every possible opportunity to show off how tough he is and this line suggesting that they made the wrong choice by fleeing is another instance of falsified bravado on Wolf’s end rather than an acceptance of reality. He’s wishing he could have been tougher than he was in the actual situation and already displays intense signs of insecurity.

 

Its comparable to someone saying they are armed when they actually were not armed when it was necessary.

 

“Oh, our ‘would-be’ leader speaks!” Hyena responds discordantly. Of course she’s pissed off because of the directionless and Wolf who’s just insecure about the whole thing and also is such an easy target as per usual. Fuck the twins. LOL.

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More Wolf butt. This episode RULES.

She kinda flaunts to him how Dingo is really the only one who was able to get away with the money? Did Wolf lose his money after the scuffle with Goliath…?

 

So upon looking back on the scene, it seems the money bag Wolf was holding was in between scenes and disappears after he uses it to hit Brooklyn over the head, which makes me believe that he set it down for whatever reason and while he was running away forgot about it??? Wolf, sweetie, you are not meant for this kinda lifestyle LMAO

Anyways while Hyena is saying this Wolf is just stoic walking towards her as she’s cradling her injured brother (REMINDER: not incest) and as he’s approaching, it looks like his crotch is screaming for help. Like his pants are so tight, it's not even funny. This guy is literally wearing furred shoulder bracers and displaying his arms, like he’s so gay and desperate for attention its not even funny.

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That’s crazy. The way he walks over and struts like a diva, motherfucker you’re so extra you were MEANT for the catwalk!

 

So he's about to shake his fist at her and bitch right back about the situation cause he’s soooo not in the mood, but before he can do that, the sound of the hangar door opening distracts him. Still getting amazing shots of Wolf’s back and butt and his ponytail flowing behind him, almost making it look like he’s got a tail? I am so thankful for this.

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Jackal lets out a grunt sarcastically asking if anyone’s expecting any visitors? While being cradled in his sister’s bosom. Fun.

 

Wolf pulls out like a little prostitute pistol before gayly rushing over to the hangar doors. It's so funny cause he pulls it out like a Charlie’s Angel, it's like the littlest gun I ever saw. I thought it was the same as Dingo’s grappling gun he had earlier at first, but upon closer look it's just an actual standard pistol that I think Wolf used to use when he was a prostitute.

 

So he pushes the button and like a genuine Charlies Angel or Bond Girl, he just points the gun at the door and waits for the door to open with his ponytail behind him looking fine and everything?

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POV: You’re a traitor in Among Us.

 

So the second Coyote’s head just floats inwards, Wolf’s face fucking drops. He looks almost like he’s genuinely scared? As if his day couldn’t get any worse!

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Also did Coyote just slam his disembodied floating head up against the metal hunk of door to get their attention cause that’s the only feasible explanation as to how he fucking knocked on their door.

 

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This motherfucker rolling up like “It’s Britney, Bitch!” Or more like, “I’m here to make your mental illnesses SIGNIFICANTLY worse!!!” Coyote is living proof that AI can only make things significantly worse especially for the simple minded.

 

He just says plainly, “May I come in?” with that shit-eating Xanatos grin but in this case he’s literally just doing the same thing Xanatos would? Making some kinda smarmy self beneficial proposition…

 

We crossfade to the Gargoyles clocktower where the group is just watching Hudson play with Goliath’s freshly bandaged titties as Goliath sits on Hudson's sofa… As he’s doing this, he’s explaining to Goliath, “Next time, ye may not be so lucky. I don’t like to think this way, but its time ye chose a second in command.”

Just palms his claw up against Goliath’s chest muscles and holds it there as he says, “Someone to take ye place if the worst happens.”


Wow. He fucked him so good he had to bandage himself up after the fact.

This is one of those tender moments between these two, like Hudson being physically comforting to Goliath while giving sound advice out of concern and reason accompanied with Goliath just looking up at Hudson tenderly, like WOW.

 

Goliath is looking “If… One day, I cannot lead… You shall my friend.” Just not even considering Hudson like has to come out of retirement for that though? I mean, semi-retirement… Whatever Hudson considers himself. But still???


 

Hudson immediately responds by making a disgusted sound, like “Dude, really???” I do not blame him! Hudson’s only like semi-retired as it is always helping the clan out including Goliath. The thought of him doing all the work turning him off is definitely justified here.

He like does a little diva hand wave like ‘uh-uh girl, nah, you were MY second and I passed the job to you!” Also can I just like mention Hudson’s bicep here? Yummy as FUCK.

“There’s no point in going backwards,” Hudson explains, then gestures over to the trio listening to the conversation off to the side, “Not when you have three hearty young warriors to choose from.”

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Broadway putting his hand on Lexingtons shoulder all protective like being the protective big brother he is!

 

But then Hudsons like “And choose you MUST.” like putting that heat on Goliath like, ‘hey man dont pass the buck to my old ass choose the next generation to lead the roost.’

 

Goliath manifests a very dead-inside look like ‘oh great now i got more work to do and this shit aint easy.’ Who would YOU GUYS pick for second in command? Don’t say Brooklyn.

 

Then we crossfade to the sunrise over the NYC shore. We pan down to the ocean, see little eel pass by and at the bottom of the little ocean in front of the city is the packs helipad which can apparently act as a little submarine base as well. We overhear a very grumpy Jackal just hissing out at Coyote, “What kind of scrap heap did YOU crawl out of???”

 

 Ugh its so gross why is JACKAL the one shirtless now all of a sudden with all those bandages from Broadway’s roughhousing??? Its like 10 or 20 steps backwards from seeing Wolf shirtless during the Packs last appearance!!! I guess its because Jackal looks like Tony Dracon. I dont like him.

 

“Claws inward, brother.” Hyena says, “Let’s hear what ol’ Coyote has to say.” She’s just saying that cause she wants to fuck him.

 

So Wolf and Dingo are just standing over the table kinda interrogating this fucking disembodied robot head. Wolf’s got his arms all crossed and everything while looking down at it all like ‘so this is what its come to’ and Dingos just like daintily walking over as well. “Thank you, Hyena,” Says Coyote, “I’ve merely come to offer my humble assistance with the Gargoyles.”

 

Wolf just fucking grabs Coyote’s, yanks it out of the wiring on its little aero-platform, and is just showing off to it all like “Hope you can swim metal mouth, cause we don’t NEED your help!” He growls out. God damn, Clancy’s voice is so god damn FINE as Wolf! Where is his fucking award!?!?!?

 

“Suit yourself” Coyote says as he’s manhandled and carried over by Wolf who has the finest fucking hips i ever did see even with Hyena twerking over her brother in the background. Wolf’s hips definitely do not lie.

 

Coyote’s just preying on Wolfs insecurities with his next line, going all, “But its such a SHAME to see you BEATEN by the Gargoyles when there’s SO MANY resources at your disposal.” Now in a single sentence Coyote went from preying on Wolf’s obvious insecurities to creating intrigue and getting him deeper into his little rabbit hole or whatever.

Then before you know it, its actually DINGO who steps in and stops Wolf from just spacing Coyote into the ocean. Thinking he’s got more sense to let Coyote go, Dingo walks up, and is all “We’re listenin’.”

 

Then next thing you know Wolfs just like shoving Coyote’s head into Dingo’s tits!?!?! Like he’s just like “you wanna negotiate the head?? YOU wanna fuck the head this time?? FINE YOU TAKE THE HEAD!!!” and just smothers Coyotes putrid face into Dingos beebaws. WE CAN TECHNICALLY SAY THAT WOLF DID IN FACT GIVE DINGO HEAD NOW. ITS CANON MOTHERFUCKERS, DEAL WITH IT.

 

could you just imagine dingo and wolf passing coyotes head around in the bedroom like hot potato. So Dingo just bashfully is all like ‘fine i’ll carry the head then ill work this out im group mommie now.’ Lets see how longs that lasts lmao.

 

Wolf just stares angrily as Dingo walks away with the head like ‘it shouldve been ME dammit!’ And also cause Wolf is irrevocably fucking Dingo this entire time so hes like kind of at odds with whoever hes getting nookie from.

 

So Dingo holds Coyotes head at a certain angle next to the monitor and Coyote just like happily explains some exposition to them while somehow projecting some footage onto the monitor. Its a clip of Talon in full uniform already somehow emerging from his mutation as Coyote begins his sales spiel, “For example, have you ever considered the bounties of genetic engineering?” Totally presumably looking at Wolf who probably wishes he could have inherited better genetics for himself (poor baby has begun getting sold the alpha male placebo hooooo boy…) Then we see another clip of Coldstone fighting Goliath and says “Or maybe Cybernetics is more your style?” probably looking over at the twins at this point. Crazy how I referenced Maltz’s Psycho-Cybernetics and now here he is literally saying the word Cybernetics… I wonder if Greg had that psychological study in mind when he wrote this episode?? accompanied by a clip of Xanatos using the Gargoyle Power Armor or whatever from “The Edge” and Coyote’s like, “And they say clothes make the man.” The MAN. More of Wolf’s insecurities being pulled into the forefront. A future quote from the series, ‘What would a mutate werewolf know about being a man’ really echoes strongly in this prior scene.

 

Dingo just peers down at the Coyote head in attentive disbelief i’d call it. Then, another clip plays on the nearby monitor of Coyote in his power armor during the prison break sequence in S2E1 as Coyote continues, “And my PERSONAL favorite—the glory of robotics!”

 

Dingo does the diva hand wave this time, emulating Hudson doing it earlier (they’re both the voices of reasons for their respective groups at this point so its kind of an ironic metaphor?) “Save the horror show for Halloween,” Dingo retorts, “But that armor is sharp!” He’s already like, “Hey, im okay with who i am, i just wanna dress nice and be cool.”

 

Jackal hisses in response, “I’m sure tired of taking punishment!” (sure you are, sub boy!) “And I’d love to be able to give some back!” Its interesting he’s saying this as the one who was the most battle damaged after their fight with the gargoyles, he’s really just acting off of his mor pissed off emotional state than actually making a cognitive decision. Jackal however, curves his brow at the proposal, “What’s the catch?”

 

Coyote’s head, now planted firmly on Dingo’s firm muscular thigh, just responds with, “please! Its all compliments of the hardworking men & women of Xanatos enterprises!” (bullshit, its at the cost of their remaining sanity just like any other capitalist enterprise run by mongrels.) “Xanatos!?” Wolf responds. He scratches his beard, “Figures. Why didn’t he come himself!?” Says Wolf, pointing accusatory at Coyote’s head. Little did ANY of us motherfuckers know—this is the last frame we’ll ever see of Wolf in his human form. This is the breakoff point for him—my baby boy is growing up soon!!! To be a furry, that is.

 

“Mr. Xanatos is a VERY busy man,” Coyote responds to Wolf from Dingo’s lap. Which also makes me think about how Wolf has to stare at Dingo’s muscular thighs to maintain this conversation…

 

Coyote smiles as we crossfade to Xanatos’s office. Fox and Xanatos are just sitting at a table, facing opposite ends from each other. “And so the game begins,” Xanatos says. That’s it. That’s all that happens. No further context provided. Ngl,  I'm just like seething low key watching their scenes in retrospect like oof they are just enjoying what they've done with the pack. “Yes we’ve taken already unstable mentally ill individuals and manipulated them further into becoming their worst selves!” while also being unstable mentally ill individuals themselves like ok sweeties.

 

We crossfade to the clocktower and get a “ONE MONTH LATER” overlay. A whole MONTH has now passed since we last saw the Pack and the Gargoyles. I’m sure NOTHING relevant or significant has happened between this time period at all, no siree…

 

“Time for the nightly demonstration of my LEADERSHIP skills!” Lexington boasts to Broadway and Brooklyn. “Speed is the key!” He says. Like okay lmao.

 

“Slow and steady wins the race!” Broadway retorts. 

 

“Well maybe so but i think its mister fast AND steady whose stopped the most crimes this month!” Brooklyn gloats. Fast and steady. Just what all the ladies and bisexual furs LOVE to hear Brooklyn. Honestly like they don’t even iterate what it is they’re ‘fast’ or ‘slow’ at, like is it flying? Fucking? Jerking off??? 

 

Bronx off to the side just lets out a little doggie groan at hearing all the bickering. He’s all like “Ughhhh these Gen Z-ers just can’t make rational decisions on anything!” Like whatever.

 

The trio then leap off the balcony soaring away from the clocktower and into the night sky. Goliath and Hudson observe from the balcony. Goliath appears pensive and Hudson just crosses his arms, “Ya can’t put off the decision of second-in-command forever, lad.” Goliath just groans and goes, “Yes… I knowwww…” Like this is just not easy for him cause all the trio are still a bunch of horny youngsters. Then Elisa approaches them from the doorway, “Our SWAT teams got the pack pinned down at an abandoned building.”

 

Goliath turns and brings his wings out at the ready, “I KNEW the pack would not stay hidden!” He exclaims, “We must summon the others!”

 

Elisa just shakes her head and is all, “No time—its all going down NOW!”

 

Then we jumpcut to a bunch of police cars just on the side of the road shining spotlights on what appears to be the abandoned building Elisa was referring to. A policeman shoots like a smoke grenade into a window on the top floor and it fucking BLOWS UP THE BUILDING!?!?!? Like was that supposed to happen!?!?!?! Bro!!!!!!

 

Amongst the disintegrating building, we see a sorta construction site behind it where a new buildings being built? Kinda like that construction site the whole final act of Spider-man 3 takes place? And we also see Coyote’s head just zooming around observing onwards as this kinda ominous twilight zone styled music plays in the background.

 

We see Goliath, Elisa and Hudson just kinda looking onwards at the wreckage from one of the upper floors of the constructed structure, “Tear gas shouldn’t cause that kind of explosion,” Elisa explains.

 

“You win a gold star, detective!” Coyotes head responds, overing overhead and looking down at them. Apparently Bronx is here as well for backup.

 

“What manner of trickery is this!?!?!” Goliath exclaims.

 

“As you may have surmised, that explosion was just for the tourists!” Coyote explains, then continues, “The REAL ACTION is right up here!” Getting all up in Goliaths face. Hoooo boy, here we fuckin’ go…

 

Goliath tries to grab Coyote’s floating head but it dodges, almost kinda messing with him? It continues to like soar around them teasing them as Hudson tries to like shank it with his sword, but also misses cause its just to swift. Bronx is growling at it the whole time. It hovers away into a cloud of smoke as the four look onward…

 

Then they hear some rocket boots boosting dowards before them. Its Dingo in full robotic power armor and he just playfully says to them, “G’day, mates!” I think its an interesting creative decision to first display Dingo’s ‘Upgrade’ before everyone else considering the only upgrade he got for himself was armor.

 

Elisa just kinda has like an exasperated gasp at realizing this. Then they hear more robotic whirring coming from behind them and its Jackal whos now set up kinda like this half-cyborg steampunk looking dude with this like mechanical eyepatch he’s got on? He’s crawling on some boxes with his boots and high heels like Lady Gaga or some shit and he just fucking runs up to them bearing claws and gleefully goes, “What’s the matter? Never seen a cybernetic jackal before!?!?”

 

Then fucking Hyena is just scaling the beams above them leaping from beam to beam like some kind of wild animal and cackling giddily like a crazy person. Then she does like a stripper pole dance kinda move against some sort of pipe, grinding down it with her claws. They’re all just acting like a bunch of freaks with Dingo being the most subtle. BUT then of course we’re just now getting to the reveal of the bestest boy…

 

Overhead, Goliath Elisa and Hudson hear some boxes being rummaged with and then knocked down, nearly falling on them and Goliath instinctively protecting Elisa in his wings. The three of them look up and overhear some testosterone fueled growling, seeing now clad in just a singlet piece of spandex and arm bracers—Wolf, now turned into a complete furry wolfman!!! He is embracing his gay dreams without even realizing it. He is not only a Wolfman but he has let his hair down lower?? Its still tied up but now he seems a bit more flamboyant and effeminate, dare I say? His hair and brows are a more light platinum white kind of color and his brows are also much bushier than before, almost having these metalhead spikes to them. His eyes are red around the iris and pooled in an ocean of yellow moon. He did lose his mustache, his beard now connecting mostly around his jawline area and his mustache almost working its way up but being lost in Wolf’s timber fur color. His nose is kind of pointed and more crinkled, a bit goblin like? His ears are big and pointed. His arms, legs and feet are completely bare and exposed—not to mention his legs are that of an anthropomorphic Wolfman. His feet are big and clawed and can probably stomp on you something hardcore. Wolf, what big eyes you have! Wolf what big ears you have! Wolf, what big TEETH you have!

 

Idk how big Wolf's feet were as a human but they are huge here. And his curves and waistline still are somewhat hourglass shaped leading up to his big broad chest—tragically concealed by his singlet and his armored chest piece shaped in the symbol of the pack.

He lands ninja-spire styled on the boxes, kind of mimicking how Goliath positions himself when he lands on something? Just by looking at him you can see his mutated form is heavily inspired by Goliath, with his hair being let down more and his masculine figure being more exposed and I’d say his inhuman features bringing a form of flamboyancy to Wolf’s masculinity. He seems to be more ‘stripper attuned’ like this and I am all for it. 

 

I know there are people who prefer Wolf’s human form but he is SUCH a big pretty boy diva like this and I love him for it. This is the closest Wolf has come to coming out of the closet. When we first saw Wolf in “Thrill of the Hunt”, he is much more subdued in terms of behavior and is significantly less extravagant than how he is by the time we get to “Upgrade.” After he mutates? He’s more flamboyant, extravagant, animated, expressive—his motions are energetic and fluid, he lets his hair down more to have it appear more feminine than masculine, he shows off more skin to where you can’t unsee every inch of his bare legs and buttocks. He’s more hot-blooded than before and it already seems like he can breathe easier than himself, in a way? Now I’m not saying that Wolf turning himself into a mutate is the CLOSEST the man has come to coming out of the closet, but it may as well be because he’s now physically altered his appearance to try and measure up to another man.

 

As he lands on the boxes and stand up he lets out just a testosterone addled growl delivered by Clancy Brown’s voice! Its like so primal and manly sounding while also being somewhat simultaneously dorky? He’s making himself out to be a big bad wolf like he is in his own mind!!! He growls and leaps off the boxes down to meet with the others!

 

I also want to point out just how much more ‘unique’ Wolf’s “Upgraded” form is compared to the twins who just wanted to become killing machines. With Wolf its like theres a sense of genuine identity crisis going on.

 

So like that spooky technological music just intensifies as the Pack surrounds the four, with Elisa curling up into Goliaths boobs for moral support. Nah but for real tho, its cute as hell that she’s hugging him but also Elisa is actually like ‘what do we do???’

 

“Even the archmages sorcery brewed no creatures like THESE!” Hudson says, basically saying that the Pack’s freak levels outdo any form of black magic that could ever occur. That’s hardcore lmao.

Goliath turns to Hudson, “we HAVE defeated them before…”

 

“Not the new UPGRADED models!” Hyena shouts, while doing like a handstand and leaping in the air.

Goliath spreads his wings and like tosses Elisa to the side trying to like get her out of the way of any impending attacks. Elisa does a little tuck and roll, leading into her backflipping to her feet and pulling out her pistol.

 

Hyena with her heels magnetically latches to a steel beam further up the structure overhead, and bounces off elsewhere. Elisa tries to prepare for anything, frantically aiming her pistol left and right.

 

“Elisa!” Goliath shouts, before his wrist is grabbed and pulled back by an armored Dingo. Goliaths eyes glow white as he tries to deliver a punch, his fist reverberating off the tin mechanism. He groans in pain after doing that, attempting to regain the feeling of his hand.

 

Hyena lands on another upper steam beam with her heels and continues making her way after Elisa whos still just frantically aiming her gun around. Hyena leaps down and kicks Elisa back, knocking the gun out of her hands.

Dingo shoots Goliath with this laser beam that looks like its shooting these little white bubbles of sorts, with these giant blue rings around them? It looks like kinda a knockback ray of sorts just to like push him but its very strange and futuristic looking.

As Goliath tumbles backwards from the blast, suddenly he feels the warmth of big muscular furry arms catching and cradling him by his chest…

 

“Grrrr, may I have this dance, Goliath?!?!?!?” >:D

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As Goliath is helplessly caught in the Wolfman’s grasp, Wolf leans in and does a more “Animal sounding” growl than your typical testosterone fueled growl Wolf normally does. In this scene, we get that commonly shared-around close up of Mutated!Wolf where we can see on the details of his transformed face in the moonlight. He leans in and its like he’s got these sharp fangs and bushy eyebrows, and those intense red eyes… Gosh, I feel like Jane from the Disney Tarzan movie just from looking at him… “I’ve never seen such eyes… So intense, focused…”

Also is he leaning in to bite Goliath, or… Kiss him…? What we don’t talk about enough is the fact that Wolf is HOLDING GOLIATH in this frame and is leaning his face towards him to display his new looks!!!

 

Just cause like, he doesn’t sink his teeth into him by any means, its almost like he’s trying to show off his new look to Goliath more than anything. Like, us as the viewer seeing Wolf’s face in the moonlight is sorta taking on what Goliath sees, Wolf carrying Goliath and leaning in? Had the shot not been so close, I feel like it would have been much more intimate, Goliath remembering Wolf from their one-on-one brawls and Wolf is just now showing off this form to try and compensate for his lack of Goliaths strength, and he’s just like, “Grrrrrrr, ya like the sight, Goliath!?!?” Baby boy just wants attention and praise for what he’s done to himself, its honestly pathetically cute! I’d even consider this scene the masculine equivalent to a woman who is attempting to woo her mate with her new makeover?? It all falls back onto the “Psycho-Cybernetics” teaching of how what you do on the outside doesn’t necessarily fix what you feel on the inside. When you stop looking at Wolf for his masculinity and more for how his personality is shaped and formed around his perspective on masculinity, the queer subtext begins to transform into text and it's so riveting to witness that happen in scenes just like this. We’re going to be getting much more of this down the line now that Wolf has embarked on a remarkably strange and queer physical transformation.

 

However, Goliath in response to Wolf’s advances straight up grabs his face/nose/muzzle, almost in like a smack motion? But more in the attitude of, "Your pet is trying to kiss you and you really don’t want them to do that at the moment.” Goliath grabs his face and starts pushing him back almost like “No, bad boy!” Meanwhile off in the background there’s an unconscious Elisa and Jackal just awkwardly watching the gay display of beast men all up in each other’s personal space.

 

Wolf however counters Goliath’s grip and as soon as he does, what does this big boy do? He grabs Goliath by the biceps, yanks him upwards and it doesn’t necessarily show where Wolf’s left hand is grabbing, presumably either his other arm, his upper thigh, his lower waist? But he’s now straight up just holding Goliath over his head like he’s about to put on a nice hat or something??

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You can see Goliath’s ass, but whatever Wolf can see from that angle is probably a lot bigger, longer—pretty much its as if Goliath’s dick could be just dangling out his loincloth and Wolf’s trying desperately to get a good LONG look at it up close?? 

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“Wow… His dick is...........bigger than mine?”

 

One of my biggest headcanons is that ive always seen Wolf as something of a brat bottom pillow princess diva boy. Like, his existence revolves around Goliaths dick or finding a dick thats quite like Goliaths. Wolf is too stubborn and insecure to admit it but I feel like Wolf actually loves how big Goliath's cock is.

 

Lmfao, @ Jackal cheering from the background. He’s all like “Yeah Wolf… You suck that canonically big Gargoyle dick!”

Much like the ways of Helga tossing Arnold around in “Hey Arnold”, or Libby tossing Jimmy around in “Jimmy Neutron”, or Bluto tossing Popeye around from those old “Popeye” cartoons—Wolf then uses that brutish strength of his to toss Goliath across the area!

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Goliath lands some distance away and the next thing we see is Wolf just standing there with his hands at his waist and looking super proud of himself as Hudson sneaks on him from behind.

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What you see VS. What HE sees!

Yes that is his actual reaction is to stand there with his hands on his hips with a big grin on his face like 'yeahhhh i got him! see, I'm the real man, you big... sexy... uh, jerk!  Yeah, jerk, that's what I meant to say…’

 

So Hudson comes in from behind and tackles Wolf to the ground to try and save Goliath from Wolf’s evil gay clutches. So what does Hudson do EXACTLY? Well, let’s break this down, he tackles Wolf to the ground from behind and the very next thing we see? SOMEHOW, Wolf ends up landing on his back with Hudson pressing down on his shoulders with his hands, his knees holding Wolf’s anthropomorphic legs in place and it looks like he’s just ravenously dry humping Wolf. Wolf the whole time is kind of FREAKING OUT?? I think he might genuinely be gay-panicking in this moment, he tries to grab Hudsons shoulder but Hudson does this like forward THRUST of his body against Wolf who’s pinned to the ground and Wolf actually lurches his hand back for a second?? He’s like “WHOA” and just hesitates almost like he’s unsure what to do with the sudden close physical contact?? Wolf must have a complete whirlwind going through his head during this scene if he's gay—which he is!

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Meanwhile Goliath in the background gets to his feet and sees what's going on with Wolf and Hudson and is just kinda leaning back like “Well I guess I’ll let them have their fun…?”

 

Meanwhile Goliath sees the flying Coyote head just hovering above and he calls out to Hudson, “That’s the source of the trouble!”

 

We cut back to Hudson who is still on top of Wolf and Wolf just looks…Cartoon of a person with a white beard and grey hair

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Shocked? Surprised? Scared?? This sequence reminds me a lot of Goliath and Wolf’s first fight in S1E6, where Goliath effortlessly deflects Wolf’s fist and Wolf just makes that face displaying just sheer ‘fear’, whether its a fear of what he doesn’t understand or a fear of what he doesn’t understand about himself… Even with the new Upgrade, he still runs into the same emotional deflective states he did when he was a human. The more things “change”, the more things stay the same.

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Hudson sitting on Wolf like this is so fascinating cause Hudson sees this as just normal ‘daddy putting an unruly boy in place’ but to Wolf this is the most horrifying physical ‘brush’ with the terms of his reality that he’s encountered. The biggest question I’d like to ask, does Wolf have a boner during this scene? Its entirely probable. If he does have one, he’s afraid of it and desperately wants to gain the upper hand back so that no one finds out about it.

 

As he’s attempting to straddle Wolf into place like the ‘bad boy’ he is, Hudson responds back to Goliath, “Follow it (it being Coyote’s head), I’ll take care of this Forest Demon!” Before reeling his fist back and landing a hard delivered off-screen punch to Wolf.

 

As Hyena is watching the scene off to the side, Goliath begins to climb up the nearby construction pillar to go after Coyote, and Hudson and Wolf are kinda still struggling and high-key frotting with each other (headcanon). We hear this like canine-like snarling and for a second because of what we were seeing when we first heard it, I thought it was Wolf reacting and fussing from the daddy energy Hudson is trying to impose?

 

But it turns out to be Bronx trying to go after Jackal off to the side. Bronx is snarling facing off and Jackal is just like kinda playing around with him, he’s balancing on the edge of the construction framing dancing around a pillar taunting Bronx saying, “Round and round, Jackal goes! Where he stops…”

 

Then he delivers a dropkick knocking Bronx off to the side and he finishes the rhyme, “Only HE knows...” Gosh he’s such a fucking dork. Bronx shakes the pain away and bites onto Jackal’s robot arm then begins to just maul him on the spot. Jackal begins to like fuss and kick with his weird cyborg gogo boots? So Bronx literally rips Jackal’s arm fresh off of him with all this circuitry being exposed! Bronx leaps off to the side staring at Jackal, arm still in his mouth like it's a fresh bone he just found. Jackal though is just grinning and elated as he holds his remaining arm stub out, fried circuitry just spewing from the area? He’s got like that dorky heath Ledger Joker smile as he grins back at Bronx like the fights only just begun.

 

Meanwhile, we get a shot of Goliath climbing the construction pillars heaving his giant muscular man tits as he’s going along. I think it's because before they cut to commercial they wanna show us that Goliath is the only one currently not facing off with the pack at the moment.

 

Suddenly, Jackal’s arm whisks its way back to life in Bronx’s mouth and begins to like twirl its wrist around, surprising Bronx and causing him to drop the arm. It kind of does that thing Thing from the Addams Family used to do, using its clawed fingers to make its way across the floor and returning diligently to Jackal, who happily picks the arm up and places it back in its socket. Really really creepy, and judging by Bronx’s reaction, he thinks so too. Jackal readies for a blow and then delivers it directly to the POV of the audience assuming bronx’s perspective—basically, he punches the screen, we hear Bronx let a whine out, and we cut to commercial.

 

AND THAT IS THE FIRST 9 MINS AND 14 SECS OF UPGRADE.

 

We fade back from commercial to a shot of Dingo, Hyena and Jackal looking down pridefully at a defeated Elisa and Bronx. Dingo struggles to take his helmet off and sighs, catching his breath.

 

As he does this though, up walks Wolf—bridal carrying an unconscious Hudson. I kid you not.

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So naturally a lot of questions are conjured as to just how Wolf bested Hudson in that wrestling match because last we saw, Hudson was on top of Wolf pinning him down and it seemed like they were getting a little too physical if ya catch my drift.

So, our good friend and collaborative listener, ThatSnarkyRemmy, has his own theory as to what happened in their fight together. He says, and I quote, “I kind of like to get think that at some point, namely between the moment Wolf knocked Hudson out and the moment he took Hudson to the pile of unconscious heroes, he whipped his dick out and rubbed it on Hudson's face, to mark Hudson with the smell of his dick as a sort of extra power move, like an ‘I'm the real daddy here thing.” He continues and I paraphrase, “There are few smells in the world are as good as the smell of an aroused man's glans. Wolf should know that full well, so to get the smell of his aroused glans on another male, it's just a power move for him. Of course, if someone does it to him, he'll snarl about it even though his dick gets rock-hard in record time from the smell of cock on his face.”

 

You could theorize maybe a little more than dick smelling and/or rubbing went on between Wolf and Hudson back there but I’ll leave that entirely up to everyone’s imaginations. All I’m saying is all the visceral imagery you can get outta that is sexy as hell. It could also be considered a bridging point as to why whenever there is porn of Wolf hes paired with Hudson, that’s up to the viewers jurisdiction but artists such as Anon, DudeBulge, JagKnight and hell, I’ve commissioned a few artists to see those two together because they’re my two favorite characters and they’re both hot as hell. Not my favorite ship but one of those pairings where you just wanna see the way they fuck each other because they’re really fucking masculine and queer in their own ways.

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Anyways, after Wolf sucked Hudsons dick once he knocked him out, he bridal carries him over to the pile of defeated heroes and just nonchalantly drops him to the ground with a thud. All about the bedroom manners, that Wolf! Hudson lets out… what I think is supposed to be a groan of pain buts it’s a little hard to tell because it also sounds like he just got his world rocked and he’s still trying to wrap his dazed lil mind around whatever Wolf did with him. Like its almost like a post-fucked moan, like “Ugh-hoaaaah….” Speaking from experience, that is very close to what a man’s submissive orgasm sounds like in the bedroom.

 

Dingo begrudgingly turns to Wolf and just brattily remarks, “I hope yer not planning to EAT your catch…” There’s something real sad sounding to the way he says that, like it’s as if he genuinely doesn’t even know if that’s what Wolf can do at this point.

When we cut to Wolf, he’s got that frown on his face that I think is super adorable and share around quite a lot. A lot of Wolf frames from this following scene are quite good.

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Wolf brats right back at him, “Now that I’m in charge, I’m not taking any more of your cracks.” Wolf you stupid stupid boy. First off, its funny how this one line says so much because it infers Dingo has clearly had issues with Wolfs change for a while now and has been vocalizing it.

 

Meanwhile in the background, Goliath is climbing onto one of the upper floors in search of the floating Coyote head, kinda tiptoe-ing his big Garg claws around so the Pack doesn’t catch wind of him, or that Wolf doesn’t smell his big manly dick and balls and come his way.

Then somehow he doesn’t notice the giant fucking robot skulking in the shadows watching him sneak around. Seriously theres a giant hulking robot right there on the platform with him with glowing red eyes and a big ol pack symbol for a head. It looks like a big ol yellow transformer furry.

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It comes to life going after Goliath and then you just hear Coyote go, “Ah, Goliath. I’d like you to meet my better half…”

 

We then cut back to the girls having a little spat with the twins just kinda awkwardly watching from the sidelines. Dingo argues back with Wolf being all, “Yer not our leader, Wolf—yer barely our SPECIES!” Wolf like lifts up his lil fists because he just seems so offended by what Dingo just said. Dingo continues, turning away from them and saying, “I still can’t believe what you three did to yourselves…”

 

I think I can explain as to WHY this conversation is occurring between Dingo and Wolf, psychologically analyzing the specifics of this apparent ‘break-up.’

When we first saw Wolf in “Thrill of the Hunt”, he is much more subdued in terms of behavior and is significantly less extravagant than how he is by the time we get to “Upgrade.” After he mutates? He’s more flamboyant, extravagant, animated, expressive—his motions are energetic and fluid, he lets his hair down more to have it appear more feminine than masculine, he shows off more skin to where you can’t unsee every inch of his bare legs and buttocks. He’s more hot-blooded than before and it already seems like he can breathe easier than himself, in a way? Now I’m not saying that Wolf turning himself into a mutate is the CLOSEST the man has come to coming out of the closet, but it may as well be because he’s now physically altered his appearance to try and measure up to another man.

 

Dingo’s rejection of Wolf’s transformative state could be compared to a friend unhappy that you received plastic surgery. See, because Dingo is a mess too, he is not at ALL qualified to help wean Wolf out of this situation. Dingo did the best he could do, and at that point in time, the best thing he could do is jeer at Wolf for changing himself, with remarks like “I hope you’re not planning on eating your snack,” or, “How can you be our leader? You’re barely even our species!” Dingo would NOT be saying this if he weren’t emotionally affected by Wolf’s transformation, the twins are horrific in themselves, but I think it’s clear as day that he at least cares for Wolf the most at this point now that Fox has left. He’s not happy that Wolf did this to himself not just because it bothers him but because he also knows the last thing Wolf probably needs right now is something as ego-boosting as a willing bodily transformation. It’s sad because they’re two men who are so disconnected from being a functioning member of society, and they worked together for a very long time in this merry group of misfits. Because things are changing now, Dingo, being the sanest of the group is afraid of it and while he cares for Wolf, he’s also become afraid of Wolf, afraid of what he looks like now and what Wolf’s become and may do in his new “evolved” form.

Now that Dingo’s had his lil schpiel in this spat, we kinda segway into Wolf’s response which is much more deluded and emotionally disgruntled. He steps up to Dingo, pointing his big beastly claw at him and just grunts out, “WE did what YOU were afraid to!” He sounds like the ghost of Jacob Marley scolding his old partner Scrooge for not joining him in the chains.

I think Wolf’s perspective paints a much more painful picture because to Wolf, this transformation he did to try and measure up to another man is probably the closest he’s come to making a drastic decision to express himself through appearance. A bodily transformation can be such a mentally accelerant decision to make, and Wolf is just getting this absolute ego rush from it. Wanting to recreate the beauty of what he sees in Goliath—this alpha-beast-man he’s obsessed with—makes this transformation projection at best. He’s attracted to Goliath’s domineering presence and wants to embody that for himself somehow, this transformation further connecting him emotionally to Goliath and only creating more of an obsessive instinctual animal love. Wolf is probably coping with the intense changes to his body and emotional state through seeking out more ego boosting activity, IE, trying painfully hard to gain a status of “leader” like a capitalist worker whos devoted himself completely mind body and soul to their job. Because of his own self-pressuring, Wolf likely wants to be validated for this sort of decision and any rejection of it could push some sensitive buttons. Because of this, he lashes out at Dingo and calls him a coward, “We only did what you were AFRAID to do!” Because of Dingo’s attitude here, that heavily triggered Wolf because it was someone NOT accepting him, and his response is essentially, “You don’t like who I am, go fuck yourself coward!” The familiar state of trying to mask that these words are HURTING him! Wolf is scaring Dingo in response because Dingo just severely hurt his feelings, IE, pushing those sensitive buttons he buries beneath the grit he displays.

 

Wolf continues, “And we agreed whoever bagged the biggest gargoyle would lead the pack!” and the twins are just smiling nodding and agreeing with him. I kind of personally feel like this implicates they have no intention of upholding that bet because I think the only one who truly “cares” about bagging the biggest gargoyle is Wolf. Like I’m fairly certain he was making such a big deal about that being their end goal, talking about how BIG Goliath is and probably Hudson too and then the twins and Coyote just eventually agreed to that bet just shut him up. So them smiling and nodding here is more them being cheeky about it, because lets be honest, the twins love teasing and making fun of Wolf because pushing his buttons is too damn easy and don’t take my words to heart because maybe I just have a poor read on the twins but I’m not sure they’d EVER be okay with him being their leader. That’s my theory at least, that even the other psychopaths are kinda pushing Wolf’s buttons so they can further his delusions.

 

Also can I just point out how sassy and pretty and perfect he is like the beard the hairy shoulders the muscles the intense red eyes good LORD he’s beautiful, idgaf what some of y’all say.

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So just as he says that, crashing down from the ceiling above them all headfirst and aerodynamic-like is Goliath. I don’t know why but when Goliath lands it looks like a smoke bomb just went off like I guess that place must be dusty as hell.

 

The Pack looks upwards from where Goliath fell and coming down on big ol rocket thrusters while dramatic music is playing is Kanye West—I mean, Coyote. His head is kinda like in this little fetus sticking out of his chest but he just looks like a giant furry transformer with like hind legs and everything.

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As soon as coyote lands, I can't help but notice the first sign of something that will continue to haunt me throughout the rest of his appearances in the series. Wolf's butt dimples sticking out from the back of his lil singlet.

 

I remember being a teenager and seeing them for the first time and just thinking to myself “wow not only does he have really great legs but I can see his ass kinda and hes also super big and muscular so I guess big muscular men can show off their booty like this?” I remember being a lad in the 2000s and watching Madonna spritz around in her leotard in the Hung Up music video and wanting to look just like her cause I thought she was very spunky and bold showing off her body like that. So now seeing it on a MAN who is big and pretty-eyed and muscular and hairy but has this sense of flamboyance to his aggressive mannerisms—it just really made the dots click in my young innocent head that I might be gay.

 

As soon as Coyote lands he just says, “Sorry, Wolf—BUT I THINK MY GOLIATH TOPS YOUR HUDSON!” He’s using top and bottom metaphors to continually push Wolf’s buttons, oh my lord I can’t even right now! And wolf just like exasperates at that statement, like he does this confused and speechless little diva pout like ‘’WHAT’ xD I guess the idea of being topped is making his asshole clench and its driving him INSANE with anger.

 

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Hyena just looks up at Coyote and starts getting all outwardly flirty, walking up to him like a hooker in her weird mechanical gogo boots. She’s all like “Ooooohhhh, Coyote honey!” Then she like puts her hands together and looks up at him like some anime girl and big ol doe eyes, and she’s like “Is that you?” Cree Summer, ladies and gentlemen.

 

For some reason this just sets Wolf off to the side, like he just freezes and watches her being down bad for Coyote and based off his expressions hes just like “WTF REALLY GIRL?? EVEN IM NOT THAT FREAKY!” and then he looks up at coyote all like “Why does HE have to be bigger than me?!” Cause im sure hes also suffering with major size jealousy right now. I think also just watching a woman being attracted to a big man is making Wolf jealous, not necessarily of Coyote or Hyena, but moreso jealous that because Hyena is a woman its easier for her to be all sultry and flirty towards a large man and he can’t bring himself to do that because he knows itll look “gay.”

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So Wolf is so set off by Coyote’s new form and apparent largeness that he just tries to square up to him, which is adorable in retrospect because hes just upset someone bigger than him would be able to bark orders around, so he just gets all diva mode and goes, “HIT THE ROAAAD SPARKY!” Then he points at himself and goes, “I’M IN CHARGE, HERE!”

 

So these next frames of Wolf’s butt dimples after he says that, the way he kinda postures himself and settles his large muscular back, his butt just is poking out of his singlet BEGGING to be released into the cool night air, its almost like his glutes are just gonna flex themselves free. Also it kind of drives a gay viewer insane knowing the context that Wolf is a size queen and he’s so uptight as person that he just needs some big gargoyle dick to get ALL up in there in hopes of solving his insatiable homo ways. You can tell Wolf’s pussy is quaking in that singlet. These particular kinds of backshots of him burned into my brain as a kid and now remains there in the forefront of my Wolf fixation.

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Hyena just kinda scoffs and laughs at Wolf’s jeering at Coyote and then she starts defending her cyborg in shining armor, “ohohoho, really?? I didn’t see YOU take out Goliath!”

 

The pillow princess he is, Wolf crosses his arms all gangster like. Jackal approaches the scene at Wolf’s side and starts kinda scolding his sister for wanting to fuck Coyote, probably because he wants to fuck his sister and he’s getting cuckholded right now. “You’re not siding with this… Glorified toaster oven!?” Wolf off to the side the whole time like “Yeah YOU get her, Jackal, she just schooled my ass!”

 

Fucking Hyena just looks up at Coyote stroking his arm and says, “I find him VERY attractive!” All dreamy like. The way she says it reminds me of like Audrey Horne in Twin Peaks in the diner scene from episode 6, turning to Donna and being all like “Oh I loooove this music, isn’t it too dreamy?~”

 

Jackal’s just like immediately responding to that shit unsure what to say and is all, “Wellllll THAT’S sicker than usual!” Which makes me wonder what the usual sickness is but I also don’t really care because I don’t like the twins that much.

 

Then he turns to Wolf and puts his hand on his shoulder like he’s a pet! Which is so funny because right now his sister is grossing him out so much that he’s just like, “I’ll hang out with the closet case werewolf because right now you’re kinda wigging me out with this robot fucker stuff!”

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“Okay, hairball!” Jackal says. The look on Wolf’s face is PRICELESS. Like he wants soooo badly to be bitchy to him for that but Hyena and Dingo just gave him such a big headache he’s accepting Jackal as the lesser headache option in the moment. “I’m with you!” Jackal says, and I think Wolf lets out this reluctant little smile which is rare because he’s usually NEVER happy. Like, “Yeah we can hang out JUST CAUSE you’re the only one not pissing me off right now…”

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Dingo off to the side who’s just repulsed by everyone and doesn’t even know where his place is in this group by this point is all, “What a choooice...” Its so funny because he’s like “yeah ok just side with my mentally ill fresh ex-boyfriend” and he’s so damn pouty about it. He looks over at Coyote and Hyena canoodling and is all, “A robot who thinks hes a human…”

 

Then he looks at Jackal and Wolf and says, “Or a HUMAN who’s gone to the dogs!” Jackal and Wolf just look so mean girls hearing that response, Wolf still crossing his big sweaty arms.

 

Then he sheepishly approaches Coyote and says, “So what’s our next move… Boss?”

 

END OF UPGRADE, PART 1. STAY TUNED TILL NEXT TIME, Y’ALL.

Tuesday, October 8, 2024

"My son couldn't possibly be a SNAIL!" Breaking down queer themes within Junji Ito's "Uzumaki"

 Trigger Warning: Graphic Images Depicting Body Horror/Transformation & Spoilers for "Uzumaki"

Reader Discretion Advised.

 

Greetings, everyone! Welcome back to my big gay blog of wonder. I hope you're all settled in for spooky month. 🎃

To start the month off, I figured I could take some time to break down something rather on brand for the wonderful month of October—exploring one of the queerer stories within Junji Ito's "Uzumaki." For context, Uzumaki is an anthology of stories circulating around a town that seems to be bearing a strange curse—a curse revolving around the mysterious symbol of the spiral.

While initial excitement for the animated adaptation of Uzumaki has skyrocketed since audiences obtained streaming access to the first episode. The first episode of the adaptation as it not only brings Junji Ito's imagery to life but does so in a way that still maintains its presence as an episodic visual and audible experience. The score and atmosphere is crafted by Colin Stetson who is also famous for doing the score for Ari Aster's "Hereditary." Just like his work with his predecessors, Stetson does not miss his mark in creating that tension of cosmic horror as Ito's jaw-dropping visuals both entrance and disturb the viewer. In order to properly depict the episodic tension of this adaptation, they seem to be breaking apart the more prolific chapters of Uzumaki into segments between episodes. Narrated by Kirie, who is voiced by Uki Satake, the first episode presents us with Uzumaki's beginning stages. She tells us the story surrounding Suichi's mother and father; how Suichi's father obsesses with the spiral to the point where he meets his own demise, and how Suichi's mother becomes so traumatized by the event of his father's cremation that it leads to her declining mental state and eventual hospitalization. Accompanied with this, we got a few unexpected surprises as we see a few later chapters of Uzumaki unravel within the first episode. Particularly, "Chapter 3: The Scar", the story about a girl who seems to be so spellbinding to the men around her that she believes she owes her victory to the scar on her forehead, which begins to strangely contort itself into a spiral shape...

Despite the intense impact the first episode had on the Junji Ito fandom, it was disheartening to see the sudden drop in animation quality by the release of the second episode. Apparently the studio had been changed after the first episode which makes the build up of the first episode all the more memorable as it would have been great to see what the second episode of the series would have been like, had there not been any changes behind the scenes. At the very least, this gives people more incentive to read the original manga as its what gravitated most audiences towards the series.

I will say, that first episode was particularly striking because I was also pleasantly surprised to see the beginning stages of my personal favorite chapter of the Uzumaki manga—"Chapter 8: The Snail."

Today I'm here to break down all the strange horror and also subtextual queerness that "The Snail" is not only one of the more memorable chapters of Uzumaki, but I would argue that "The Snail" could also be considered one of the more prolific entries of queer horror in the modern era.

Katayama, AKA the ultimate slowpoke as dubbed to him by his antagonistic classmate, Tsumura. His constant slow pacing with simple activities makes him "different." It doesn't help that he has heavy lips and detailed eyelashes to make him stick out from the other students even more...

In this chapter, we are introduced to the character of Katayama, who is dubbed by his classmate Tsumura as 'the ultimate slowpoke because he seems to always show up at school embarrassingly late in the day. To coincide, he strangely only ever shows at school when it is raining. His excuse to his teacher, Mr. Yokota, is that he got up early, but it took him a while. We can see immediately that the curse of slowness seems to impose itself heavily on Katayama, as it takes him ten times longer to do just about anything. It doesn't help that his odd physical features are an open invitation for teasing. He is overweight and often depicted as wet and/or sweaty. As for his face, he has large lips and his eyelashes are heavily detailed. His expression often reads off as embarrassed or perhaps trying to shy away the obvious insecurity that he's different than the other students—I mean, 'slower' than the other students...

As odd as Katayama's predicament seems to be, it goes without saying Tsumura is a bit of a jerk. It seems he has nothing better to do with his presence other than find some way to point out the ever-so-obvious oddness in Katayama. When it comes to bullying in school, these are students who will try to make others feel down about their traits, physical or otherwise— because . Typically, that means finding the flaws in someone else you would rather not see in yourself. Tsumura's constant reactionary discharge of energy and aggression seems to always have no payoff as Katayama is generally pretty nonchalant and unresponsive to his jeering. If Tsumura's bullying has no real reactionary payoff though, why does he bother spending so much of his energy pointing out the flaws in Katayama? It would have to mean that Katayama's sheer presence sets something off in Tsumura that he'd rather not see in himself. The concept of slowness is the key detail that Tsumura seems to have a large issue with, and can't seem to co-exist rationally with.

It's as if Tsumura is aggravated by Katayama's sheer existence. To Tsumura, Katayama's slowness holds him back and makes him "different" from everyone else around him, setting him off to the point where you'd almost think bullying Katayama is the only thing that truly makes Tsumara feel better about himself—or rather, the only thing that truly makes him happy. "Slowness" and "difference" are the two key words we want to memorize for "The Snail" as they both metaphorically mean the same thing. To Tsumura, Slowness manifests being "different", and its this factor which seems to wedge an inescapable splinter in Tsumura's mind. To be slower than everyone else around you means to be different from everyone else around you and this strikes an emotional chord in Tsumura causing the aggressive discharge at Katayama's presence. Perhaps there's something going on with Tsumura internally that would create such an irrational hatred for someone else who is different than he is.

Its during their gym volleyball tournament where Tsumura is particularly set off by Katayama's slowness. When the opposing team spikes the ball, Tsumura is barely in motion as the ball hits the floor next to him. Tsumura is so offended by the sight that he shouts out, "What are you? A statue!?" Katayama's only response is to wear his embarrassment smile back at Tsumura, unable to defend himself. Katayama seems to be aware he is different but doesn't attempt to let that affect his attempt to blend in like a normal student. Despite being so notably incapacitated, Katayama still attempts to go to school and participate in gym class. Within both boys, there is an underlying need to be 'normal' and try hard to fit themselves into a status quo.

I think its this panel that depicts just how different both boys are in terms of both appearance and demeanor. Katayama's snail-like features make his brows, lashes and lips more pronounced and somewhat androgynous. His eyes are more spaced and thin and his voice is depicted to be soft-spoken. Tsumura, however, has a singular bushy unibrow, intense eyes and he is always yelling.

Irate at losing the volleyball game, Tsumura and a few of his friends confront Katayama in the boys locker room. They corner Katayama before Tsumura pushes him up against the wall, angry with him at costing them the game and even says, "If I find out you're messing with me..." Its interesting how Tsumura seems to project his own worth greatly onto Katayama's life. Even if Katayama were faking his slowness, Tsumura's anger isn't necessarily a variable Katayama has much control over. In Tsumura's head however, Katayama is always the one occupying his mind and flipping the switch.

Mustering through his slowneses, Katayama ushers out, "P-please... Tsumura." Tsumura angrily responds by shouting at him, telling him not to talk to him as if they're 'friends.' See, if Katayama hadn't said Tsumura's name with such familiarity, I don't think it would have antagonized Tsumura to the degree it did. Tsumura's emotionally driven response at hearing Katayama say his name is something I think could be read more deeply beneath the surface. Its not as if knowing your classmates name isn't uncommon, especially the one who keeps bullying you. So Katayama just saying his name tells much more about Tsumura and how its his own projections of insecurities causing him to lash out. Even though he isn't snailboy (yet), its Tsumura's anger towards a boy who is different that's really driving the notion of this story.

During the altercation, one of Tsumura's buddies has a big brain suggestion. Since Katayama is even slow at changing his clothes, why don't they go ahead and change them for him? How uncomfortably generous of them... Tsumura immediately hops on board with the proposition and eagerly begins to strip Katayama's shirt off, while another boy goes for his pants—all while Katayama pleads for them to stop. This is definitely one of the more stomach turning sequences in Junji Ito's macabre world because its a crime often committed by bullies in the real world to assault those who appear different than themselves—and something about the boys locker room environment seems to set this particular crime off the most commonly. Its almost like throwing a bunch of prepubescent boys in the same enclosed space to change clothes next to one another creates an environment full of unease and discomfort...

Tsumura and his peers strip Katayama completely naked and proceed to drag him across the ground, out of the boys locker room, and into the school hallway—where a gathering of female classmates exclaim in horror at the sight. Tsumara laughs gleefully at Katayama's embarrassment, telling everyone to 'get a good look.' Katayama's only response is to awkwardly slump over to the side, but in doing so, winds up exposing a massive spiral symbol imprinted upon his back. Tsumura and the rest of the classmates stare blankly in confusion as Katayama, now looking more embarrassed than ever, wriggles against the ground and retreats back to the locker room—much like a snail.

As Tuesday dawns, it continues to rain. When Katayama arrives at school, everyone immediately takes notice that he seems to have an abnormally swollen growth coming out of his back and poking out of his shirt. Once again, he apologized to Mr. Yokota for his tardiness. Say what you want about Katayama, but he seems to be taking his pressing physical situation eerily well. Mr. Yokota questions Katayama about his back, but Katayama seems to only sheepishly acknowledge his back. "Huh...? Looks like its swollen up..." He says with an awkward smile on his face, before breathily fastening himself at his desk. Tsumura and the rest of the classmates are terrified, but I can only presume they choose to proceed throughout the rest of the day, nervously coping with the apparent difference in their classmate. On Wednesday, the growth becomes significantly bigger...

If this ain't just me entering the group call past midnight... Though, a visual note I adore in these panels is just how much happier Katayama seems to look now that he's shifted further along the snail-transformation process!

Then, on Thursday—the classroom door slides open and crawling on the floor entering the classroom is Katayama—who at this point looks significantly more like a snail than a human, covered in slime and now with a fully grown shell on his back... But still disturbingly retains much of his human appearance. The class screams in horror as they all back away from the sight—but that doesn't stop Katayama from slithering his body across the floor and climbing himself back onto his desk.

Me trying to be normal and fit in with a room full of straight people.

As scary as it may seem, isn't the situation is somewhat hilarious in itself? Here is Katayama who at this point is more snail than he is human, and he's still trying to fit himself into the role of a wholesome and polite student who's trying to compensate for his tardiness. The routine of going to school every day has become so integrated in his character that he seems to consider the cosmic body horror he's undergone as a less than natural aspect of his character he is coerced to try and blend in with. That's some of the more postmodern brilliance of Junji Ito's work, because like the other chapters, its depicting the spiral curse as something both literal and metaphorical. If we all sprouted tails or tendrils, would we feel so compromised that we would let that compromise our everyday routines? Realistically, yes, but Ito is one who prefers to play with the projected concept of realism rather than try and attempt to give us actual realism. Maybe a better example—if a student realizes something about themselves which sets them apart from everyone else, are they just going to stop going to school? Or would they choose to keep the routine at play so they can try to blend in with the rest of society? That seems to be Katayama's biggest predicament rather than the fact he has become a snail. He accepts the snail part of himself for what it is, but surely he can try to live a normal life through this escapade, right?

Wrong. By the time Friday hits, he can't even make it to the classroom. At this point he's now a full fledged giant snail slithering alongside the school's building in the rain. We do of course get to see some more gnarly body horror in this scene, as his eyes turn into eye-stalks, completing the transformation process. Though he retains very slight features to give us some recognition that it is, in fact, Katayama—faint stringy hair on the back of the snail's head and pronounced lips on the front of the snail's face.

I would be so bold as to call this Katayama's 'coming out' scene. He can no longer function like the rest of his classmates in his new form, but desperately leaves a trail of slime against the building as he slithers across windows. The slime almost acts as an indirect 'mural' or 'banner' to punctuate on his coming out statement—letting the rest of the world know that he is, in fact, a snail.

The school decides to try and do something about the situation. The principal suggests contacting Katayama's parents, but Mr. Yokota informs him that they'd already called this morning claiming their son hasn't been home in several days. I find this particular exchange humorous as it implies Mr. Yokota presumed that Katayama had been going home this whole time as a full-fledged snailboy, and his parents saw nothing odd about this. This could be a reach from my end, but maybe this also our first insinuation that there's likely some deeper intrusiveness happening on Mr. Yokota's end about this whole snail situation?

Visibly perturbed, the principal responds to Mr. Yokota with, "How could he go home looking like that? He was probably hiding in the hills." Now, Katayama hiding in the hills makes way more sense with prior context. As soon as he felt the signs that there was something terribly different about his body he likely ran away and preserved himself in the most acclimate environment for a snail—the mossy and wet outdoors. His desperation to fit in with the rest of his classmates could have been him trying to maintain some sort of extracurricular hold on the situation. Not to mention, if he's a young boy living homeless out in the hills, he's going to become lonely and would want company or at least familiar faces surrounding him. If he's afraid to face his family, surely he'd have no issues with the prospects of facing his classmates, even if they're not directly his friends. I'd say its the same neurodivergent mindset as when you would rather be in a social group due to the familiarity aspects rather than because you actually are a part of that social group.

Upon learning that their child is different—I mean, a snail—this sends waves of terror into Katayama's parents and causes them to express utter denial of the situation. They refuse to accept the reality that their son is a snail and promptly leave, unaware that they are 'disowning' their own son in the process.

The parents arrive with their umbrellas clad requesting to see their son. The principal guides them to the side of the building and unsteadily points up at the snail, stating "H-he's up there..." This ushers complete horror out of Katayama's parents. They are so put off by the horrific premise, they immediately issue denial that Katayama has become a snail. They question aloud that this may be some kind of sick joke before departing the story altogether, never to be seen again. So obviously there's a lot of metaphorical context to read into here, but whether they accept the reality of this situation or not, one thing is apparent—they've essentially just disowned their son for being a snail.

The queer subtext of your parents being in outright denial of who or even what you are I don't think needs to be broken down metaphorically. Its almost a silly reaction in itself because of how quickly they deny the situation? "Our child is a snail?? You're crazy, I'm out of here..." There's no extra reach as to why the principal would even suggest such a fanatical thing or even some sort of third-degree initiative on the parents end, as they actively know the child they're familiar with is supposed missing. Its extremely reminiscent to Kafka's "The Metamorphosis", another story in which a promising member of a family turns into a cockroach and gradually becomes disowned by his parents, another complicated situation in which breaking away from the norm of your typical routine will be perceived as otherworldly and disgusting, and its greatly comparable to Katayama's predicament. Seeing their child turn into something unnatural creates such a repulsion in a parent that they would see it better if this repulsion were not in their lives and that often leads to familial abandonment. These situations occur when your typical conservative parent figures out that their child is queer or trans—or in this instance, a snail.

"Asylums with doors open wide, where people had paid to see inside...
For entertainment they watch his body twist, behind his eyes he says, "I still exist.."

—lyrics to "Atrocity Exhibition" by Joy Division.

So what does the school even do about this situation since the parents are of no help from this point? Well naturally, they set up an outdoor shack for him on school grounds so he can be taken care of. As jarring as it is to go from your typical student to being the school's pet, its oddly wholesome how they set up a little home for Katayama. They give him plenty of leaves to munch on so he doesn't go hungry, and the outdoor environment is good for him as that gives him exposure to more of the natural rain climate. This does however give incentive for the students to gather around his cage and stare at him as if he were some form of carnival freak show. Though most particular of the morbidly curious students is Tsumura—even after Katayama's full fledged transformation into a snail he still can't help himself from teasing the poor thing.

"It's okay to pick on him now more than ever—because he's NOT human anymore!" Tsumara suffers with the same sort of mindset a self-hating bigot would have.

Tsumura sees Katayama's snail form as incentive to pick on him even further, because as Tsumura says, Katayama's lack of humanity sets him completely apart from the rest of his students. Even though Katayama has changed, he is not happy. In fact, I'd argue that Katayama is now simultaneously embracing the fact he is different yet feels a strong sense of melancholy that he cannot blend in with the crowd like he used to. Though I'd say its not necessarily the crowd he wanted to begin with—Katayama at the end of the day is lonely because of the fact he's queer—I mean, a snail.

Going back to Tsumura, I think his being unphased at Katayama's snail transformation and still maintaining his need to pick on him tells us a lot more about his character. He is trying to make the most of it and confirm his now obvious suspicions that Katayama was different than everyone else, and is feeling absolutely delighted about this as he's poking Katayama with a stick. Tsumura thinks things can still be the same for himself and he can continue to maintain that semblance of false superiority, not realizing his bigotry and cruelness is also setting him apart from the other students and is bringing him closer to that level of difference Katayama was on—just on a much more aggressive scale. Tsumura lives in outright denial that he's anything like Katayama while still seeing him as an easy target for bullying.

I have to say, a lot of Tsumura and Katayama's perspective at this point of the story reminds me of the Joy Division song, "Atrocity Exhibition", a song which highlights societal abuse of the mentally ill by putting them on display for onlookers to poke fun and laugh at. In this case, Katayama would be the Atrocity put on Exhibition and Tsumura would be the one watching his body twist for entertainment.

When the weather changes and it stops raining, Katayama retreats into his snail altogether for shelter. Naturally after a rainy period, it becomes quite sunny outside as a result. We see Tsumura at the school's reservoir outdoors, drinking directly from the faucet. His peers pass by and catch sight of this, commenting that he'll drown if he continues drinking at the rate he's going. He leans over his shoulder, questioning why his friends aren't as thirsty as he is, and they respond by stating "It's not that hot out..." Tsumura is starting to notice that he himself is exhibiting "differences" from his friends and is scared by this. This is our first tell-tale sign of Tsumura's impending fate—as Katayama was very reliant on rainwater at the beginning of his transformation in order to keep himself attending school.

A side by side comparison of both boys at the beginning stages of their snail transformations. Both are preferably drenched in water/sweat in order to keep themselves active and moving at a preferred pace.

Tsumura's fears become accelerated when he realizes that he cannot keep up with his other friends on their way to school. He hurries after them at the start of his day, urging them to wait up and wondering what ther rush is for. Its quite humorous how Tsumura's first instinct is, "I'm not slower than everyone else—everyone else is weird for being faster than me!" The other boys turn back at him confused by his request to match his pace, wondering why he's so slow. "What's wrong with you!?" They exclaim. Tsumura desperately huffs his way down the sidewalk, concernedly stating he doesn't know. However something in me tells me he does know and is just too afraid to come out and say it... He's turning into a snail like Tsumura did.

Tsumura is a fascinating antagonist as he's not necessarily someone who was wicked or even had wickedness embedded in him from the beginning—his own actions were a result of his cope with the internal battles he was dealing with as a coming of age teen trying to fit in amongst his classmates. Nothing and no one coerced him he needed to pick on Katayama, but because of feigning insecurity, he went and did so as he might have thought it made him look less "different" amongst his peers, but now he is finding that he is developing traits similar to Katayama—and they're becoming harder to hide. It's no coincidence that after this instance, Tsumura doesn't show up at school for some time...

In my opinion the weakest part of this story is the brief area in which Katayama remains in captivity by himself and Tsumura doesn't show up for a while. The majority of what happens is when the series protagonist, Kirie and her classmate Shiho visit Katayama, concerned about his regressed condition due to the weather. They spray him with a hose and he emerges from his shell, scaring them. Essentially more of the "Atrocity Exhibition" metaphor I'd talked about earlier but this time from the protagonists viewpoint.

Time passes, and on a rainy day, Mr. Yokota is notifying the class that Tsumura has now gone missing. The class begins to mumble to one another, Tsumura's peers fearing the worst. As the class grows in concern, behind Kirie's shoulder we see a giant snail once again scaling its way up the side of the school building—ushering panic into the classroom once again. Mr. Yokota at first believes its Katayama whose just escaped from his cage. However, one of Tsumura's peers confirms that this new scale is in fact Tsumura himself, who has now become a snail. The dead giveaway is the snail having Tsumura's mop-styled hair and unibrow—accompanied with the disturbing features of his front row of human teeth sticking out from his snail mouth. His human features he retained almost resembles a screaming corpse, horrified by his ironic fate! His reluctant acceptance of his own insecurities probably paved way for a less-than-graceful snail metamorphosis when compared to Katayama's...

I think another thing I would have liked to see is how the story would address Tsumura's parents or home life, as I feel that would have given us a lot more insight to why his character was so pent-up with self-hatred. Sure, all the tell-tale signs are there that he likely didn't enjoy his home life and his parents may have even had a similar reaction to his snail metamorphosis as Katayama's parents—but we don't get that unfortunately, as the school promptly decides to cage the newly transformed Tsumura with Katayama. Its also completely possible that the school assumed that contacting the parents wouldn't be useful after the first time they'd tried, and saw it best to take responsibility into their own hands—but this is all pure speculation on my own end.

Now here comes my favorite part of the story—the beginning of a oddly bittersweet ending for our two queer snail boys.

As such, Tsumura is put in the cage beside Katayama and the school surrounds them with their umbrellas clad to observe the two in captivity. Tsumura hovers close to the screen walls for some time, looking back at his former classmates and seems overall perplexed at his current situation. Katayama, however, seems taken with Tsumura's presence and studies him shyly from a few feet away. You could potentially imagine that there may still be some sentient thoughts brewing within those newly formed snail brains from before. Do the two recognize one another and remember all the social tension at the start of this whole mess? Or are they both beyond memory by this point, and are nos just two similarly wild and strange creatures who happened to have been thrown into the same cage? Oh dear, is that not just a strong metaphor for how students meet one another—"the cage" being a metaphor for the structured educational system throwing kids together and the onlooking students being those who don't understand what it is that makes boys such as Katayama or Tsumura so "different" than everyone else?

As students Kirie and Shiho observe the two snails in their habitat, they comment on the irony of Tsumura's predicament—how he was such a bully to Katayama, but now in their cage, they seem to be getting along just fine. We're then given a panel of both snail creatures getting particularly close with their faces as their eye-stalks intertwine in a rather tender way. It almost resembles a part-way Eskimo kiss to some degree with a strong dose of, 'lets explore each others bodies and figure out what they're for!' Another couple of students take note of the snails newfound companionship with one another and vocalize at how its 'kinda odd looking.' Then, Mr. Yokota leans in against the cage with a look of shock and sweat running down his forehead at what happens next.

Katayama and Tsumura begin mating with each other in their new snail forms. A shocked speech bubble points out the absurdity of the scenario—"No way! They're both males!" Another speech bubble chimes in and corrects them, "Snails are hermaphrodites! They're mating!"

Did anyone say gay snail rights!? There's so much to dissect about this situation! It also feels like their consummation is making a statement to their onlookers a little. "Go ahead and watch—we're BOTH snails and we're proud, dammit!"

My goodness, where to begin? First of all, I got to love how the first thing that the onlookers comment on is the fact that both Tsumara and Katayama were males. Now the shock factor isn't even honed in from the fact that they are former students, are now snails who have been put into a makeshift zoo, and they are fraternizing now—but rather, because when Tsumara and Katayama were both human, they were both referred to as male. It shocks the audience because that is how both boys are remembered prior to their transformation towards becoming a snail.

Second, going back on both boys and their intense desire for normalcy by the environment around them brings a whole new context knowing now that they wind up not only as snails—but as lovers. Tsumura was both fascinated and wildly insecure about Katayama's differences from himself, not being mature enough to have the self-realization that he was acting out of fear for his own underlying differences. Tsumura perceived the prospect of being a slowpoke or a snail as a negative because it set Katayama apart from the rest of the world. Perhaps in his snail form he's realized just how Katayama is not only similar to him in a lot of ways, but since they have relinquished their humanity, now he is the only one who can truly understand how he feels. I can almost imagine Tsumura reacting out of fear and terror at his own existence as a snail the entire time—up until Katayama approaches him in the cage and finds a way to make him feel comfortable about himself. Tsumura likely broke down and realized here that Katayama's differences weren't a display of weakness, but rather its something that makes him unique. At the end of the day Tsumura needed someone like Katayama in his life to help show him the truth about himself.

This also ties into the themes of earlier Uzumaki chapters, such as "Chapter 5: Twisted Souls", in which two young lovers with rivaling families had to give into the spiral in order for them to be together in peace from all the commotion. I would say "The Snail" is something of the same story, but the true obstacle in both boys lives was much grander than just a familial spat—because both are male as Mr. Yokata so promptly puts it during their mating session, their relationship is perceived as unnatural by societal standards. This could be why the involvement of both boys families was more of a metaphorical anecdote before the rest of the story could unfold, as the theme wasn't necessarily the family system being deconstructed by the spiral—but rather, the fragility of youthful masculine standards and the social peer pressure that coincides with wanting to be a normal student who goes to school while also dealing with the underlying insecurities of being "different"—whether its you being overweight, neurodivergent, queer, transgender, etc.

I think its how reactive the audience is that they're still projecting the humanity they had beforehand onto the boys, not taking into consideration that Katayama and Tsumura being evolved in the way they are—are now hermaphrodites/intersex, and as a result are now unreachable to the humane standards of gender normalcy? You can argue which one would be the male/female in their relationship but there are a lot of strange technicalities to the world of snails mating, to the point where I'm not even going to pretend as if I'm an expert on all that. Instead, I'll go ahead and link this article on Snailpedia which can give you a lot of more helpful information on just why a human would become so confused at the sight of snails mating, whether the snails in question are Lovecraftian horrors or just normal snails. You can even argue that there's a bit of a transgender allegory to both Tsumara and Katayama's snail transformations.

As a matter of fact now that I think about it, do you know what all this imagery with umbrella clad-people in the rain crudely observing and commenting on two members of the same-sex eloping behind a cage in the rain reminds me of? I kid you not, it feels like a sonic recreation of T.A.T.U's "All the Things She Said" music video.

I couldn't resist putting together a side-by-side comparison for the two sources. I'm surprised I didn't catch onto this much sooner! Now I just need to see these two snails stealing a car so they can recreate the music video for "Not Gonna Get Us!"

As we near the end to our somewhat disturbing but overall fascinating story, its sad to say that this is the last we'll see of our two queer snails—as the next page begins by establishing that several weeks later they escaped by digging through the dirt under the cage. Mr. Yokata and students Kirie and Shiho find the scene. Shiho questions whether snails are able to dig like that and Mr. Yokata responds with more sweat running down his forehead, "Yes, I'd say they can..." It sounds observant at first, as if he's just learned that fact and is trying to move forward with that knowledge, but the sweat beading down his forehead like from before tells a different story. Maybe I'm overreading into the character of Mr. Yokata but I'd say its as if he knew that information prior and is trying to act like this is something he didn't know before.

Recalling his initial shock at the two snail 'males' mating from before we can likely read into that as well. Its like he didn't understand much about snails and their behavioral patterns until these boys starting exhibiting those traits. Its interesting considering this is coming from the position of an educational advisor too. Not saying that he's required to know much about snails but its becoming more obvious this ordeal has left a fairly significant footprint in Mr. Yokata's mind. Its like he's still dawdling some internalized thoughts on the matter himself and hasn't decided to let those facets of his mind show. In fact I imagine he'd feel better if his students just stayed the hell away from his thoughts on the matter, as they're going to become quite apparent in a few pages here.

The only thing Katayama and Tsumura left behind are two prolonged and shiny trails of slime which lead outside the school grounds, through the woods and into the hills. They ran away from captivity to escape the social indifference and be together so they can go into the wild and live their best snail lives—very similar to the young couple's ending in Chapter 5. Mr. Yokota, Shiho and Kirie all follow the trails into the hills and find some sort of mound of dirt where something is buried. What could it be? To Mr. Yokota's horror he finds a mound of snail eggs.

Almost makes you wonder who the "mother" was—Tsumura or Katayama? My money's on Tsumura!

With an intense focus on Mr. Yokota's eyes, he explains how clear it is to him that these boys are no longer remotely "human" and that they're "mollusk-people." His verbal usage of the improvised "mollusk-people" insult made it sound as if he was trying to come up with some sort of slur for them. Our biggest takeaway from this statement is it reveals something about Mr. Yokota to us—he is repulsed by unnaturalism. Perhaps Mr. Yokota had been so conditioned to the normalized structure of the school environment that he'd always had this repulsion lingering within him. As a matter of fact he's comparable to Tsumura in a lot of ways, but Mr. Yokota is as if Tsumura never had a snail compatriot to help him see the truth about himself and grew within the structure of normalcy to get to where he is now. Now that these students have completely embraced their unnaturalism before the entire school, he is disgusted and disturbed, which gives him the green light to let his true nature to show.

Without warning Mr. Yokata begins stomping on the snail eggs, shocking both the girls. "Mr. Yokota, what are you doing!?" Kirie exclaims.

In a frenzy as he violently crushes the eggs, Mr. Yokota shouts aloud, "What do you think? I'm crushing them! Its disgusting, unnatural! These creatures mustn't breed!" That line from Mr. Yokota I think is very powerful as its one of those instances where the queer themes are directly presented to the readers. You can take it out of context and present it to someone who is at least faintly familiar with queer literacy and they can immediately assume what the premise of the story is about—which they would be wholeheartedly correct about. Mr. Yokata is also boldly comparing the concept of queer/intersex pregnancies to that of a creature trying to create more of itself to infect the population. The thought of more "mollusk-people" running around the city probably triggers him and he now wants to do everything in his power to stop more instances of this happening.

Shiho and Kirie both stand there concerned and confused as Mr. Yokota finishes his tantrum, trying to catch his breath and becomes drenched in sweat. He tells the girls that the snails are still out there and they may have laid other eggs and they should make it a mission to find them. Honestly, I feel for these poor girls. Who knows how long Mr. Yokota had them searching around the hills for these gay snails and any more of their babies, but to no one's surprise the search comes up scarce.

Its here we arrive to the final entry of our story. A few days pass and one rainy afternoon, Mr. Yokota comes to class—dragging himself across the floor while having mostly transformed into a "mollusk-person" himself! Much like when Tsumura transformed into a snail, Mr. Yokota has become something he was most afraid of and now has to face the consequences of being different.

What a send-off! The spiral curse manifests itself in a number of strange and surreal ways, though this story remains my personal favorite for its themes and portrayals of bullying, insecurity and societal standards.

Now that we've arrived to the finish line there's a lot to take in. For a story involving slimy things such as snails and eggs, it almost feels like its saying something about the cruelty portrayed by the characters of Tsumura and Katayama. Its clear most of this story tackles themes of homophobia—with Tsumura and his unnatural hatred towards Katayama, Katayama coping with his differences from everyone else around him, Katayama's parents refusal to accept their newly transformed son, Tsumura and Katayama's strange but surreal enemies-to-lovers arc, and Mr. Yokota's take on the entire situation—only for him to be revealed as one of the very things he deemed as "unnatural."

I think the world needs more stories such as The Snail because it's something that has aged remarkably well in today's era because now that so much hatred is being brought to light by the rise of information, we're finding that we have a lot of "snails" amongst humanity. The snail itself is definitely a metaphor for just how diluted and different a person is on the inside compared to how they try to portray themselves around everyone else in their environment. When people see the completely exposed form of who you are, it is capable of generating a breeding ground for people such as Tsumura to poke you with a stick because of your "snailness." Tsumura and Mr. Yokota transforming into snails is a huge statement acknowledging that a lot of the hatred generated for a person's "snailness" stems from a fear of their own "unnatural" part of themselves.

 Normally these sorts of stories by Junji Ito and on a very open-ended note so you can likely use your imagination to close off the mystery of what happens next, since we never see the key characters from "The Snail" again throughout the remainder of Uzumaki's run. Perhaps Mr. Yokota will need to retreat into the hills himself? Maybe he'll find Tsumura and Katayama already starting their next colony of snail children and they'll be two kings sitting on the throne of a snail empire, deeming whether Mr. Yokota is worthy of forgiveness or not. Which let's be honest, they'll absolutely take him in and gain a strong factor for their snail army... Of course, that's just my own headcanon! What do YOU think happened next???

Thank you for reading, and may you have a frightfully wonderful October ahead of yourselves! 🎃🎃🎃

~Syd

Friday, March 22, 2024

Wolf Volkov: The Queerest Villain in the Gargoyles Universe?

 Hello all,

Sydney here, hoping that this newest blog post finds my readers well!
 
After being relatively caught up to speed on the recent 12 issue comic run of Gargoyles and the long awaited return of my favorite character, Wolf, I'd like to once again share my thoughts on the big guy.
 
  

I'm sorry, who is this "Wolf" you speak of?

 
To refresh everyone's memory on who the hell Wolf even is, you can either read my prior aricle I'd published in 2020 OR I can just summarize it here for those who would like a recap!
 
Wolf, who's full name could now be considered as Wolf Volkov, is a minor recurring villiain from the cult classic Gargoyles franchise, created by Greg Weisman, aired on Disney from 1994-1997. In season 1, Episode 6, "Thrill of the Hunt", the show introduced a squad of villains posing as TV stars known as "The Pack."

The pack has always been this dream squad of supervillains from the start of the show, and Wolf is brought into the show as a part of that squad and since then has been this component to add to that villain squad aesthetic.

Yet as the show's story progressed, two of the five original members of said squad have bailed because they were fleshed out in the writing room, Fox & Dingo.

The twins, Jackal & Hyena, have always just kind of been a psychopathic evil, and it was very much established that way in their own solo episodes where they're the villains. Season 1 Episode "Her Brother's Keeper" is the finest example.

But based on how everything plays out with The Pack, where does that bring their final member, Wolf?
 
I would even say that maybe out of the original five members, that Wolf for a while was the least developed in the writing room, and in doing so, the writers incidentally made him one of the more developed characters of the Gargoyles universe?

The base description of the role he plays in the show: He's the strong man of the pack. Visually, he's imposing and gruff, and he's someone unafraid to go hand to hand with Goliath in physical combat for some really fantastic action sequences. I think the description of him being the one who is always going hand to hand with Goliath kind of set the premise in stone that this character should become absolutely obsessed with Goliath, and he should be obsessed with the fact that he can't overpower him. It's a very simple yet effective motive for just making a character.

The more this character appeared with that same premise in mind, I'd say the more dedicated to this premise the character's personality became. His obsession with another man is what drew me to become so fascinated the character, not to mention he looks like someone a average queer viewer could find visually attractive—through his large muscles, his imposing eyes, the testosterone fueled performance voice actor Clancy Brown delivers through him, all of it combines into a character that just exhumes masculinity, and even goes as far as craving it when its before him.

There are a few story based connections made to the character, mostly due to Clancy Brown's other roles on the series as viking leader Hakon, who lead the siege on slaughtering the Scotland clan of Gargoyles. Hakon was revealed to be Wolf's ancestor in Season 2, Episode 46 of Gargoyles, "Vendettas." In it, we get the rare occasion to solely focus on Wolf separate from the rest of the pack (finally.) Within this episode, we see what Wolf is like on his own—angry, witless, directionless, frustrated, and stooping low to get what he desires. What he desires most of all, though, is the real kicker—he is doing all of this because he desires Goliath. He wants to 'get his claws on him.' As they say, 'the bigger the humiliation, the bigger the revenge.'

For Wolf to feel so strongly about someone else who thinks very little of him speaks volumes. It displays bursts of insecurity and feigning masculinity, not to mention the instability in dealing with intense emotions.
 
Hakon and Wolf have something of a toxic dynamic themselves, both of them just trying to use the other for their own benefit. During one of these arguments with his ghostly ancestor, Hakon says to him, "How you could be descended from me, I'll never know." The first known member of Wolf's family and bloodline which we're aware of, and he finds Wolf to be an 'inferior relative.'
 
With this in mind, the Wolf fanatics lurking from the shadows such as myself have had burning questions in mind! Such as, why does he feel this massive amount of pressure to hold up to someone else's masculinity? How did he become this way and who made him this way?

Ohhh okay I remember now! So, what's new with Wolfie?


So now that we're caught up to speed, here is what we have learned about Wolf recently in the new 12 issue comic run:

  • Wolf reappears into the Gargoyles franchise via Issue #6 of Dynamite Comic's run... The same issue where we get canon confirmation of Lexington's relationship with Staghart. Gay coincidence? I think NOT!

  • Wolf's father, Russian gangster Grisha Volkov, looks like a god damn serial killer. Sorta like if Putin couldn't afford all his age regression drugs? Just looking at him blackens my soul. If I was gay and my father looked like this, I might turn out like Wolf too!
    "You look at him and tell me there's a God." ~Master Shake, Season 1, Episode 11 of Aqua Teen Hunger Force

  • Wolf is Russian and speaks Russian to his father, making him bilingual.

  • Wolfs last name is likely Volkov.
And there he is for the first time since the 90s, in all his queer glory! Of course, he can't help but get slightly giddy when he's thinking about seeing Goliath again...
  • While off panel, he has a conversation in Russian with his father about the attempted hit, referring to Grisha as "papa." Wolf asks him if his father would prefer if he went after Jack Dane, but his father says, "any of our men can get to Dane." I wonder if is including Wolf in the matter when he says "our", or if he's disregarding Wolf of having any importance in his father's criminal underworld. He assigns him to go after the other man, Thomas Brod, instead. Thomas Brod is in Rikers with Goliath, of course exciting Wolf... Throughout the conversation, Wolf exhibits a level of care and concern for his father.

  • We also get confirmation that both of his parents are alive and seem to be aware he mutated, not commenting on the matter?
  • He expresses care about his mom being "ticked" regarding the ordeal with his father, but in regards to his father, is more concerned about reputation and how he's percieved. He loves his Mama, I think, which is sweet and I'd like to learn more about her as well. For papa, however, I think he's more concerned about how much respect he's able to attain from him.

  • Can't get over how Wolf's father specifically wanted Wolf to carry out the hit on Brod. Not really the most ideal thing a father could want for their child...

  • Tomas Brod, the Russian mobster Wolf & the twins are assigned to kill, is voiced by Clancy Brown in the TV series, giving a huge level of irony as Wolf is also voiced by Clancy Brown.

  • Wolf was okay with killing Brod and his cellmate Tony Dracon himself, but I'm convinced he made this choice since this assignment was so close to home. (Everyone's got daddy issues, these days.)
     
  • He's not the gunman of the operation (outsourcing to the twins, big surprise there) but he's also the one who seems to be calling the shots. It's interesting, to see him actually take a leadership role seriously out of personal motivation rather than just for the sake of being the "alpha."
Image
  • This is undoubtedly the most displeased I have ever seen him in having to deal with Goliath. In the series he always gets this twisted smile on his face and even gets excited from the thought of fighting him. Here he's addressing him as an inconvenience!
  • Wolf was more concerned about the assignment at hand than getting to see Goliath again, which is interesting as that's normally not the priority for him. We all know how much his masculinity just feeds on his encounters with Goliath. For this particular mission regarding Brod, I think the familial connection shifted his priorities hardcore.

  • Wolf screwed up royally by being the one to give Dracon the information regarding Dino and the hit. It's both cold and callous of him to use that information to taunt Dracon before having him killed, however, it was weaponized back against him after failing the hit. Long story short, he's still not very good at his job due to incompetency.

  • Despite the attempted hit, he still has not yet killed anyone in-universe (that we know of.)

  • Failing to make this hit is going to complicate things for him, not just in regards to being thwarted by Goliath again, and not just because he's in prison again (he'll get busted out by Coyote, I'm sure) but in regards to his family and that reputation he wanted to protect. Goliath hitting him close to home is gonna grind those already rusted gears.

  • He smiled real big thinking about Goliath "in chains" when we first saw him in Issue #6. However in Issue #8, nothing made him smile about the fight itself. The more unhinged unfiltered Wolf we saw from "Vendettas" was in mad check during this run.

  • Speaking of "Vendettas", can we mention how whenever Wolf gets the story's focus, the themes of broken family seem to follow him? He was brought back to the story of Gargoyles through a family tie yet again. Considering how this run ended for the Dracon family, it displays a lot of how men in the criminal world become obsessed with power, even going as far as losing sight of friend and foe from those closest to them by blood.

  • Can I also mention how in Issue #12, Wolf's father when confronting the Gargoyles alongside the rest of the mob shows not an ounce of blame to himself for his own son getting arrested and instead condemning the Gargoyles for stopping him from committing further felonies... Congratulations Greg, you have created a character that I actually hate more than Maggie! But of course like Maggie, I love to hate him, because that just means there's so much more in terms of potential for Wolf and getting a taste of where he comes from is a much needed dosage of medicine for context to his character.

WOW that is a lot! So Syd, what are YOUR thoughts on this new context?

 
Wolf's "Yandere" smile at Goliath from "Vendettas", a visual replication of Syd's expression when he saw we were getting more Wolf content!

 
The more I think about it, the more I believe Goliath is somewhat of a moral savior for Wolf. Whenever Wolf is out of line he always puts him back in his place, always doing the responsible thing on his regard without any intense feelings or hatred towards Wolf. I'm glad he saves the day, as someone who would prefer to see Wolf pushed away from both The Pack and his criminal lifestyle. Maybe a part of Wolf's psychosis sees Goliath as someone who represents an outlet for what he feels he couldn't ever possibly be—an intelligent, free-spirited and heroic man, who's secure and balanced with his masculinity? The roots of Wolf's psychotic and queer obsession just keep coming through with all this new context, and I absolutely love it!
 
I am curious about Wolf's mother, and what she would think about his life choices as of lately, whether she was nice or mean to him, whether she knows his feelings in regards to his sexuality. If she's still with his father then it would likely explain a few things. Something about the big bad Wolfman loving his mother is really sweet to me. While it's not always the case, a lot of closeted gay men find it much easier to open up to their mother than their father. The reason being a mother is much more emotionally mature and understanding than the father would be. I don't know a thing about her other than she did a fantastic job at creating a beautiful man, even if it was indirect. I wonder how much she knows/cares, and am ever so curious!

I don't know if Wolf intended on carrying out the hit himself when he'd first heard about what happened, but once his dad kind of seemed sure that was what he wanted to happen, Wolf did not hesitate and tried his best to follow the assignment through. I don't know if this is something that has happened before in the relationship, or if this is a new development? I'm not sure how tethered to the mafia lifestyle Wolf had been. Clearly he's very close to it considering who his father is, but has he really killed for it before?

I am glad that Goliath was able to stop him from causing any serious damage to others because that also stops him from doing further damage to himself. Wolf probably doesn't register it that way, but that is the case.

Well, Wolf, maybe you're NOT meant to be a bad guy. Maybe you're not very good at being bad for a reason? Maybe you're so used to masking yourself into this particular role that it's all you know how to do? I wish there could be someone who can help guide him towards better choices. Dingo had been the closest thing to that once upon a time until Dingos falling out with the pack. Dingo himself was/is kind of a mess himself.

As for Fox, she was the one who flipped the switch for him way back in Season One. Showing him that photo of Goliath was like giving a doggie a scent to follow and he's been hell bent on pursuing that, despite probably forgetting who put the seeds there to begin with. Fox knew how to work Wolf without the need for physical contact, and it's not like it's difficult—Wolf is a dolt! I wonder what she would say to him nowadays about everything, now that her and Xanatos have had their priorities shift.

Wolf needs to get away from the twins and his family, and maybe he could even seek refuge with the redemption squad which would be his closest source of refuge for an individual like him, and we would get to see him team up with Dingo again, maybe even Fang? I think a group of misfits who have done bad and are trying to do better are his best course of rehabilitation.

A big part of why I'm so invested into Wolf's story is that I firmly believe that queer coded villains definitely deserve better in this day and age. A big part of the strain that queer coded villains have in the queer audience is that when queer audiences they see those coded signs, or something depicting outside the norm expressions, whether it be gender or same sex attraction, they kinda get that mental "click" and grow attached to the fantasy depictions of queerness. I think the reason is we're a real sensitive group cause we often have experienced unhappiness ourselves, hence why I think we care so much about those things. I feel a lot of queer folk who have survived growing up in Russia would absolutely love Wolf. Masking yourself to fit in with a group like Wolf probably did his whole life. In my eyes he's kinda a big dumb mangled doggie just doing what he's used to, yes he's done bad and is continuing to do bad but... He's also so BAD at being bad in case y'all haven't noticed!
 
Anyways, long story shor I'm satisfied with how this recent run has gone, and have no real criticisms in regards to how Wolf's role in this run was told. I think all this context makes him all the more fascinating. I'll be looking forward to what Weisman has in store for the future, all the recent information and context the comics have been giving are a gift for certain and I wanna see more of it!

What do you think the future of 'Gargoyles' has in store for Wolf?

An art commission I received from Furiarossa, displaying a distressed Wolf inside an empty room and covering his ears as a pride parade ensues outside.

Well, its hard to say what the future has in store for my favorite character. I'm certain Greg is set on going through with the Ultra-Pack, and a new variant of Coyote will upgrade Wolf, Hyena & Jackal further somehow.
 
As for myself, knowing that there so much queerness inside of Wolf, and because of that there has always been these massive storms brewing inside of him mentally, making his perspective on the world as well as himself extremely warped—I don't want Wolf to turn further into a monster of any sorts. I fear he would continue to lose control until someone is forced to take him out or lock him up for good.
 
If we're going off the logic that its only fair for him to ensue such a fate as his family is responsible for so much heartbreak and pain in the world, the fact that he purposely went through with becoming a monster in order to match up to Goliath already defies the prophecy of "Wolf, the beast slayer"—he IS a beast now!

You could make the argument that a villain can be both queer and an evil person, and Wolf doesn't necessarily need any redemption as there are much more positive portrayals of queer people in the Gargoyles universe, (Lexington, Staghart, and probably numerous other characters.)
 
But there is one thing you cannot deny about Gargoyles as a franchise, and it is that they respect their villains enough to give them complexity.
 
Hell, his two other teammates from the pack, Hyena and Fox, are both bisexual women. Fox for a while was on and off as a villain for several episodes until she settled in and had a baby with Xanatos, ie, her priorities changed. Hyena on the other hand, is an unabashed psychopath who would enjoy killing her former lover, Fox, as well as anyone who gets in her way. You can argue Xanatos is also obsessed with Goliath in a pseudo-queer way, trying to make him the equivalent to a pawn in his schemes.

Wolf's biggest motivator as a villain is, he wants to "kill" Goliath out of his own inferiority. His goals are always emotionally motivated and poorly executed. He is giving himself an idea of what it is he is striving for so he can distract himself from the truth of how he feels. A lot of his behavioral mannerisms are similar to the reality of insecure men who fall victim to "alpha male" scams. A lot of men with the inability to cope with their emotions and insecurities will condition themselves mentally and emotionally to try and adjust in their environment. The closest father figure Wolf ever had is a gangster and a killer. Being a part of The Pack could be  compensation for not being able to adjust completely to the brooding world of his father's dark business.
 
When someone is changing themselves as much as they can so they can better blend into the role they're given, that is a mental tactic known as masking, and it leads to mental issues such as repression, or the inability to feel secure with yourself at any point in time. I don't think Wolf has known peace at any point in his life, outside of when he's asleep that is. When he's asleep I think is when his subconscious can finally run wild and free without the repression induced by the conscious mind. Psychologically, Wolf is layered as hell and beneath those layers is a giant queer diva who's just screaming for attention.
 
The longer you look into Wolf, he reflects a sad reality of what many repressed queer men put themselves through to cope with their problematic reality, finding themselves at mercy to the environment they're born and raised into involuntarily. Wolf was dependent on his family to bring him up in the world so that he can discover himself, and that clearly failed hardcore as he doesn't even know who he is outside of his own "big bad Wolf" persona.

Per the notes from Greg's blog, the Ultra-Pack will have Jackal, Hyena and Wolf all freshly upgraded, in an unknown manner, led by Coyote and will also obtain a new member who Greg hinted will probably be a male. Greg's only comment as to what the upgrades will be in particular is, "there will be upgrades. I'm not saying anything else."

I kinda hope the only changes Wolf gets is a new outfit, maybe he can get a mustache back as well? (I'm feeling he needs to ditch the singlet and get a black crop top w/ some matching briefs? More guy-liner maybe, to try and bring out that queer energy I do so love to see from him!)

Also, the premise of a new guy on the super villain dream squad? I'd imagine its due to two-fifths of the members quitting. It brings to mind another note on the GargWiki regarding Coyote's impending leadership with the Ultra-Pack, that he would use 'carrot-and-stick' tactics to keep the team united...

They're not gonna honey pot Wolf with a boyfriend, are they..? Cause it low-ley sounds like they're gonna honey pot Wolf with a boyfriend... Or, perhaps they're getting a new member cause someone else may not be a member for long? These theories are large stretches and I think the outcome may be far more complex.
 
At the end of the day, Wolf is currently in prison yet again having failed the hit. The next time we tune in for his story, I think we will find him at a particularly interesting crossroads. Because this failure is so personal, he could continue to dwell on his thoughts and the current circumstances, furthering his descent into insanity—or maybe this loss is so significant that we could see signs and instances of reevaluation for his coping with failure, though this is all depending on how his environment continues to treat him.

Wolf to me from the very beginning has been a psychologically disillusioned guy, surrounded by criminals his whole life and have only ever found any form of social freedom for his identity amongst other criminals. He strikes me as a very stupid character that is victim to an intelligent world growing and changing around him, and from the start, he's always conditioned to pick the side that benefits his circumstance the most. Presently, the characters who are continuing to reel him astray are his other pack members, Jackal, Hyena & Coyote, and likely most of all—his own father and the connections his family has to the criminal underworld.

Greg has done an absolutely breathtaking job giving us much more context to Wolf's character in this run and as to what the future for my favorite character may be—the possibilities are endless! At this point, all we can do is trust Greg behind the wheel, and he seems to be on a roll so far!

Thank you again y'all,
~Syd
 
 
  • "The Room of The Wolf", Furiarossa, https://linktr.ee/FuriarossaAndMimma
  •  Vendettas. GargWiki. (n.d.). https://gargwiki.net/Vendettas

  • “Wolf.” GargWiki, https://gargwiki.net/Wolf
  • Greg’s Latest Responses : Gargoyles : Station Eight, www.s8.org/gargoyles/askgreg/latest.php


Sunday, March 5, 2023

Alice In Wonderland: A Retrospective of the ADHD Protagonist


"I give myself very good advice,

But I very seldom follow it.

That explains the trouble that I'm always in."


So let me start this Alice in Wonderland retrospective by making one thing blatantly clear: There would be NO Wonderland without Alice. One cannot exist without the other. This is because Alice's "Wonderland" is her uncontrollable and active imagination. Alice is a young English girl with undiagnosed ADHD. She is a personification of a child with an overactive imagination and constant need for energy and excitement. The story begins with her in the field with her mother. She quickly grows bored of her time here and begins to fantasize about a world of her own where everything could make sense to her and she could finally attain focus on the energetic whimsy around her. As is the case with the ADHD protagonist, boredom often leads to mental disassociation, or what the more common person would refer to as a "daydream."



"Within that world of my own,

could listen to a babbling brook,

And hear a song that I could understand,

I keep wishing it could be that way,

Because my world would be a wonderland."


The reason for this Wonderland being this place of madness and discord is because as is the case with any person with ADHD, they are energized by a certain rush of creative adrenaline and a liberation of thoughts, but this can lead to over stimulation and panic attacks. Everything within Alice's Wonderland is a different component of Alice's subconscious screaming at her. Wonderland at least in most iterations is the personification of Alice's dreamworld. It portrays the world as imaginative and creative as Alice prefers to see the world. However deeper within that world is sheer madness and fear as Alice dreamily manifests some of her real world obstacles, such as the large and booming temperamental red queen, portraying an intimidating matronly figure of sorts. That on top of the group of racist flowers exiling her for being a 'weed' may be a part of her mother's sophisticated lifestyle, a lifestyle which Alice resents being the adventurous youth she is.


The Cheshire Cat is the most illusive figure in Wonderland. It toys with her, offering what seems to be beacons of hope at times only to lead her further down the rabbit hole. The cat enjoys making a fool out of the red queen and manipulating her to the point of infuriating, only for her to take the blame on the innocent little girl instead of the illusion cat itself. There could be some metaphor of political manipulation here, but what I find interesting is the fact that Alice herself loves cats. Not only that but if every part of Wonderland is a different component of Alice's subconscious... What does this constantly grinning, reality distorting and malicious cat figure represent?


The white rabbit is the object which catches Alice's attention and leads her to the rabbit hole. But the rabbit itself doesn't even acknowledge Alice's existence. Its a figurehead of curiosity, an aimless thought which draws our attention deeper into the rabbit hole. Eventually like Alice we find ourselves so deep within the rabbit hole question why we began pursuing this thought to begin with. Its moments like these the Chesire Cat manifests itself and for lack of a better word, gives Alice very very bad advice which only brings her deeper into the heart of Wonderland. The Cheshire Cat does not conform to Wonderland's monarchy and even toys around with it, making the Cheshire Cat more of a direct manifestation of Wonderland itself. Even the red queen, the most antagonistic figure, is just another silly component of Wonderland meant to entertain Alice with how silly and shrewd she is. Throughout the story she is afraid of antagonizing the red queen further, but the cat so eloquently offers to help make the queen even more mad.


"Veneno 7" track thumbnail by SpaceGhostPurrp, displaying a psychedelic filter over The Cheshire Cat


This does in turn lead to the face off scene where Alice grows into a giant and calls the queen out on her bullshit, but as she does this she shrinks back down to size so that she can be once again susceptible to any punishment the red queen imposes upon her.


The Cheshire Cat is an agent of chaos, mocking Alice's susceptibility to the insane and chaotic world around her. It does not seek to make anyone's life any better—only to make Wonderland more mad. Trying to raise the stakes of Alice's predicament to only bemuse the cat's own entertainment. If the Cheshire Cat truly is the direct manifestation of Wonderland, and Wonderland is the dream world to the ADHD protagonist, then the Cheshire Cat is the energetic madness which controls curiosity, controls focus, and does whatever the hell it wants with it. That being said, Alice and the Chesire Cat's interactions are Alice conferring with her own subconscious. Her own persona. Her sleeping desire to make the world more mad so that the dream can lure her in even more.


Alice is high on my list of favorite characters in fiction because she was the very first protagonist I could easily envision myself becoming. I have ADHD myself and find that am constantly chasing white rabbits. I find myself fascinated with rabbit holes, but am also prone to being overstimulated or anxious the longer I let myself get lost within them. I was originally going to primarily analyze the Cheshire Cat within this article here as his existence and what he represents perplexes me, but as previously stated, everything in Wonderland is a manifestation of Alice's subconscious—even the Cheshire Cat. One cannot exist without the other.

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