#JUST LET US CHECK IN WITH THEM VIA CAMEOS OR SOMETHING ON THE OTHER SHOWS | Explore Tumblr Posts and Blogs

wakeupfreanz · 1 year

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Hey frean! Two questions tonight 🧘🏽

Do you think jyp’s A2K project and TV show are gonna do well? Tons of people complained about the he range which is understandable. I just don’t know what they’re aiming for with such young girls ☠️ like who’s gonna tune in? what’s the concept?

also hybe x geffen global girl group.. when could we expect that to air? will there be actual diversity or is it just gonna be a bunch of wasians. Will they even be as successful as their kpop group counterparts?

Hi! Let's get into it, I remember the announcement, but it's been REAL quiet as for any updates recently. Let's see what goes on.

A2K Airing?: Aries Season, Fire sign season BIG, Sagittarius or Scorpio season. The 9th month, September during a transitional period. It feels like production is running very quickly, if any content is going to be made public, we will either see it very soon or will have to wait quite a bit like during Virgo season. I can see JYP himself being the final decision to slow things down and push it to a Virgo season if it doesn't feel like the right day during Aries season. If it does not come to us in this year, I can foresee the project being pushed 2-3 years further out to reserve more time for training/polishing.

A2K Audience?: QoC, Chariot, 8oC, HM. There are likely to be a lot of rollover fans. Lots, a LOT of stays and onces are going to be very interested in them. I can see them having a LOT of company stans hanging around them, which might entice external stans and new people to check them out. The fans are likely going to end up hard carrying half of the promo it seems.

A2K Concept?: 4oC, HM, 9oS, 3oW. Teen angst is going to be big for them it seems. The pain, depth of emotion, the pain of growing and the worldview for adolescence is going to be what follows them likely through their career. They're projecting for the younger audience in an attempt to grow up with them it seems.

A2K Success Projection?: 9oW, 5oC, Moon rev, KnoW. It's going to be veeeeeeery strange in the beginning? If at all, you're going to see the gaps in talent before they're able to fuse together and improve. This could mean that we're going to be seeing the vast expanse of their training period. Their struggling of all kinds is going to be on display which is going to attract others via sympathy and upset others because it will seem like exploitation. It's going to be a shaky start, but they're going to become a fast stallion and charge their way up relentlessly. It would not be fair to compare them to anyone else under the JYP label it seems since their full success has not been shown to me yet. Ask me this again later on.

Any JYP idol cameos in A2K?: 6oS, likely yes. (COUGH COUGH BANG CHAN AHEM!)

Hybe x Geffen Airing?: Taurus season is a iffy maybe. Fire is also present here but not quite as strongly? Leo season, Late October. Earlier earth sign seasons. It seems like they might be waiting for their competition to make the first move before they make a hard decision. They wanna play some games with clout it seems. They might also consider a period where the sign is feminine like Taurus more heavily because they want the masses to be a bit more malleable and develop some sympathy point for them.

Hybe x Geffen Diversity?: 6oP rev, it's erring toward likely not. Something strange like more diverse people might audition but there's something that they're "missing" that might not get them a spot in the lineup. Don't like how that sounds. Come back and ask this question again later.

Hybe x Geffen Success Projection?: KoS, KnoP, PoC, 2oS. There are some people who are gonna wanna hate them SO bad, but lowkey enjoy them. They wont be lacking in talent this time, but it seems like each member or the collective group is going to lack something fundamental that makes people stick to them immediately. They're going to take off and ride a good successful wave. The missing fundamental is a healthy does of struggle/suffering, but they are going to be very grounded in terms of being relatable like people. The public might also be able to feel that they're like coworkers in the beginning before they might get closer to each other. They also might have a concept that appears to be a suggestion at times instead of being part of the brand, but that is likely not going to be a big deal. I don't think I can compare them to their counterparts in a positive or negative way, it just seems like they will unlock a pathway for the in between audience, thus meaning they will not be a flop by any means, but they won't be a cultural phenomena and have an ungodly amount of viewers like bts. But they will be successful. Come back and ask this again further down the road.

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mgsapphire · 3 years

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My K-drama recommendation master list Part 2

You can find part 1 here

Look, you gave us relatively new recommendations, what about ones older than 10 years? I'll give you my top 5

Princess Hours (2006) Is a modern Cinderella story. It's 24 episodes long. Available on Viki.

Personal Taste (2010) Honestly, problematic plot if you put your mind into it, but entertaining nonetheless. It's 16 episodes long, each one lasting a little over an hour, available on Viki.

Cinderella's Sister (2010) You hate every character, but there's still something that makes you watch it. Available on Viki.

Thank You (2007) was ahead of its time, it's about a single mother with a daughter who has an HIV+ diagnosis. 16 episodes long, each one lasting a little over an hour. Available on Viki.

Stairway to Heaven (2003) for a good melodrama.

What about romantic fantasies involving fantastic beings?

Guardian: The lonely and Great God(2016) A classic of the genre. It tells the story of a God who was once a man, and is being punished by immortality, unless he meets his bride, who just so happens to be a high schooler centuries later. Available on viki. 16 episodes long with 3 specials, all lasting about 75 minutes.

Hotel Del Luna (2019) it would be unfair to talk about Goblin, without talking about this other masterpiece about a being cursed into immortality and granted special availabilities along with it, but a curse is still a curse, and she must run a hotel meant for ghosts, where after centuries of being, meets a young man who is alive. Availability on Viki, 16 episodes long and each one lastz about 75 minutes.

Tale of the Nine Tailed (2020) You get to see Lee Dong Wook as another mystical being, and Kim Bum is his half brother. 16 episodes long and one special, each one lasting about 65 minutes. Available on Viki.

My roommate is a Gumiho (2021) what's up with gumihos? It's still airing. The title is self explanatory. Available on Viki and Qiyi.

Angel's last mission: Love (2019) is a cute and sad story about an angel who is about to ascend and a ballerina who has a cynical view of the world. Available on Viki. Each episode averages 30 minutes, with 32 episodes.

Doom at your service (2021) About to finish airing. It tells the story of a dying woman who wishes doom upon the world, and the doom who answers her plea. Available on viki, 16 episodes long, each one lasting about an hour.

The Scholar Who walks the night (2015) another Lee Joon Gi entry, but I swear all of his works are great, it's a period drama that tells the story of a scholar who is a vampire and the young bookseller he meets. It's 20 episodes long, each one lasting about an hour. Available on viki. Also, if you've liked Lee Soo Hyuk in Doom at Your Service, I advise you check this one out.

Tale of Arang (2012) two Lee Joon Gi entries in a row? Girl, you have to stop. Anyways, this one is another period piece of a magistrate who can see ghosts and the ghost of a young woman who doesn't remember her life, nor the cause of her death. Available on viki, it's 20 episodes long, each one lasting a little over an hour.

Look, those are fine or whatever, but I started as a K-pop fan, where can I see some idol dramas? Don't worry, I came prepared

Full House (2004) with Rain as the main character is the og idol drama in my opinion. Available on Viki. 16 episodes long, each one lasting about 73 minutes.

Imitation (2021) is currently airing, and it's literally an idol drama about idols. You can find a looot of idols too: Jeong Yun Ho and Park Seong Hwa from Ateez, Chani and Hwi Young from SF9, Park Ji Yeon from T-ara, Lim Na Young from I.O.I and Pristin, and although Jeong Ji So is not an idol, she is the main lead, and I absolutely love her, she's also in Doom at your service. Available on Viki.

Miss Panda and Mr. Hedgehog (2012) features Donghae from Super Junior, and if I'm going to recommend a Super Junior drama, I would rather recommend one featuring him over Siwon.

At a Distance the Spring is Green (2021) is currently airing too, and only has four released episodes, but I've liked it so far. Featuring Park Ji Hoon, and Kwon Dun Bin. Also, I have a lot of opinions about this show. Available on Viki.

I was going to put an IU drama but, all her dramas are good, so go and watch them all, the woman has range.

Dream High (2011) is the king of idol dramas, in my opinion. It talksa about a high school for people who want to be idols. Another one with a long line up of idols, so let me start: Suzy, IU, Taecyeon, Nichkhun and Wooyoung from 2PM, Ham Eun Jung from T-ara. Leeteuk (SuJu and Chansung (2PM) make cameos. Similarly to Imitation, Kim Soo Hyun is not an idol, but he's the main lead. It's 16 episodes long, each one lasting about 65 minutes. Available on Viki.

Wow, quite a few, but they all seem rather popular, do you have some underrated gems? I'm going to have to go down memory lane, but I do

The Queen's Classroom (2013) This one feels like a fever dream, because I'm aware it exists, I watched it back when it first aired, but I can't find it anywhere now. It's based on a Japanese drama of the same name. It's about a strict but warm hearted teacher and her students' lives and struggles. 16 episodes long. DM me if you find anywhere to watch it.

1% of Something (2016) is a really cute drama, the chemistry is off the charts, and if you're looking for skinship, this one is the one for you, underrated arranged marriage kdrama, I'm telling you. It's 16 episodes long, averaging 45 minutes, and it's on Viki.

I'm not a Robot (2017) has a really cute plot, not underrated per se, but not hyped enough. It's 32 episodes long, each one averaging 30 minutes. Available on Viki.

Do you like Brahms? (2020) is a music themed kdrama, really cute and wholesome. If you like 2setviolin and watched their critique on their YouTube channel, let me tell you, the cast actually knows how to play violin and stuff, and there's an actual child prodigy in there. It got so much hate bc of that one yt video. It's 16 episode long, each one lasting about an hour. Available on Viki.

Solomon's Perjury (2016) a good reflection on youth and the pressure society has. 12 episodes long, lasting about 63 minutes each. Available on Viki.

The Greatest Love (2011) is a super entertaining TV show, and just supper funny and cute. 16 episodes long, each one lasting around 65 minutes. Available on Viki.

Two Cops (2017) if you like Kim Seon Ho, I think this was his TV acting debut. It's a hilarious action comedy TV show. 32 episodes long, lasting around 30 minutes. Available on viki.

Do you have any recommendations where time traveling or time is central to the story?

Alice (2020) look, I can't give you a full explanation because it's too mind bending. Let's leave it at detective meets his mother. Available on Viki.

Signal (2016) The premise is similar to that of the movie Frequency (2000) in which there's communication between the past and the present via technology. The plot is based on the real Hwaseong serial murders. Really interesting. Available on Netflix. If you like the premise of communicating with the past via technology Call (2020) is a Korean thriller movie available on Netflix.

Chicago Typewriter (2017) this one is about reincarnation but we get to see both timelines. Available on Netflix.

Tomorrow with you (2017) Time-traveling but make it ✨depressing ✨. The story of a man who time travels, and how that ability messes with his marriage. Available on Netflix.

What about historical dramas? I don't really watch those, but here are some I liked

The Moon Embracing the Sun (2012) is one of the few I've finished. It's really good, it follows the love story of a king. Available on viki. 20 episodes long, each one lasting about an hour.

Gunman in Joseon (2014) Am I recommending you this one because of Lee Joon Gi? Maybe. It has 22 episodes, each one lasting about an hour. Available on Viki.

The Crowned Clown (2019) a story of the Prince and the Pauper if I must give you a description that is relatable, but if you know the book titled Skogland, it's closer to that. It's 16 episodes long, each one lasting about 80 minutes. Available on Viki.

I'm a little ashamed to say this, but do you have any BL? I do, I do

To My Star (2021) is a story about an actor and a chef, and how they learn to cohabit after the actor is forced into hiding. You can watch either the movie version or the drama version, both available on viki.

Color Rush (2020) is a modern romance fantasy about people called Monos who can't see any color unless they meet their Probes, however this may turn dangerous as the Monos may experience obsessive behavior, so what happens when a young high schooler meets his probe?. You can either watch it on its drama or movie version. Both available on viki. By the way, if you're a long time deobi and was wandering what happened to Hwall, he's one of the main leads.

You Make Me Dance (2021) follows the story of a university dancer who is in debt and his debt collector. Available on viki in both versions. The movie is 107 minutes long.

Just Friends (2009) is a short film, but ahead of its time, if you can't tell by the year it was released on. It's a cute story about a man who visits his boyfriend in the military. I found it in dramacool.

That's all from me, if you have any specific genre or them you felt I didn't add in, do feel free to tell me.

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animegenork · 4 years

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Fruits Basket Season 2, Episode 19

We are officially giving Tohru a round of applause this week.

Okay but in all seriousness let’s dive right in

I love what this episode brought to us, especially since we only just got to dive into Rin’s psyche a bit last week.

We start off with Tohru being classic Tohru and showing major concern for Rin, who is mostly trying to get the hell out of there before something happens. She specifically says she doesn’t want to get close to Tohru, which is explained better later on in the episode.

As a side scene, Shigure explains to Hatori what Rin is trying to do, which is, of course, break the zodiac curse. They both say that this is absurd, BUT! interestingly enough, Shigure makes a very intriguing statement. He says, “Do you hear that? The sound of breaking.” In a way, this gives Shigure a bit of a mastermind-y edge, which we see throughout the series. But this also shows off more of Shigure’s eagle eye perception, which I know I keep harping on in these posts. In some strange way, Shigure has wanted all of this to happen, and because things are sort of escalating, we get to consistently see this side of Shigure more, for better or for worse.

Anyway, back to Rin. We see a conversation with her and Haru in which Haru refers to Tohru as kind. Rin points out that Haru is also kind, followed by the thought, “I feel sorry for kind people.” We see a little bit later that she feels this way because she doesn’t want people like Tohru and Haru to get taken advantage of. For whatever reason, Rin thinks she is the type of person to do just that, although she does, in fact, love Haru. Naturally, neither Tohru nor Haru would ever think she was taking advantage of them, but that just goes to show how deeply affected Rin is by the events of her past.

This is true for everyone in the zodiac, in fact. They are so deeply affected by everything that has happened to them and around them, that they believe without a doubt they are inherently flawed beyond repair.

What we also see is the first time Rin saw Tohru before her first official anime appearance. She describes that seeing Tohru made her feel the impulse to hug Tohru and lay her head on her lap, which, in case you didn’t pick up on it, is a very instinctual reaction daughters have with mothers (most of the time). This reaction comes to a head a little later on.

During a moment in which Tohru checks up on Rin, the Horse demans that Tohru stop trying to break the curse. For the first time, we see a bit of anger (though it’s not true anger - more like determination) from Tohru as she insists that she won’t stop. She points out that just like Rin, she has precious things (people) she doesn’t want to lose, and so she will keep trying for their sake. This is the first time we hear Tohru raise her voice in this specific manner, hence why Kyo and Yuki are immediately alerted/disturbed to the argument (that wasn’t exactly an argument). This says a lot about Tohru; in general, she’s not much for raising her voice or being angry, but her conviction in this case is so strong the only way to get her point across is by doing those two things.

Rin ends up running away, but she doesn’t make it far. She reflects on how alone she’s been in her search for the way to break the curse, and she’s handled this burden on her own thinking she’d be fine. However, at this point she realizes that she can’t do this on her own, despite having pushed everyone away and purposely making them hate her. This is probably why her first response to Tohru appearing behind her is to hug her and say “Sorry.” (I can’t be sure if she actually said it, though, based on her quiet tone, but oh well.)

Bonding moment achieved.

For my friends who have not had the pleasure of reading the manga: Yuki’s comment about he and Rin having something in common comes into play later. I hope you took note of that, hehe. ;)

(I CAN’T WAIT FOR THAT EPISODE ;ADSJLFJASD;LFAJ)

I could get into the nuances of Haru getting attacked by Rin and her IV or Kakeru being an absolute cutie pie or even Ayame’s too-brief cameo via flashback. However, those scenes were pretty straightforward, and so I’ll leave them alone.

When Tohru goes to visit Rin for a second time at the hospital, Rin suspects she has the ulterior motive of talking about the curse. Tohru, however, had only one thing in mind: bringing Rin some jello.

Have I mentioned how much I love Tohru?

That funny bit aside, the two girls have a serious conversation about the curse. Tohru learns that Akito’s role as “god” is only part of the curse itself - she says the “bond” between “god” and the animals is the curse itself. Rin points out that the zodiac spirits themselves remember this bond, but the family itself is unclear on why this bond is so important. This will make their efforts to break the curse a little harder.

Tohru wants to ask Kureno, and she gets all fired up to do so, but Rin holds her back. When it was just her trying to break the curse, she was willing to put herself in danger. With Tohru involved, that’s not an option. This really speaks to how much their budding friendship affects them both, and it’s a really sweet realization.

Now, the most interesting part of the episode comes in the form of a seemingly innocent question. Rin asks Tohru “What is most precious to you?” Us viewers expect Tohru to give her mother as an answer, but instead, she freezes. We won’t get to see the exact reason, though there are some hints throughout the past couple weeks as to what Tohru’s confusion is.

That night, Tohru has a nightmare about the day her mother died. Meanwhile, Rin reflects on their interaction and silently wishes that Tohru finds someone like Haru to open the “closed door” in her heart. Though Tohru wears her heart on her sleeve, there are some things we don’t see from her, as evidenced by the memory she returns to of the time after her father’s death (that is, her mother disappearing for a while).

And with that, friends, I leave you with one of the closing lines of the episode:

“Because someone who knows how scary it is to be alone... can’t help but love others.”

Is this a summation of Tohru’s great love for everyone she meets? Perhaps. Or maybe it’s one of the many themes Takaya wishes to drive home in us.

I can’t say what we’re getting next week. I couldn’t for the life of me recognize the voice, although now that I think about it, I have my suspicions. And they involve a certain kitty.

See you all next week!

[This isn’t as concise as it could’ve been do to a moment of carelessness in which all of my progress on this post was lost. My apologies ;-; ]

#fruits basket #furuba #fruits basket spoilers #isuzu sohma #rin sohma #tohru honda #i keep having moments where i post these and then realize i forgot something #but anyway sorry this is so late friends #some of my progress actually got erased so oops #i don't know if anyone regularly reads these but thanks for your support

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soundwavereporting · 4 years

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Sky Spies and Splitting Up Batchmates

IDW, pre-war (to be specific very slightly pre-Megatron: Origin); Cosmos, OCs, Sentinel Prime, Prowl, the tiniest of tiny cameos for Soundwave and Ratbat. Warnings for canon-typical racism/homophobia.

This is based on a whole heap of headcanons, plus one or two panels from MTMTE.

Iacon felt…small.

Maybe it was the way the crowds parted to make way for them, or maybe it was the way that they had to walk in single file or risk one of them accidentally stepping into the street.

Cosmos missed Staniz. Staniz was made for mechs like them.

He supposed it was better than being separated from his batchmates during their constant, multi-year surveying missions studying the infinitesimal ebb and flow of energon. Their contract with Senator Shockwave wasn’t scheduled to expire for another three cycles, but today the Prime of all people wanted to speak to them about something equal parts vitally important and incredibly vague.

::He’s probably gonna send us to the Institute.::

As usual, Starburst’s mood was equal parts pessimistic and anxious.

“The Prime has better things to do than send three Lunabots to the Institute.” Cosmos spoke aloud, though he hoped it was quiet enough to not be overheard. Abruptly feeling self-conscious, he adjusted the temporary badge the Senatorial messenger had affixed to his armor, declaring him cleared to wander around inner Iacon for the day.

::Then he’s gonna reformat us! Turn us into his new sky-spies, or dump fissal radiation into our spark chamber in the hopes of creating outliers!::

Cosmos glared at his batchmate. As usual, Starburst was paying more attention to whatever conspiracy theories he’d pulled up on his HUD than anything else—more than once, Cosmos and Paradox had had to pull the mech out of incoming traffic.

“Shut up, ‘burst.” Paradox had been quiet until now, silently soaking up the sights of inner Iacon, but now the Grand Imperium loomed before them. It was no secret that the average Lunabot stood (literally) head and shoulders above most mechs, leaving the average, non-form friendly building more or less inaccessible to them, but the Senate’s Iacon headquarters were…something else.

They stepped inside.

A mech with the most spectacular, articulated rotors Cosmos had ever seen was arguing with the receptionist. He felt Paradox stiffen beside him, taking in the sight of said rotors as they shifted and swayed in time to his animated, angry gestures in the receptionist’s direction.

Not for the first time, Cosmos lamented knowing so much about the things that revved his batchmates’ engines.

The mech who had been standing beside rotor-mech whipped around, staring at Paradox as though he had broadcasted his taste for fully articulated rotors and flight frames on a loudspeaker.

Paradox, at least, had the sense to look a little embarrassed.

Starburst had frozen in the doorway, effectively blocking anyone larger than a memory stick from entering. Cosmos grabbed Starburst and yanked him forward. Starburst stumbled, tripping over his own feet and nearly falling head-first into rotor-mech’s stupid, articulated rotors.

Abruptly, Rotor-mech turned to face them. With a sinking feeling of utter dread that was definitely proportional to the situation, Cosmos took in the Senatorial crest emblazoned on rotor-mech’s chassis.

Apparently having noticed the same thing, Paradox squeaked.

Cosmos wondered if it would be bad form to just transform and break through the ceiling en route to outer space, never to be seen on Cybertron again. Maybe they could go find Luna-1! Surely such a feat would be enough to erase the—

“You’re here!”

The receptionist, whose public ID tag labeled him as Drawback, jumped to his feet and gently maneuvered past rotor-Senator-mech and grasped Paradox’s arm in a clear, albeit relieved greeting.

“As I was saying, Senator, our most wise Prime has a meeting with these three wonderful—and prompt!—Lunabots in just a few moments. As I said, I am more than happy to put you down for a meeting slot sometime…late next week?”

Drawback tugged insistently on Paradox’s arm, practically dragging the Lunabot towards the lift. Unsure whether they were meant to follow, but unwilling to remain, Cosmos and Starburst followed suit.

Rotor-Senator gawked. Even from this distance, Cosmos could feel the anger bubbling in the mech’s field.

“Thank you,” Drawback muttered, once he had herded them out of audio-receptor range, towards an elevator that would accommodate them—one of them at a time, at least. Paradox and Starburst clamored to be the first ones in, and Cosmos lamented the fact that he was going to be stuck in the lobby for even a minute longer than the others. “Sometimes I swear Sentinel sets up these appointments just to get out of meetings he doesn’t want to attend. And Ratbat knows me from Kaon, so he thinks I’ll just rearrange the Prime’s schedule! Just for him!”

Cosmos had no real answer to that. He watched Paradox make his escape via elevator, peeking around the closing doors once more in hopes of getting another look at rotor-Senator. Starburst fidgeted in place and Cosmos could practically see the forums his batchmate had pulled up on his HUD.

“So, uh,” Cosmos said, hoping to break the awkward silence. “Worked here long?”

Drawback shook his head. “I’m usually posted in Kaon, at the um, local Senate building over there. Just here till the replacement passes all the background checks, then I’ll get to go home.” He lowered his voice. “It’s awful here.”

Starburst nodded enthusiastically, and apparently chose that moment to break his self-imposed silence.

“What’s this about?” Starburst asked. “I know that Lunabots consume more energon than the average mech but we wouldn’t be able to enter planetary orbit without all that fuel and! And Senator Shockwave himself declared us free to receive all the fuel we need, at least until our contract with him is up, and I—I really don’t want to get reformatted. Or brainwashed. I really don’t.”

Cosmos had to resist the urge to hide his face in his hands, but Drawback nodded. Considering the commotion rotor-Senator had been making out there, Starburst’s rant probably wasn’t the most outlandish outburst he’d ever been subjected to.

“Well, I know for a fact you’re not here to be brainwashed!” Drawback’s smile was as sincere as it was strained.

The elevator door slid open and Starburst practically jumped inside, leaving Cosmos alone with Drawback.

“You’re a Lunabot, right?” Drawback asked. “You like it?”

“Y-yes,” Cosmos said, mostly because he wasn’t sure if it was a trick question designed to weed out anyone who might be even the slightest bit anti-Functionist. For all he knew, the Senate was staffed with telepaths around every corner, taking notes on which visitors needed to be sent to—

Primus, now he was starting to think like Starburst.

“I definitely don’t get to see Iacon too often.”

Drawback nodded. “Well, if you get the chance—it’s not everyone’s taste, but there’s a pretty good Tarnian place in one of the lower districts. It’s size-friendly, too—lots of mechs visiting from Kaon and Tarn drop in, so you know it’s authentic.” Drawback coughed, awkwardly. “I, uh, run a regional cuisine blog in my free time.”

The elevator door chose that moment to open, sparing Cosmos from any more awkward small talk. Cosmos stepped in and Drawback waved goodbye, cringing as the rotor-Senator came into view, striding towards the hapless receptionist.

Sentinel Prime’s offices were on the top floor. Cosmos took a moment to wonder at the inefficiency of it all—Drawback certainly wasn’t flight-frame, and he doubted rotor-Senator transformed unless it was to show off. Did they all really use these elevators to navigate the building?

Maybe Sentinel wanted to hire them as shuttles.

Cosmos shuddered at the thought. He didn’t know how shuttlemechs could stand the feeling of someone moving around inside him, much less directing him.

The doors slid open, and Cosmos was relieved to see Paradox and Starburst waiting for him. Triplechangers stood guard at the many doors of the very intimidating hallway that stretched out before them, each nearly as tall as the average Lunabot. Cosmos wondered if they were allowed to skip the elevators and just fly up to whatever floor they needed to get to.

Out of politeness, Cosmos nodded a greeting to the nearest guardsmech and got no response. Starburst had shifted back to internal comms and was sending them both a massive data-dump from the conspiracy forums.

As he usually did, Cosmos fell into step just behind Paradox, letting his batchmate take the lead. It wasn’t something that they had ever talked about, but where Paradox led, he and Starburst were usually content to follow. Paradox’s quick thinking had gotten them out of trouble more than once, and his cool demeanor had netted them the contract to work with Senator Shockwave. Cosmos would just have to make sure neither he or Starburst said anything that warranted getting their sparks extracted, and they would be good.

His audio receptors picked up the faintest sounds of an ongoing argument at the end of the hall. None of the triplechangers seemed particularly bothered by the noise.

“Nice place,” Cosmos muttered to himself. Paradox elbowed him. “What? It’s true!” The carpet under their pedes probably cost more than the three of them would make in a hundred cycles.

The door at the far end of the hall was more than tall—and wide—enough to accommodate the three of them. They stepped inside and Starburst raised a hand, awkwardly waving at the receptionist in the far corner, who didn’t look nearly as welcoming as Drawback had.

“Lunabots.” This receptionist didn’t have a public ID tag. “Right. Sentinel’s been waiting for you.”

Cosmos glanced at his chrono—they were nearly five minutes early, and the implication that they were running late irked him. Judging by the way his armor puffed up, Paradox clearly felt the same.

The receptionist gave Paradox a flat, unimpressed stare. Paradox met the stare with a patient half-glare Cosmos hoped he’d be able to emulate one day.

“Through the far door, and please—try to make it quick. Meetings with astro class mechs—much less Lunabots—aren’t exactly what the Matrix intended when it chose Sentinel Prime as its vessel.

Giving up any semblance of professional distance, Paradox grabbed Cosmos’ arm with one hand and Starburst’s with the other before either of them could start a fight or demand to know what the mech knew about the Matrix.

Without looking at them again, the receptionist waved them through. The door opened, and Cosmos came face to face with Sentinel Prime, who’d been in the process of storming out of his own office.

“Lunabots!” Sentinel composed himself quickly, spreading his hands out in that way Cosmos had noticed a lot of mechs tended to do when they were trying to show that they had nothing to hide.

Cosmos didn’t trust him, but earning the trust of a Lunabot wasn’t exactly a perquisite for the Primacy, was it?

“There are…three of you. Did we know three of them were coming?” The question was directed at the mech Sentinel Prime had been arguing with—an Enforcer-turned-aide, who’d done a worse job of pretending he hadn’t just been yelling at a Prime than he probably thought.

“Lunabots are created in triads.” The Enforcer-turned-aide was looking at a datapad. “Starburst, Paradox, and Cosmo. Here at Senator Shockwave’s personal recommendation.”

“Cosmos,” Cosmos said automatically.

Paradox groaned.

“Ah.” An unpleasantly familiar expression crossed Sentinel’s faceplates. “Well, we only need one of you for now. So.”

Paradox stiffened. “Sir—um, your highness, sir—“

Sentinel waved a hand. “Just Sentinel.”

“Sentinel, sir—Lunabots—“

“Lunabots are sparked in triads,” Sentinel rolled his optics theatrically and turned back to face his aide. “I heard you the first time. It’s not like they’re sparkmates, are they?”

Sentinel glared at Paradox.

“No sir.”

“Good.” Sentinel turned back to Paradox. “Now. Like I said—well, I didn’t say: to make it short, we’re running short on mechs capable of orbital surveillance, and the Senate has authorized one—one—Lunabot to undergo a deep reformat and a class change to add to our ranks. Whichever one of you is chosen to be reformatted—“

“Reformatted?”

Despairingly, Cosmos realized neither he nor Paradox had moved to shut up their batchmate. Sentinel didn’t need to ask their permission, did he? This was just a formality—or maybe they were here to get evaluated, in which case…

Primus, they were going to choose Paradox.

Oblivious to Cosmos’ internal crisis, Sentinel was trying—and failing—to allay Starburst’s fear.

“Into a smaller, more compact, more fuel efficient body. You’ll get twice whatever Shockwave’s been paying you and so many upgrades you won’t even have time to think about your…friends. Brothers? And you’ll be doing your duty as a Cybertronian citizen, helping your Prime rid the planet of enemies of the state.”

“Sir, Decepticons are dissenters, not—“

“I don’t want to get reformatted,” Starburst snapped. Sentinel looked up, surprised. “None of us do. We’re Lunabots and we like being Lunabots.”

Cosmos seized the chance to nod. Vigorously.

Sentinel frowned.

“Please wait outside.”

He was half-expecting the triplechangers to accost them the instant the door closed, but the mechs remained where they stood, impassible and unmovable. The receptionist looked up and rolled his optics, then ignored them completely.

“They’re gonna split us up,” Starburst said, breathless. “The Prime and his little assistant—oh Primus they’re gonna turn us into minibots and make us hack transmissions and—“

“Shut up.” Paradox demanded, then turned to Cosmos. “What’s your take on this?”

“I—um. Yeah.” Cosmos looked away. “I think they’re gonna choose you.”

“Not what I was looking for.” Paradox narrowed his optics. “Maybe we can persuade Sentinel to take all three of us—barring that, maybe we can redirect him to another cohort of Lunabots.”

“I’ve never liked Quasar and his batchmates. They should pick one of them to be sky-spies.”

“Quasar is an idiot. Sentinel won’t go for it.”

“I’ll do it,” Cosmos said, before he realized the words had formed in his processor, much less left his voicebox. “Um. I mean—“

“No!” Starburst grossed his arms. “I mean, better you than me, but no.”

“If—if—Sentinel’s set on recruiting a Lunabot and can’t be persuaded otherwise,” Cosmos said, trying and failing to figure out where he could backtrack and retract his words. “I’ll do it.”

“But you hate surveillance,” Starburst said. “You—oh! You’re hoping that being a spy will be less boring than monitoring Cybertron’s energon levels?”

“I hadn’t considered that,” Cosmos admitted. “I’m still hoping Sentinel will let all of us get reformatted.”

Before Starburst could reiterate that he really didn’t want to get turned into a spy, the door to Sentinel’s office opened once again.

Feeling like he was walking to his own execution, Cosmos followed his batchmates. They trooped back into the Prime’s office in a single file, awkwardly standing as Sentinel looked them up and down.

“As I was saying,” Sentinel said. “For the time being, we still only need one of you. But Prowl here—“ Sentinel gestured at the Enforcer. “Has persuaded me to promise you that once the Decepticon threat has been eradicated from the planet, you will have the option to get your old frame back and return to your…’batch’. No hard feelings. And if, by chance, I am not in a position to approve the change, Prowl has been authorized to act in my place. Is that acceptable?”

Belatedly, Cosmos realized that Paradox and Starburst had taken a measured step back. He had volunteered, hadn’t he.

Primus, he was an idiot.

Before Cosmos could retract his offer, Sentinel held out his hand. Dumbly, Cosmos shook it.

“Welcome to Kaon Security Services, Lunabot,” Sentinel said. “We’re glad to have you here.”

#transformers #mine;#idw #cosmos #sentinel prime #prowl #maccadam

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thedeaditeslayer · 3 years

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Bruce Campbell talks ‘Evil Dead,’ ‘Spider-Man,’ ‘Xena’

The first time Bruce Campbell came across Sam Raimi, they were students at Michigan’s West Maple Junior High School.

“Sam was a year younger than me,” Campbell recalls, “and I remember him dressed as Sherlock Holmes playing with dolls in the middle of the floor. And I remember going way around him. And I found out later that it was Sam Raimi. We didn’t really come into contact until we got until high school.”

What a connection they made. After bonding over D.I.Y. filmmaking, Campbell and Raimi went on to do 1978 shoestring horror-short “Within the Woods” together, which they evolved into 1981 demonic thriller “Evil Dead.”

Campbell would periodically reprise signature “Evil Dead” character Ash Williams in various sequels and offshoots. And appear in Raimi-produced “Xena: Warrior Princess,” portraying slippery “king of thieves” Autolycus on that ’90s-iconic TV fantasy epic.

And then there’s Campbell’s memorable cameos in Raimi’s blockbuster, Tobey Maguire-starring “Spider-Man” film trilogy: the ring announced in the first, 2002 film, “snooty usher” in the 2004 sequel and a maître d’ in 2007′s “Spider-Man 3.”

Of course, Campbell’s made a mark outside that dynamic duo. He drew raves for his portrayal of a nursing-home-bound Elvis Presley in 2002 indie comedy-horror gem, “Bubba Ho-Tep.” Then there’s his role of Sam Axe on USA Network spy drama “Burn Notice.” Not to mention numerous other film, TV, voice acting and even video-game work.

The cult-fave actor will make his first ever trip to Huntsville this week, for Oct. 24 events at Von Braun Center’s Mark C. Smith Concert Hall featuring “Evil Dead” screenings followed by a Campbell-led chat about the film, his life as an actor and beyond. Tickets for these 3 and 7:30 p.m. events start at $32, via ticketmaster.com.

His upcoming projects include a comedy album with actor Ted Raimi, Sam’s brother, called “The Lost Recordings.” Campbell also is readying a book of essays called “The Cool Side of My Pillow,” which finds him riffing on subjects ranging from noise to the environment. He hopes to have both released by the end of this year. More info at bruce-campbell.com. On a recent afternoon, Campbell checked in from his Oregon home for a phone interview. Edited excerpts are below.

Bruce, when you do an “Evil Dead” screening event, do your discussions turn up new things about the film or that you haven’t thought of in a long time?

Every show turns up something new because it puts you on the spot. Someone will say something that will then trigger something that you had forgot. I just sat down the other day before one of these shows with my guy who is my frontman and I was like, “OK, l’m just going to tell the story of making this movie.” It’s not for questions I’m just going to tell you basically what you’re about to see. But yeah, every show triggers some new thing. I’ve seen the movie. I know how it ends. But that is the challenge, finding some new, weird tidbits.

Back in high school how did you and Sam Raimi first bond? Did you share a class or something?

Basically I got into typing class, that’s what started it. I could not believe I was stuck in this stupid class where everyone around me seemed to know how to type. I’m like, “How do you know this?” It was very frustrating. So I went to a counselor for the first time ever – I’d never gone to try to get out of anything.

So I go there and I say, “Hey can I drop this dumb typing class?” She goes, "Yeah, what do you want? I go, “What do you got?” So she comes up with “radio speech.” And I’m like, “Radio speech? Wait they do the morning announcements (at school) and stuff?” and I’m like yeah let me get all over that.

So I got into a class and Sam Raimi was also in the class. And the guy who taught radio speech also directed all the plays. We didn’t know how critical that was. The first year I couldn’t get in anything in my high school. I was auditioning for everything but I didn’t have a class with this guy. By the next year I had a class with him, and then me and Sam were in basically all the plays after that. We found out how the deal worked.

So I met him in radio speech and we’d do the morning announcements together and got to talking about what we do in our neighborhoods. I was making little regular-8 (millimeter film) movies and Sam was making Super-8 movies. So we started to join forces during the course of that high school run, that two or three years in there.

We were very productive. We didn’t really get into trouble because we were too busy like filming parties. We wouldn’t go to the parties we’d film the parties and use them in some way in our little films so it was a great guerrilla filmmaking period.

A celeb or well-known person you were surprised to learn they’re an “Evil Dead” fan?

I heard Charlie Sheen, one of his favorite things was to smoke a doobie and watch “Evil Dead 2,” and Alice Cooper’s favorite horror movie is “Evil Dead.”

If it’s good enough for Alice Cooper it’s good enough for me. You host the quiz show “Last Fan Standing.” What do you make of the mainstreaming of nerd-culture?

Every generation has its deal. In the ’40s most moviegoers were in their 40s and so the actors were in their 40s. Humphrey Bogart and Spencer Tracy and all the guys were in their 40s. You didn’t have to be 21. And then as the audience got younger the actors got younger and the people who run the companies get younger and so they’re really just catering to what’s popular.

Comic books have always been popular but now they’re really popular. Not really sure what that’s all about but yeah social media has certainly helped but I think it’s another form of escapism. Whenever times get weird, people want escapism. During The Depression they did the Busby Berkeley splashy musicals where everyone was happy all the time, when life was really miserable. And some decades where we’re really doing okay, the movies turned introspective and we go after ourselves and figure out why we’re like this and like that. And so I think we’re in a phase where we just want to be taken away to another galaxy and Marvel is very happy to help.

And you’ve been a part of that. In Sam’s “Spider-Man” trilogy, which of your cameos did you have the most fun with?

Well I don’t know it’s hard to lineate because they’re so critical. The first one I named Spider-Man. If I wasn’t in the movie a billion dollar franchise would be called The Human Spider. He wants to get in the theater in the second one, past the snooty usher who won’t let him in because he’s late, because it will spoil the illusion, so I think I’m technically the only character who’s ever defeated Spider-Man. And in part three, a superhero comes to a mortal for help. He wants me to help him propose to his girlfriend so it’s sort of a landmark case where a superhero goes to a mortal for help which is pretty rare. So I can’t delineate because they’re all critical to the “Spider-Man” universe.

Do you have any cool mementos from "Evil Dead or elsewhere from your career? Maybe something like the chainsaw from “Evil Dead 2”?

You know, it’s weird I’m not a hoarder, I’m not a collector. My brother, he has the shotgun from “Evil Dead,” but not because he loves movie trivia, he just likes guns. My brother also has I think the set of keys to the original cabin. That’s a pretty good one. Not sure how he got that one.

I have weirder ones. Like I have a prop from a 1989 movie called “Sundown: The Vampire in Retreat.” I have Van Helsing’s holy bottle where he shakes the holy water at them. And I have what I call my tchotchke shelf, where most people would look at it and they couldn’t identify what importance each item is, but there’s a story for each one.

Some of your favorite actors outside the horror genre?

Oh, I l love a lot of the old time actors. William Holden, he starred in “Bridge on The River Kwai” one of my favorite movies. I like the guys who had to work a lot. In the old days and actor would finish a job on Friday he was under contract, he took two weeks off and started a new movie a couple weeks later. Actors kind of just do one or two movies a year if they’re lucky these days and it doesn’t help them refine their craft.

I feel like the guys who worked a lot got good because they got really used to the process. I’m a fan of the studio system. Not all movies were good and not every actor was happy under the studio system, but I think a busy actor’s a good actor.

For your role in “Bubba Ho-Tep,” what was your process for tapping into Elvis’s vibe?

What guy doesn’t want to be Elvis, you know? So I worked with an Elvis impersonator for about a half an hour and then he gave up on me. He goes, “Look, man, you’re never going to get it.” I’m like, “Wow either I suck or you suck as a teacher but somebody here sucks.”

No, but I watched a bunch of footage and documentaries. There’s a good one, all his Memphis Mafia who worked with him, a filmmaker basically got them all drunk one night and interviewed them all and that’s where the good stories are. You learn a little more of the human side of him. But that’s pretty much it. I’ve never been a stage performer so mercifully there wasn’t that much of it, just in quick flashbacks.

And there’s a part of me, in the back of my mind, I want to know that Elvis' descendants, somebody, a daughter, niece, somebody has watched that movie and approved. We’ll see.

I thought it was a cool creative take on that whole Elvis thing.

I agree. That’s why I did it. It was one of the weirdest scripts I’ve ever read But yet it wraps up though. It has a weird premise but it has a really interesting theme of what do you do with old people. Do we forget these old people? And are they still useful in society, old people? And I thought it had a sweet ending, that these two old guys they kind of rally themselves one more time.

What’s a well-known role you’ve turned down?

Turned down? I don’t have a lot of those. I don’t operate in that rarified air of saying, “Oh I turned ‘Titanic’ down.” I tried to get a part in a studio movie called “The Phantom” and Billy Zane wound up getting the part." And it was down to me and Billy, I was number two for the job, but I didn’t really enjoy the process very much because it seemed more political than actually acting. It was amazing how many people you had to audition for, and you had to go up the ranks and each time it got a little more tense as you move up. So I’m good doing these weirdo little movies.

I read the budget for “Within the Woods,” the predecessor of “Evil Dead,” was a princely 1,600 bucks. What was the most expensive line item, you think?

Food and probably fake blood. Tom Sullivan, who did the special effects, probably needed to mold a few things, so he probably spent a couple hundred bucks on molds. A lot of it was footage because Sam Raimi likes to shoot footage, so we probably bought a lot of rolls of film. And we did go to a cabin to shoot it, so had to get in the car and travel so maybe a little gas money in there too. That’s about it.

What can you tell us about the status of the next installment of the “Evil Dead” franchise?

We’re honing-in, circling the building now trying to lock in a partner. We have a couple of bidders and we’re trying to just find the correct suitor and we have a script written and a director picked. Sam Raimi hand -picked a guy named Lee Cronin, who’s a very good Irish filmmaker. And it’s got a very good modern tale. It’s a modern-day urban “Evil Dead,” it’s called “Evil Dead Rise.” And we’re hoping to do that next year.

You were a producer on 2013 “Evil Dead” remake. What’s the key to making a reboot effective?

Well rebooting can be very confusing and frustrating and not always successful. Reboot, sequel, remake we have all these crazy terms. What we’re doing now is we’re saying," Look, this is another ‘Evil Dead’ movie and that book gets around, a lot of people run into it and it’s another story." The main key with “Evil Dead” is they’re just regular people who are battling what seems to be a very unstoppable evil, and so that’s where the horror comes from. It’s not someone who’s skilled. They’re not fighting a soldier. They’re not fighting a scientist. They’re not fighting anybody more than your average neighbor. This one is going to be a similar thing. We’re going to have a heroine, a woman in charge, and she’s going to try and save her family.

Speaking of a female protagonist, when you’re at a con or meet fans somewhere, who has the most passionate superfans: “Evil Dead” or “Xena”?

“Xena” hits them at an emotional level. Like, they’ll come up to me and Lucy Lawless (the actor who played the show’s title role) and just burst into tears, because her character helped them get through a difficult time. “Xena” is more representative of overcoming your struggles in life. “Evil Dead” fans are pretty fervent but they don’t cry as much.

#Bruce Campbell #Evil Dead Rise

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sage-nebula · 4 years

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For whatever reason, I started thinking about what I would want to see from a Yu-Gi-Oh! sequel on my drive home from work today. (Note: I’m specifically talking about a sequel to the original manga; the various anime adaptations, sequels, movies, et cetera will have no bearing on this whatsoever. No hate to anyone who likes them, they’re just not my jam. I’m just invested in the manga and the manga only.) Obviously I’d want a female protagonist, particularly since I think it’s pretty ridiculous that we still haven’t received one in the various anime sequels in all these years, but that train of thought led me to think about what that protagonist’s name would be, and from there what her character would be like and what her story would be, and well, these are the thoughts I have so far, though be warned they’re not the most fleshed out in the world.

— As a sequel series, I’d like this series to take place at a specific point of time in the future from when the original story ends—say, ten years. So by this point, the original cast of teenagers are all in their mid-twenties, Mai is in her thirties, so on and so forth. Should they make any on-page appearances, their designs would be updated accordingly, i.e., no one is going to be stuck in a time loop of looking exactly as they did in the previous story.

—— On that note, everyone who died in the original manga is still dead for this story. RIP, Pegasus J. Crawford. —— Also, since the original series ended ~1997 in-universe, I’d imagine that this series would take place in 2007 as a result.

— So, our protagonist. I imagine she should be a teenager, just like our previous protagonist, and we can make her the same age as he was, 15. Her name would be Kusakabe Yuuna, with the kanji for her given name containing the kanji for “play” as Yuugi’s did, as well as the kanji for “bird cage” for some spoiler related symbolism. (I looked this up in a kanji dictionary, it checks out even if I’m too lazy to copy-paste the kanji here, just trust me.)

—— Since Yuuna is 15, that means she would have been 5 when the original series started, aww. —— Also, yes, I’m aware that the . . . Zexal? . . . protagonist’s name was Yuuma, which is close, but it’s still not the same name, so let me live. (Unless the kanji match, but I don’t think they should, but also I’m too lazy to check, so this is where we’re at now.)

— Along with having a name that contains “Yuu” in some form or another, YGO protagonists must also have ostentatious hair. For Yuuna, I’ve decided that her hair is something that actually plays into her backstory and therefore shapes her personality. When she was a child, Yuuna was in an accident with her parents (car accident or train accident, something along those lines). Her parents died (since having present parents is also a no-no for most shounen protagonists, not just YGO ones), but Yuuna was left heavily scarred. She has burn scarring all down the right side of her face, as well as along that side of her scalp which prevents her hair from growing in on that side, at least to any real degree. (Like she might have some stubble there but that’s it.) The stress her body underwent as a result of the accident also drained pretty much all pigment from her hair, so while her roots might still be black (or like a really dark grey), her hair looks white when grown out. So it looks like she’s rocking a half-shave with the hair on her left-side going down to her chin, but it’s not intentional. That’s just how her hair has been ever since the accident.

— When her parents died she was taken in by her aunt and uncle. Her aunt home-schooled her through the rest of elementary and all through middle school, because she felt that the scarring was unsightly and would lead to Yuuna being bullied by her classmates and perhaps even her teachers (which isn’t necessarily wrong; bullying is a real problem). Because her aunt impressed upon her that no one would want to see her scarring / would treat her badly if they did (and because Yuuna herself did receive a lot of staring and whispers whenever she went out without some sort of hood to pull up over her head), Yuuna never ventured out to try to make friends. Instead, she stayed inside almost all the time, entertaining herself with a myriad of games (though she had no one to play with), cartoons, comics, and the radio. (Here’s where a past-series cameo can come in: Yuuna loves games, so she likes to listen to Jounouchi’s radio show since he talks about games a lot, and given that his style of broadcasting is so relaxed and friendly she often likes to pretend he’s talking directly to her, even when she knows he’s not.)

— The problem is, Yuuna’s aunt and uncle had an unhappy marriage. There was never any outright abuse, but due to having to take on the burden of running the household, working part-time, and homeschooling Yuuna due to her husband’s apathy, Yuuna’s aunt was unhappy in the home and was essentially counting down the days until she could leave. You see, school is only compulsory in Japan through middle school. High school is optional. So once Yuuna graduated from middle (home) schooling, Yuuna’s aunt packed her bags and left, leaving Yuuna behind with her uncle. And again, there was never any outright abuse . . . but when he wasn’t at his own job, Yuuna’s uncle usually drank himself to sleep in front of the TV. He never abused Yuuna, but that’s because he was never really aware of her presence enough to abuse her. (Never mind that neglect can be its own form of abuse.) So Yuuna was left without a home school teacher, and thus had to enroll herself in a high school if she wanted to continue her education. Which, she did, but . . .

— Yuuna attended high school for a grand total of one (1) day. The staring, the whispers, the stage-whispered name calling — all of it was too much for someone who wasn’t used to it and whose years of insecurities built up by everything her aunt told her could and would happen whenever anyone saw her magnified everything and made it ten times worse. She ducked out before the day was even through and decided she was never going back.

— Of course, games have to be brought back into this at some point, and also there needs to be a plot, so . . . on her way home from school (hood up over her head, probably crying a little) Yuuna sees a little pouch in front of her on the sidewalk. She picks it up and looks inside to find dice — specifically the kind of dice that you use in tabletop games. Yuuna enjoys tabletop games just as much as she enjoys all other types of games, so she shakes the dice out into her palm to examine them . . . and they start glowing as soon as they touch her skin.

— If no one approached her then, Yuuna would figure they were cool trick dice and just take them home with her, no biggie. But at that moment another teenage girl around her age runs up to her, and while Yuuna’s first instinct is to clam up and back away, she doesn’t get much of a chance to do so before the girl is telling her those dice are hers and—oh. They’re glowing? They don’t normally do that . . .

— Long story short, the dice are magic, but they only light up like that when held by someone who has the capability to use the magic within them. So far, no one has been able to get that particular set to light up until now. Yuuna, of course, is skeptical, but the other girl — who tells Yuuna that her name is Kujou — urges Yuuna to follow her to people who can explain everything. Yuuna doesn’t really want to, she’s very much not used to interacting with people, but Kujou isn’t reacting negatively to what she can see under Yuuna’s hood, and Yuuna doesn’t have much else to do, and magic dice sound cool . . . so she agrees.

— Even longer story short, there’s an underground organization dedicated to making change via gaming. They’re made of people from all over the city (perhaps even all over Japan, perhaps even farther than that) who believe in the cause, or have a goal they feel that the organization can / will help them reach, or perhaps have no one else who will accept or have them and so they’ve found a sense of belonging with each other. This organization can and does use magic; Kujou hurriedly tells Yuuna that it’s not cheating or anything like that, but rather, there’s true magic in gaming and that when there’s a special connection between a player and the tools they use, they can draw it out to make a difference. It’s like, Kujou goes on, how certain Duel Monsters specialize in certain cards, like how Mutou Yuugi used magicians and Kaiba Seto relied on the Blue-Eyes White Dragon.

—— “But this is . . . real magic. It glows.” —— “Well, yeah, but have you ever seen the recordings of the Duel Monsters matches from like, Battle City? That was real magic, too.”

— Kujou brings Yuuna to at least one of the leaders within the organization, who sees that she can activate the magic in the dice and, as a result, does a very good sales pitch to lure her into the organization; tells her about the people they help with the winnings they make from tournaments, how they’re all like one big family, how they’ll care for her and help her reach her goals, etc. And since it’s not like her uncle will even notice if she’s gone anyway, and since both Kujou and this leader person are being so kind to her (and Kujou even says her hair looks cool), and since she would like to, maybe, at some point have enough money to get surgery to change her face . . . Yuuna agrees and moves into the base this organization operates out of.

— Of course, unbeknownst to Yuuna, she has just joined the villains, dun dun dunnnnn. This “organization” is actually more of a crime syndicate or cult; think like the Ghouls from the original manga, with perhaps a dash of yakuza thrown in. (Could there mayhaps be a Hirutani cameo at some point? Knowing me, if I can get away with it, abso-fucking-lutely.) For about the first third of the series Yuuna is put into tournaments where she essentially crushes characters who would otherwise be the heroes or protagonists of a more straightforward shounen series. You know how people have commented that in recent Pokémon games it feels like you’re the asshole rival? That’s essentially Yuuna. She’s sent in to sabotage tabletop tournaments (despite how bad she feels doing so because she’s a big fan of Spirits & Sanctuaries, a TRPG created by one Bakura Ryou), collect the winnings from Duel Monsters tournaments, etc. (Dice games are her specialty, given her magic dice, but she can draw magic out of other game pieces as well.) Though she feels bad about doing things like this, she has a real sense of belonging in the organization, a nice room, people who are kind to her and want to be around her. While at the beginning of the series she was very withdrawn, she starts coming out of her shell more and being genuinely happy. We’d get to see this unfold over the chapters, the juxtaposition between her performances in game tournaments and the like and how she is with the other members of the organization.

— So Yuuna pushes away any doubts she has over what she’s doing in favor of how happy she is with her new family, and even resolves to stop listening to Jounouchi’s radio show when he warns people about their organization and their “crimes” on a broadcast, because they’re not criminals, that’s not true, and she knows about his history and how he came from poverty himself, so who is he to judge? But then at some point Kujou, whom she’s grown very close to during this time (spoiler: Kujou is both her best friend and love interest) comes to her and is like, hey, I’ve been suspicious for a while, so I’ve done some digging and I think this whole thing is evil. :/

—— “That’s ridiculous. How could you say that?” —— “I’ve got the receipts, on tape, right here on my phone. See?” —— “That’s a flip phone. How am I supposed to see anything on that?” —— “This story is set in 2007. Work with me and let me live.”

— Yuuna still doesn’t want to believe it, so she goes to talk to the leader person about it herself, and whoops, overhears him being evil with other higher-up members in the organization. So she goes back to find Kujou and is like, you were right, they are evil, and Kujou is like, I know, I already packed our bags, let’s bounce.

— So Yuuna and Kujou run away together (perhaps bringing a few other trustworthy teens from the organization with them), and then the remaining two-thirds of the story are spent with them fighting against the organization to bring them down, using their own magic (because Yuuna does still have magic and now she knows how to use it . . . kind of . . . mostly . . . she’s trying) to do so.

And that’s all I’ve got for now, but I think it’d be a cool successor to the original manga, with cameos here and there from the adult versions of the original cast. I’m especially quite married to the idea of featuring many games over the course of the story, since YGO was a manga about many games originally, before it became obsessed with Duel Monsters (though a TRPG did play a big role in the last arc and we will forever stan that).

(Oh, and in case you’re wondering: the symbolism in Yuuna’s name is because the two kanji together bring to mind a playful bird in a cage. It’s symbolism because at the start of the series Yuuna is in a metaphorical cage due to all her insecurities and issues and the circumstances of her life, and then even in the organization she’s still caged by them because they’re using her, but her personal journey is breaking free of both cages to release the spirited (playful) person that she is within, becoming more confident and, yes, never getting cosmetic surgery because her personal growth gets her to a place where she owns it and loves herself, scarring and all.

And if you’re wondering why there’s at least a handful of teenagers in this organization, if not more: It’s because they prey on young kids who come from bad homes or have nowhere else to go by offering them a sense of community and belonging, which is something gangs do in real life, and is yet another way the organization is shown to be evil aside from the Board Game Crimes they commit on the daily.

Anyway, stan a YGO manga sequel with wlw protagonists, good night.)

#yugioh #inb4 ''Yuuna sounds like a Mary-Sue'' pls look at every protagonist of every YGO iteration ever #and tell me they're not all equipped with some combo of tragic backstory + unbelievable games talent #being talented with a sad backstory is like a shounen protagonist recipe #not even just within YGO but in general #that doesn't change just bc the protagonist is a girl #so sit down please and thank you #also it didn't come up organically in the summary but yes Yuugi and Jounouchi are married at this point #Anzu's got a successful dance career #everyone's living their dreams and are happy #since we're eliminating DSoD from existence even Kaiba got therapy & his act together & is a good brother to Mokuba #in this universe the miracle did happen

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ayankun · 4 years

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yalright let’s do this

AGENTS OF SHIELD SEASON ONE REWATCH COMPLETE BREAKDOWN MEGAPOST

hella spoilers for the entire canon up through season 5, but not 6 because I only saw it the once and am having a hard time remembering ANYthing about it.

I cannot determine specifically what it was about this season that caused to be branded “literal garbage” in my mind-hole for seven years.

Best guesses:

there’s some cheesy stuff that probably didn’t sit well with me at the time, and, at the time, there was no way of knowing that that kind of stuff was going to be ultimately eradicated

there’s some good stuff, like character stuff and plot stuff, but it didn’t successfully implant positive emotional responses in my brain-hole, leading me to be frustrated/offended at its own self-importance

there’s some stuff that just Doesn’t Work. I won’t call anybody out, but there are some main side characters whose casting, in my opinion, leaves much to be desired. when it comes to acting ability, I feel that it’s important to have the ranges of your entire cast match each other. if you’re gonna hire B-listers, at least make sure they’re ALL B-listers. if you’re gonna splurge and get some S-tier talent, pleeeeease don’t embarrass the B-listers by thinking you’re doing them a favor by including them on your project. Understood, this opinion is highly subjective and I can’t expect everyone in front or behind the screen to buy into it, but it’s definitely a pet peeve of mine that causes strong reactions in me*

some of the plots are tired and/or straight up boring. I got through them easily this time through because I was able to focus on the things I like, which is largely character interactions and re-learning the backstory for stuff that I know will continue to be important later on. imagine listening to your grandpa’s stories about his life, but instead of telling you the cool stories about going to the moon or whatever, he’s telling you in great detail about the time he got his shoelaces stuck on like, a rusty nail sticking out of a fence. It’s not a great story but it does explain why his mom only bought him velcro shoes after that and one time when they were trying on shoes in the store a couple of years later, some other kid started making fun of him for having velcro shoes and long story short your grandpa’s relationship with that kid is what got him interested in astrophysics and also he married that kid twenty-five years later -- but right now the story is specifically about spending forty minutes trying not to get tetanus.

Now that I’m older and wiser, what really surprised me throughout, though, was that not only was I not having any type of reaction that validated my “literal garbage” classification, I was noticing that there was A Lot of stuff that ticked a lot of boxes.

I’m talking technical stuff, the textbook basic filmmaking stuff, the stuff that I subjectively find objectively “Good” because it means that creative decisions were made with intent and were also executed proficiently enough to make that intent clear.

I’m talking SYMMETRICAL NARRATIVE which has to be one of my all-time favorite techniques, one that I personally use a lot, and I’m very biased in responding favorably when I see it, so I think ultimately this is a huge reason why this season cannot be classified as garbage this time around. Because it shows that they cared! It shows that they had A Plan! It’s an emotionally satisfying technique that can be used to great effect when tipping the audience off to how far we’ve come from where we started. It creates this nice tidy structural loop which I find very appealing.

Just real quick, you see this in individual episodes or even scenes, too. Here’s a classic A+ example from episode 2:

Simmons has given Skye a bottle of water as a gag because that’s what happens on planes, and that bit is a set up to this bit, where Coulson is talking about how he rebuilt the Bus from the “studs up” and it demands to be treated with kid gloves; ergo:

Only to have the thing completely wrecked over the course of the episode. In the denouement, “just starting to warm up to this place,” Coulson says ruefully, righting a broken glass as if that will put the plane back together; Skye immediately tosses a coaster down and moves the glass on top of it.

As a callback, it juxtaposes the starting-state and ending-state in your mind and highlights the contrast between the two. And it’s also a nice character-building beat where you, the audience, get to observe Skye’s character in that she remembers a trivial detail that happened to be important to Coulson. You also get to see Coulson observing the same, and you understand a little bit more about both of them. *chef’s kiss*

So this is a pretty powerful and common technique, and I guess you could say that any well-resolved narrative is by definition going to recall you to the specifics of how it started. Like ep 1 we start with Mike and Ace, their call and response “what are we/we’re a team,” and an understanding of Mike’s desire to be his kid’s guardian and hero and his desperate search for the tools that will allow him to become that. In the finale, we see the pay off where Ace (via Skye) reminds Mike of this motivation, and Mike is finally in the position to protect his kid by taking out the Big Bad.

But I don’t want to go through the list to demonstrate that everyone’s character arcs likewise left them in a thematically resolved position relative to where they started. Obviously this is an expectation of all (well structured) narratives.

(And I don’t really mean to talk about callbacks themselves, such as Fitz’s obsession with monkeys or May’s repeated demand of “don’t call me that.”)

Stuff that only comes up at the beginning and the end. Here’s the kind of symmetry that I mean:

Skye’s use of GPS encryption and the location of the diner where she first meets Mike. Both topics come up in ep 1, and are revisited in ep 20 when she’s stalling for time against Ward and brings him to the diner by telling him that it’s the GPS coordinates necessary for decrypting the drive. It says, last time you were here, Skye, you were living out of a van and fangirling over people with superpowers; now you’re an official agent of SHIELD (fun while it lasted, anyway) and you’re currently doublecrossing your own doublecrosser who was directly responsible for transforming you into the competent spy you are today.

Same thing: the only time we see Lola fly is at the end of ep 1, when Coulson and Skye are heading back to the Bus, and in ep 20 when Coulson rescues Skye from off the Bus.

Ep 2: 0-8-4. We’re introduced to the very first object with the titular designation, and Simmons idly wonders “imagine what it would do to a person.” Ep 22, it’s used to evaporate Garrett. Same ep, we also meet the little, what even is it, that dendrotoxin EMP (??? I don’t recall whether the gadget is named) that Ward uses, and Coulson uses it in ep 17 to incapacitate Garrett.

Similarly, all the cool alien gadgets we spent the first few episodes gathering and locking up, including that first 0-8-4, are all broken out into the wrong hands in ep 18.

Also in ep 2 we are introduced to the idea of being thrown out of the airplane and Skye & co specifically prevent Ward from being sucked out. We’re introduced to the concept of Coulson’s cellist! Fury also makes a cameo (”talkin to me about authority”) !

It’s a little later on, but ep 6 has Simmons jumping out the plane, and Ward proving his Good Teammate status by jumping out after her (while Fitz is struggling on his way to do the same). Ep 21, Ward boots FitzSimmons out the plane, and in ep 22 Fitz finally has the chance to properly save Simmons himself.

Ep 19 Coulson has a chance to save his cellist (again)

Ep 22, Fury comes back all Deus ex Machina and relinquishes authority of SHIELD directly to Coulson.

There’s also some dialogue recycled on purpose to make a point, like Fitz-Simmons introductory scene is recreated almost verbatim in ep 21:

Ep 2, talking to Skye about his mission vs ep 18 talking to Raina about his mission

(gotta admit, the man took this role seriously. check out that cheekbone game he achieved in such a short time)

And again, Ep 1 Ward vs Ep 18 Ward. They even framed it the same!!

All this to say, Season 1 is Structurally Sound and it has my blessing.

Now let’s move on to the list of things I liked that surprised me:

It’s pretty well polished, visually. Joss Whedon’s veteran control of the director’s chair is readily apparent in the pilot, setting the visual tone for the series. There are some made-for-tv shots over the course of the season, sure, and the least impressive compositions tend to involve CGI backdrops, but they do make the most of their interior sets and work hard to dress up various LA locations to, er, inspire the idea of the international scope of the show. In my last update, I talked about ep 8 The Well in the context of Quality Directing, so it definitely goes above and beyond the basic shot-reverse shot when it wants to.

Ward. Just for the record, I think Brett Dalton is great at his job and really brought exactly what they wanted to this character. Eps 1 and 2 are a little shaky and stiff, but everyone’s performances are, as they let these characters coalesce around them. I remember not liking Ward when I was watching this live, and honestly I think this was intentional. He’s that character that you expect that you’re expected to like, you know, the traditional cocky savior type that lots of those fancy heroes are. But because he’s so tropey in his characterization, you’re just ... over it? And then when they flip the script and you’re supposed to hate him -- WOW. It’s like two Christmases at once. They took something you were already doing and rewarded you for it.

I’m not unaware of the “redeem grant ward” phenomenon. I’m aware that the character had fans who were honestly drawn to and appreciative of the character before that persona was revealed to be a lie.

And honestly, it’s not that I like OR dislike Ward at all. As a person. It’s annoying that he’s a cocky bad-boy. But it’s sweet when he plays nice with Simmons. It’s embarrassing that he and May have “a thing.” But it’s cathartic when he opens up to Skye about his past. And Then, the sequence where we know he’s Hydra but Skye doesn’t. And Then, the sequence where Skye knows he’s Hydra but he doesn’t. And Then, his weird yucky confusion where he still wants to pursue something with Skye or doesn’t want to put down puppy-dog-eyed Fitz.

As a character, Ward is a great character. His set up is so bland that the twist does appear to come out of nowhere, but on a rewatch all the groundwork is there. His characterization as a baddie is enthralling. I’m forecasting into season 2 a bit, but you want to follow his nefarious exploits just as much as you want to see his ex-friends smash his face in. Brett Dalton played it right, A+ good job. It makes Framework!Ward just that much more of a beautiful thing, to get to see what it would have been like if the Season 1 persona had actually been the man.

Also as covered in the last update, I was really very pleased to see how much character work was being done in this season. Because I only watch and rewatch starting from the second season, there are important plot points that I’d been grudgingly attributing to this season about which I’d forgotten the specifics, such as, what’s the deal with Gravitonium, howcome we hate Ward so much, where did they get that memory-torture-machine, why are you acting like I recognize Titus Welliver’s character? What surprised me was how much of a focus there is on character development as well. A lot of good origin story stuff, like how green FitzSimmons is and how soft and good-hearted Skye is and all the reasons we respect and trust May and all the reasons we would follow Coulson to the ends of the earth. Watching a found family start to put down roots is worth it, too, ten times out of ten.

The tie-in stuff wasn’t as overstated and stifling as I remembered it being. They were allowed quite a long leash even this far back. Centipede is based on Extremis, but helms a a unique narrative. The Asgardians-of-the-week are just MacGuffins for driving character stories. Turns out all of SHIELD has been Hydra all along! Sucks to be you, a show about the Agents of SHIELD ... oh wait, Daddy MCU’s insane twist is mirrored in the DNA of your team’s composition AND baked into your overall season arc? Well then. Carry on!

Engaging with Season 1 explicitly as a prequel is a powerful thing. First time through, I had the distinct realization that “too much of a good thing” was at play regarding Coulson. He’s everybody’s favorite MCU character in 2013, hands down, but ... getting intimate with him for 40 minutes a week really waters down his mysterious G-man appeal. BUT. After spending six+ years with the man, Season 1!Coulson is a precursor to the 3-dimensional Director you’ll fall in love with, rather than a distortion of the one-liner MCU!Coulson you thought you wanted.

So what’s next! Absence makes the heart grow fonder, and here all all the things I associate with AoS that were not present in Season 1:

Robot hand.

DaISy JoHnsOn

AGENT/DIRECTOR MACK where is he I need him

Fitz’s facial hair

Their underground SSR base with the exposed brick, I miss that place all the time

Hive, Bobbi*, Hunter, Kyle MacLachlan, Maveth (everything** about Seasons 2 and 3, really). Robbie Reyes. Aida and Kasius!! I know these things are temporary, but they’re so important to the best bits and I love them.

Getting to see episode after episode where there are scenes at a time containing a majority (up to 100%) of women and/or POC characters with executive agency, and none of those characters are token or temporary but were placed there with intent to normalize a diversified cast.

My absolute favorite episode of all time, 4x15 Self Control.

Things I am not looking forward to:

**Lincoln. I’ve seen these seasons four times and just now I had to google his name because I wasn’t sure it wasn’t Logan. He’s garbage and I’m glad he’s dead. Other opinions are available.

Misc. Thoughts

*I said I wouldn’t name names but Adrianne Palicki is a C-lister who can swing a B+ if the stars align. I love Bobbi, though, especially the way the character’s reputation precedes her, how her adorableness complements her badassness. In fact, the character’s a great foil to May, who is also a badass lady and S-tier agent but has a completely different approach to being those things. Bobbi’s a reminder that badassness and aloofness are not correlated at all. Also there’s a headcanon out there that she’s non-binary (one of the reasons she prefers Bobbi over Barbara) and that is a concept I can get behind. Bobbi’s perfect and I’ll fight you if you don’t agree.

Poor Trip!!!!!!! When you always start from Season 2, he’s really just a flash in the pan, there and gone. I’ve always been like, “well, he didn’t really have a home here, no carved-out niche, so I guess getting Coulson’d and becoming something to avenge is the best a character like him is gonna get.” But now that I see that he comes late to the game as a literal stand in for Ward, his story is that much sadder. He was never intended to BE a character. He’s introduced with Garrett as a pawn/distraction during this arc’s who-is-Hydra shell game, he’s kept to demonstrate what kind of friend and agent Ward should have been, his defining character trait as a gentle flirt only serves as a catalyst for Fitz’s coming to terms with his feelings for Simmons. The poor guy is just a walking plot point, up until the bitter end. :<

I had entirely forgotten and/or never tracked the fact that Fury put together Coulson’s team specifically to monitor him after project T.A.H.I.T.I. I’d forgotten the distrust Coulson has for May after he perceives that she has betrayed him by being a part of this. It’s a season-specific reveal that is literally never mentioned again. It’s important to the fabric of the narrative of that particular arc, offering up May alongside Ward and Trip as fodder for the aforementioned shell game, but the true inciting incident of this entire show just gets swept under the rug and ceases to matter. I’m kind of :/ about that.

When you’re bi and non-binary, you’ll get a lot of mileage out of wanting to be/be with Daisy and/or Fitz, don’t judge me

In conclusion, Season 1 is the opposite of literal garbage, Agents of S.H.I.E.L.D. is my favorite show and my favorite MCU movie, Daisy Johnson is my favorite Marvel superhero (not related to Season 1 but still true), and nobody had better spoil Season 7 for me pleaAAASE don’t let it happen.

#agents of shield #aos #so I guess this is what I ended up doing today #v productive

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12freddofrogs · 5 years

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An episode of a Batfam TV Show

A while back I started wondering how I would design the Batfamily for their own TV. It started as a quick exercise, just considering ‘Season one would be Dick as Robin, and maybe he and Babs would do this, and then in S2 Jason would turn up’... and then it got detailed to the point I was working out individual episodes, character arcs, and themes.

This is an extract from Season Three, aka, Tim’s Robin run (pt1). The full chapter includes bright eyed Tim Drake nearly getting himself run over by the Batmobile so he can make his case why Batman needs a Robin, a minor cameo by the giant penny in the Cave, an adaptation of The Killing Joke, a driving lesson that technically involves Nightwing stealing the Batmobile, the Spoiler setting up in purple, a Wayne Gala or two, much mourning for what happened in the S2 finale, and Cassandra Cain rejecting her blood family for one that actually cares.

And, of course, this musical episode.

Full fic on Ao3 -Chapter 3 here. It’s much easier to read, especially on mobile.

Chapter 1 here.

Season Three, Episode Twenty - Songbird

A Pied Piper themed villain comes to Gotham.

He has nothing to do with the Central City villain.

His powers work on children. Specifically, anyone under the age of about eighteen. It’s never made entirely clear what the cut-off age is, just that Cass is immune.

Of course, no-one really knows how old Cass is, either, considering her lack of birth certificate.

Tim is having an ordinary day at school, calmly walking past a couple having a break-up in the cafeteria, when the dramatic screaming match switches into a Broadway musical.

Tim is alarmed, and as he continues through the school, other people are bursting into song. Music is playing, and from the way he turns it’s obvious he can hear it and can’t figure out from where.

“I need to finish my assignment for mathematics / but I can’t find the time without skipping football practise,” one boy tells his friends, then claps a hand against his throat.

“I’ve spent so much time working on Miss Greene’s essay / that I completely forgot about the science test today!” a girl sings, her voice calm despite the fact she’s frantically flipping through a textbook.

“He’s so handsome, he’d never notice me / what would I have to do to make him see?” another girl sings from her locker, glancing at a boy several doors away. He notices her singing, and she yelps, hiding behind her locker door.

Everyone is growing frantically confused by the music.

It eventually turns into a school wide song with everyone, including Tim, singing the same lyrics about “What’s going on? Why are we bursting into song?”

The song finishes and all the students stare at each other, wide-eyed.

“What was--”

“How--”

“I don’t--”

While everyone is still panicking, Tim slips out the school doors.

He heads straight to the Manor.

When Bruce opens the door, it’s to find a bundle of nervous energy fidgeting on his threshold.

“B, we - oh, no, it’s happening again.” Tim claps a hand over his mouth.

“What’s happening?” Bruce steps aside immediately to let his panicked third Robin into the house.

It takes a moment as Tim scrambles inside, dropping his school backpack on the ground and turning to Bruce with a panicked expression, but finally he lowers his hand.

As expected, out comes another song.

“Bruce, we really need to talk because / there’s something in my voice. / Everything comes out as song / and I don’t have a choice. I don’t have a plan for this / so I kinda hope you do. / Otherwise get ready for Gotham’s musical debut. ”

"...I see.”

It’s not that Tim’s constantly speaking in song.

He still talks normally most of the time.

It’s just that whenever he feels something particularly strongly, he has an automatic performance about it.

He’s very concerned that when he sings, it’s always the absolute truth about how he feels.

“I have a secret identity! I can’t go to school if I’m going to sing about wearing a cape!”

Dick finds it hilarious

When he hears about the situation he comes up from Bludhaven immediately.

He’s trying to be sympathetic, but it comes across as insincere when he’s filming the whole thing.

“Come on, just one little song for the camera?”

“Mmm-fff!” Tim shakes his head, hands clapped over his mouth defensively.

Babs tells Dick not to worry, she caught Tim’s last performance on security cameras. Tim looks offended.

Meanwhile, Cass is jealous she’s too old.

“This is not a good thing, Cass,” Tim complains.

“Looks fun.”

“It is not.”

“Sourpuss.”

Tim has a song about being insecure in his place as Robin

Batman informs him that he is not to get involved in the case.

Tim grumpily agrees, and stays alone in the Cave while everyone leaves.

He starts on the obstacle course, swinging up and down on the wires as he begins to sing.

“Batman needs a Robin / That much is plain to see / The question that I’m asking / Is the Robin he needs me?”

He’s not insecure about being kept off this particular case, understanding if not liking it, but in general not sure about his ability to live up to the name.

It finishes with a more triumphant declaration that he can do this. He’s Robin, he’s earned his cape, watch him go.

Steph is equally affected by the curse.

It’s the first time she’s turned up at the Cave, but she figured this was probably a big enough situation to be worth knocking.

She’s trying to make the most of it, and turns it into a game.

She acts like she’s finding it enjoyable. It’s almost believable until she does get a moment alone with Tim to confess that it’s creepy.

Steph and Tim have a duet.

Dick’s attempt at provoking them into singing finally works.

The song starts with Tim being annoyed at Dick, and quickly fades into both of them admitting they’re annoyed with the situation. It’s a very fast-paced cheer about how they can’t stop singing, when they find out who’s responsible that person will find out just what Robin and Spoiler can do.

They’re dancing around, jumping on and off the equipment, and performing perfect choreography.

Dick and Cass applaud.

It finishes with Tim dipping Steph, her balancing with one leg in the air, when they both react in terror. Tim drops her.

“I didn’t want — we didn’t want to do that,” Tim blurts out.

“You don’t understand, it made us move. It’s never done that before. It actually controlled what we did.” Steph’s breathing heavily, still sitting on the ground.

It’s discovered that the musical magic is not only growing, and is turning into a more complete form of mind control.

Dick and Cass suddenly no longer find it funny.

Within days, maybe even hours, the Pied Piper villain is likely to have an entire army of Gothamite children for choreographed villainy.

So, of course, the Bats push this situation up several rungs of the priorities.

Tim and Steph were already off the case, but now they are banned from leaving the Cave until they know exactly what this song can do.

They each call their parents to inform them they’re staying at the other’s house. Steph swears up and down that she’s just studying with Tim, seriously, she’ll bring home the flashcards as proof if she has to.

The two of them then actually end up making flashcards, because they no longer trust their bodies enough to train.

For a while everything is calm.

Batman, Batgirl, Nightwing, and Oracle are all focused intently on the case.

Alfred is watching the two youngest.

It’s not a joke anymore, but with Tim and Steph sitting casually on the ground, talking together completely normally and checking in via coms, the situation doesn’t seem red alert urgent.

No-one notices how Tim starts humming as he cuts out the next flashcard, or that Steph takes up the tune while she coats one in glitter.

The scenes of them humming along together is intercut along with moments of the others working the case. The audience is very aware — Tim and Steph’s song has no diegetic soundtrack, so all the audience can hear in the Cave scenes are Alfred’s footsteps, the scratch of pen and paper, and two teenagers humming too quietly for anyone else.

Up until the point where they actually start singing.

Steph and Tim’s humming gradually changes into a song.

“Cut and paste and listen,” they murmer in unison, wistful and fanciful, still working on the flashcards. “Cut and paste and listen to the magic sound. Cut and paste and listen. The Piper is coming to town.”

Alfred is no longer dusting the computer. Instead, he clicks on the communicator so Batman can hear the chant, and carefully approaches.

Tim and Steph insist that they’re fine. They don’t speak in unison for it, but it does come out as more of a duet.

“Don’t worry, Alfred, we feel fine,” Steph insists.

“Absolutely marvellous,” Tim chimes in.

“Completely sublime.”

Tim gets to his feet with an encouraging smile, scissors dangling in his fingertips. “We’ve just got a song stuck in our heads.”

“There’s no need to worry.”

“And no need to fret.”

“It’s just a shame you can’t hear that sound.” Steph tugs at her ear, grinning.

“It sinks to your bones and makes you feel like dancing around.”

Alfred cuts off the song to assure them that the Pied Piper will soon be defeated. This whole nonsense will be finished with by tomorrow, and by this point even Dick will be grateful for it.

The songbirds are oddly upset about that idea.

“You’re getting him chased down by the Big Bad Bat?” Steph asks.

“That shouldn’t happen. The Piper won’t like that,” Tim says.

“No,” Alfred says slowly, warily. “I suppose he wouldn’t.”

The argument culminates when Tim nearly stabs Alfred with the scissors.

Alfred dodges the blow on instinct, sidestepping the blade aimed at his head.

Tim freezes, his arm outstretched.

For a moment all three of them are still, Alfred watching the scissors over his shoulder and Tim’s eyes wide. Steph’s mouth hangs open.

The scissors clatter on the floor as Tim steps back.

“I’m sorry, I’m sorry, I’m sorry, I’m so so sorry Alfred—” Tim nearly hyperventilates.

“Master Tim,” Alfred says after a moment, almost resting his hand on Tim’s shoulders but deciding against it. “I assure you I’m fine, but perhaps at the moment we should consider using the restraints.”

“Yes. Yes, we should do that.”

Tim practically bolts himself in to the medbay stretcher, and only allows Alfred to help because it’s not designed to be tightened by the patient.

Steph is slightly more reluctant, and has to force herself to take each step. She notably bites down on her lip, bunching her fingers into a fist while Alfred secures her to the other bay, but she allows it to happen.

The urgency is immediately upped.

“Do you need someone to watch them with you?” Batman asks, pausing on a rooftop to talk into his comm.

“No. They’re quite lucid at the moment,” Alfred says, watching Tim and Steph talking nervously. “The best thing for everyone is for you to stay on the case.”

“I can come,” Oracle suggests. “The Cave has all the same tech so I can stay on the job, and if the kids are getting stabby you will need backup.”

It’s decided that is a good idea, especially as Steph starts humming again before slamming her head facedown into the pillow.

Batman successfully tracks down the location of the Piper.

The three field vigilantes burst in, much to Piper’s horror.

They find him building a giant radio transmitter, and immediately start trying to shatter it.

Piper flees the room, carrying a small cassette player with him. Nightwing stays to make sure the transmitter is utterly broken. Batgirl and Batman split up to track the villain.

The Piper is caught by Batman, lifted off the ground by the scruff of his neck, when a dozen children come barrelling into the room to rescue him.

The idea of punching hypnotised kids makes Batman hesitate, and Piper manages to get away.

Worse still is that breaking the transmitter didn’t fix the problem. The kids are still hypnotised, and Nightwing reports that it wasn’t even finished. Piper had been making it for something, but it wasn’t the cause of the problem.

They search through Piper’s files, and track down that it was the cassette player that influences the children.

Steph and Tim are drifting back into their musical hypnosis.

“Don’t listen to them,” Steph murmurs, pulling her face out of the bed. Her voice is too quiet for anyone but Tim to hear. “Hold yourself steady.”

“It’s time for a fight so you better get ready.” Tim holds up one hand. The picked restraints drop silently onto the mattress.

When Oracle arrives, Robin and Spoiler take the distraction and attack.

When Alfred and Oracle return to the room, it’s to find the two youngest have gotten into their uniforms and are swinging down from the ceiling at them.

It’s not a real fight. The hypnosis is just telling them to go. It’s an escape attempt more than anything else.

Oracle is able to handle herself when Spoiler leaps at her, boot flying towards her face. A quick movement and Steph is thrown over Oracle’s shoulder, wincing.

But they don’t need to beat her, just outrace her. Spoiler jams a batarang into one of Oracle’s wheels while Robin locks Alfred in the cupboard, and by the time Babs can move again — it couldn’t have taken more than thirty seconds to untangle the batarang — they’re gone.

Fortunately, Batman already has a lead on where they must be going.

Over two hundred children — some as young as ten, most closer to fifteen or sixteen — have converged on a Gotham news channel’s office.

It’s a very convenient way for a villain’s exposition to be told to the audience. The children are singing about Pied Piper’s plan to broadcast his song to every child in the country as they forcibly drag the communication workers out of their offices. The Piper himself is walking through the chaos with a self-satisfied smile.

The song seems like a normal triumphant villain song, with a hint of creepiness when every once in a while, someone will say that they don’t like what they’re doing, they’re so sorry, can’t anyone help them?

Piper locks himself in the CEO office.

He’s humming to himself as he pulls out his cassette player. When he opens the case, an array of buttons that would look advanced on a phone blink back at him.

He begins to tap in a command when the window shatters.

Batman swings into the room.

Batgirl and Nightwing are close behind.

When Piper tries to run, he doesn’t get five steps. Batman throws him against the wall.

Piper glances at the door.

In an instant Batgirl vaults over the desk to reach it, turning the lock with time to spare before teenagers start banging on it. “Nightwing. Help… ballaracade?”

Nightwing is already pushing the desk aside it.

Once they’ve successfully ensured no-one’s getting in Nightwing informs her the word is ‘barricade’. Batgirl nods, pleased.

“Where are they?” Batman growls, looming over the terrified Piper.

“Where are who? The children? They’re all outside, or at least the ones I called are—”

“Don’t play games with me.”

“How do we fix it?” Nightwing demands.

“You can’t. It’s unstoppab—”

“Lying,” Batgirl says sharply.

At that point Robin and Spoiler shatter a second window.

They land between Batman and the Piper, standing protectively over the villain. Robin has his staff at the ready while Spoiler’s cloak flutters.

They’re also humming.

It takes a moment for Piper’s shock to fade, but then his lips twitch in a smile.

There’s a fight.

Batman, Nightwing, and Batgirl hold back.

Robin and Spoiler don’t, which means that the hypnotised fighters are actually able to gain ground.

And of course, Robin and Spoiler are singing all the while. By now that’s not the focus of the scene, feeling more like background music with lyrics than a Broadway fight scene. Potentially, the TV audience can’t even hear the music, just watches the singing characters.

The lyrics don’t really delve into anyone’s interiority (mainly). It’s just a fast-paced song about fighting.

Every once in a while, though there’s a line like “Of course I know I can’t win, but that’s never stopped me before.” “Of course I’ll try my best, but I’ve never wanted to lose more.”

Just enough to indicate that some part of Tim and Steph know what they’re doing.

Piper takes the distraction.

He gets the barricade open and a hundred mind-controlled teenagers pour in, and suddenly the Bats have a much bigger disadvantage.

Piper escapes. Nightwing follows.

There’s a chase as Piper rushes towards the ground floor.

A dozen children are thrown at Nightwing, diving in his way.

But a former Boy Wonder doesn’t get taken down by a thirteen-year-old attempting a tackle, not when he can bounce off the walls to somersault over their heads.

Piper goes for the elevator. Nightwing is delayed to the point that he misses the doors by centimetres.

He pushes off the eleven-year-old girl clinging to his back and rushes to the fire stairs. His grappling hook connect with the handrail as he leaps over the edge.

Freefalling down the spiral staircase centre gets him to the ground with time to spare. He bursts out of the door and is able to throw his bolos at the fleeing Piper, tripping the supervillain up.

Within seconds Nightwing’s on him, scrambling through his pockets. He finds the cassette player.

Before the children can converge again, Nightwing leaps up with his grappling hook, holding himself on the high ceiling and resting one foot on the top of a window.

He flips open the cassette player.

“Oh, look at that. A labelled ‘off’ switch.” Nightwing grins at Piper, who’s just managing to pull himself free from the bolos. “So if I flick it, will it do anything to inspire me to kick your teeth in?”

“No, no, please—”

“Begging sounds promising.” His fingers hover over the button. Below him, the children are swarming, trying to figure out how to climb the wall. “If this hurts anyone, I am going to break every bone in your body. So is there anything you want to tell me?” Nightwing pauses for an answer, but Piper doesn’t give one. The children are starting to create pyramids. “Alright. Here goes.”

He flicks the switch.

Immediately, the music turns off.

The children stop pressing up against the wall and back away immediately.

“Is it over?”

Upstairs, the same happens.

Everyone freezes in their attack on Batman and Batgirl.

Robin drops his staff and retreats several steps.

“Fixed?” Batgirl asks.

Spoiler touches her head. “I think so.”

Of course, this means the Piper just got himself trapped.

He’s now surrounded by a sea of students who had been at least eighty-per-cent aware of what happened.

Nightwing swoops down and pulls him out before anyone can catch him, but waits just long enough for Piper to realise the danger he’s in.

Nightwing ties him up, and waits patiently for the others to come downstairs.

He hands over the cassette player to Batman and goes to hug the now-coherent younger two, but Spoiler brushes off the affection onto Robin. Instead, she walks up to Piper and punches him in the face.

“Feel better now?” Nightwing asks.

“Yeah.” Spoiler steps back and allows Nightwing to reassure himself that she’s okay, letting him wrap her in a short hug. “Much better.”

So the day is saved, everything neatly finished.

Piper is arrested, the children/teenagers that hadn’t already dispersed are collected by the police to be taken home.

Later, everyone is back in the Batcave, exhausted. They’ve changed back into their civilian clothes.

“So I guess I am never going to another karaoke night ever again,” Steph mumbles.

“Karey-oakey?” Cass repeats.

“It’s like a place where you sing. You choose a song, and they’ll play the music for you so you can yell out the actual lyrics as badly as you like.”

“Oh.” Cass mulls that over. “The singing did look fun. Before the dancing started.”

“Are you seriously still upset you’re too old for mind-control?” Dick asks.

Cass shrugs.

There’s silence for a moment.

Tim groans. “Fine, I’ll come with you, but I’m not singing anything else today.”

“I know a great karaoke bar.” Dick picks up his jacket from over the chair. “They sell amazing nachos.”

“I could go for nachos.” Steph stands up.

“Already booking us a private room,” Babs says.

“I’ll prepare the car,” Alfred says.

Dick grins. “B, you coming?”

“No.”

“Please?”

“You won’t have to sing,” Tim adds. “Sit with me and Steph and watch while the rest of these losers get up on stage.”

“I assure you, Master Tim, I will not be singing.”

“Sit with me, Steph, and Alfred,” Tim corrects.

Bruce groans, but reluctantly gets up.

Dick leans over to Cass where Bruce can’t hear him. “Bet you five bucks I can convince him to get on stage.”

“Deal.”

End episode.

Available on AO3.

S1 episode extract here. (17 year old Dick gets kidnapped for ransom, is very bored.)

S2 episode extract here (Robin-Jason goes up against Two-Face, trades himself for a hostage, proceeds to be as sarcastic as possible).

S4 episode extract here (in which Tim gets a dose of fear gas, Spoiler confronts her inner child in an alarmingly literal way, and Cass is awful at baking cookies).

#batfamily #batfam #tim drake #timothy drake #bruce wayne #stephanie brown #dick grayson #cassandra cain #batman #robin iii #batman and robin #black bat #nightwing #timsteph #just barely and very gen but i feel like any shipper wouldn't be too disappointed with the singing/dancing routine #cw: mind control #12freddofrogs writes #gotham crusaders

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septembercfawkes · 5 years

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Story Structure Explained: Prologues, Hooks, Setups, Inciting Incidents

Over the last several months I've been reviewing story structure off and on as I try to brainstorm and "percolate" my next novel and finish revising my current one. I've already broken down and talked about the basic approach to story structure in the post "What to Outline When Starting a Story." But since there are different approaches and story structures and more elements than I covered in there, I'm revisiting the topic with more specificity.

The elements in here aren't my own, but they have my own spin and explanations. This post's take on story structure is influenced by Story Engineering by Larry Brooks, the Seven Point Story Structure, Million Dollar Outlines by David Farland, The Hero's Journey, and even the basics of Freytag's Pyramid. You'll find that a lot of story structure resources have the same points and elements, but may call them different things or approach them in different ways. What matters most is that you understand the concepts and ideas, not what you call them (and in the writing community, some terms are used very ambiguously).

None of these things are 100% black and white--there are grays and there are variations--but you'll find that most successful stories have this structure or some rendition of it. And whether you like to plot or discover your story, whether you write intentionally or subconsciously, you'll probably hit a lot of these elements by the time your story is finished, so this isn't meant to restrict you, but help enhance your storytelling.

I'll be referring to Spider-verse as an example, because I love it, it recently won an Academy Award, and I've watched it four times over the months I've been reviewing story structure. You'll see how it fits, and varies, from the structure. Also worth noting is that while it is not the most mind-blowing story, the creators completely nailed everything they approached.

Here are the elements I'm going to hit:

(Prologue) Hook Setup Plot Point 1 (or "Inciting Incident") Pinch Point Midpoint Pinch Point 2 Plot Point 2 Climax Resolution/Denouement (Epilogue)

This varies somewhat from the others (and is a combination of them), so I hope that doesn't offend anyone, but it's how I like to think of it. 😉

I'll also be taking the heroes through these stages (I've heard them attributed to the Hero's Journey plot structure, but I'm not sure that's where they originated):

Orphan Wanderer Warrior Martyr

And I'll be including character arcs and themes and talking about escalating stakes and costs. So let's get started with the beginning! (Cause apparently it's too much awesome to fit in one post! 😎)

Beginning (or "Exposition")

The following elements are in the beginning of the story, what Fretag's Pyramid refers to as "exposition"--I don't recommend using that term because it makes it sound like you can write a bunch of info-dumps. 😂 (Spoiler: you can't 🤷‍♀️)

Prologue (not always present)

I was going to say this was "optional," but that's not the right way to look at prologues. Listen, some stories need prologues, some DO NOT need prologues, and some can actually work either way.

People are hecka confused about what prologues are, how they actually function, and how to even write a good one. I strongly believe the primary, all-encompassing purpose of a prologue is to make promises to the audience. That is the main function of a prologue. There are different kinds of promises you can make and different kinds of ways to make them. If you haven't read my post and plan on using prologues in your writing, I strongly recommend you check out "How Prologues Actually Function & 6 Types to Consider"

In Spider-verse

In Spider-verse, the prologue is at the very beginning, where Peter Parker tells the audience who he is and what it's like being Spider-man.

Type: Informational

- an informational prologue functions by making promises to the audience via giving information

Note: This can't come across as a stale info-dump, which is why you'll see in here the prologue is also infused with the appropriate voice and tone to be entertaining.

Notice that this prologue also gets everyone on the same page by offering a quick recap of Spider-man and his origin story. It also bridges Peter Parker's past story to the story we are about to watch.

But most importantly, it makes promises to the audience--like every good prologue should. And the promises work as hooks, which brings me to the next element.

(Worth mentioning is that this prologue also relates to the dual draw, alternate POV, and even touches the theatrical types of prologues.)

Hooks

I decided to make the term plural, because today, you really need more than one hook. Hooks are lines, concepts, elements--whatever--that pull the audience in. Often this is done by making promises. (The terms can overlap, but technically aren't the exact same thing.)

Hooks primarily function by getting the audience to look forward in some way, so they are anticipating what comes next in the story (which relates to tension). There are a lot of ways you can infuse your story with hooks, so I won't lay them all out here, but I have some helps in "5 Tricks that Help with Hooks."

Hooks should be included throughout your novel, but they are vital to open with. You may even open directly with The Hook™ (the concept that the audience came for). But hooks should be in the very beginning, which is why I'm including it as part of story structure itself.

In Spider-verse

Most of the hooks in Spider-verse come from the prologue. You might be thinking, "Really? But it was just information we already know!" Stick with me. This is exactly why they work as hooks.

Almost always, by the time the audience has sat down in a movie theater or picked up a book, they know something about the story, even if it's minimal. For books we have the back cover copy. For movies, we have trailers. You can absolutely create hooks by playing with the relationship of the back cover copy with the opening pages (or, since back cover copies are often written later, by keeping that in mind).

Unless you are blind (haven't seen trailers, posters, or any promotional material, or talked to anyone), you know Spider-verse has more than one "Spider-man" in it, which is why the prologue has so many hooks--we know that everything Peter Parker is saying is about to change. "I love being Spider-man." "I'm the one and only Spider-man." In other words, it creates a lot of contrast and carries contradictions, which is one approach that almost always works for writing hooks in the beginning of a story: using contrasts or opposites. Contrasts and opposites immediately draw attention and beg the audience to stick around for the story--because they are wondering how those contradictions are going to fit together.

Other hooks include elements of humor (dancing, Christmas music, a popsicle) and the promise of simply getting a good Spider-man story. Even before the prologue, we get teasers of a glitching world and the comic book style of animation--all hooks.

Note: In the Seven Point Plot Structure, the term "hook" is used to encompass the whole story's setup. I don't like it used that way because I don't believe everything in the beginning functions as a hook, and it makes the term "hook" more ambiguous. Open with a hook and get the setup going.

Setup

This is often the most difficult part of the story to write, because you have to convey a lot without being boring or killing the pacing. (FYI, whether or not you have a prologue, you still need a hook in the opening, but then you should continue using hooks to help tighten pacing.)

In the setup, you are essentially grounding the audience: Who is this story about? Where is this story taking place? When is it taking place? What's normal?

And the last one is important, because I'd argue that one of the primary purposes of the setup is to convey a sense of normalcy to the audience (because everything is about to change).

The setup will introduce us to the main character's arc ("arc" refers to how a character grows or changes) by showing how the character is now, which means it also usually nods to the theme, because those two elements are almost always tied together.

If you are writing speculative fiction, you may be explaining magic systems and worldbuilding elements in this section as well.

In Spider-verse

The setup conveys all these things:

Protagonist: Miles

Setting: Modern day, New York

State of normalcy: Miles is a teenager who lives with his parents, likes graffiti, and is attending a new school where he doesn't feel he fits in. His father is pushing him. Spider-man regularly saves people in New York (as shown on the news). Classes at the new school are intense.

Key characters introduced: Mom and Dad, Gwen, Uncle Aaron, Spider-man (already introduced in the prologue), and we even get a cameo of a villain, Olivia

Character arc introduced: Miles wants to quit his new school, is dealing with everyone's expectations of him, and doesn't know what he wants to do with his life.

Theme introduced: This is directly related to the arc. The primary theme of Spider-verse is to get back up (in other words, not quit). Notice how this is also introduced in a contrasting way in the prologue, where Peter Parker says directly that he always gets back up. Peter knows who he is, what he likes to do ("I love being Spider-man,") and how he is going to live his life.

Foreshadowing: In Miles's class, we see Olivia talking about other universes. When Uncle Aaron takes Miles somewhere to put up his graffiti, Miles asks, "How do you know about this place?" and Aaron answers, "I did an engineering job down here"--alluding to working for the villain. People are talking about earthquakes happening in New York.

Character traits, abilities, and wants: Miles does graffiti art and is apparently pretty good at it. He's also smart enough to go to this new school and get "100%" on his test. But what he wants is to flunk out and return to his old life and not deal with others' expectations. These are important elements. His skills make him likeable and a want/desire/goal gives a sense of direction to the story so it isn't stagnant--it still has a sense of progression.

It's important to know that while you are conveying a sense of normalcy, what's on the page (or screen) needs to be moving the story forward. This means that we don't need a play by play of your protagonist waking up, showering, eating breakfast, sitting through each and every class, etc. (though that is all one reason why those beginnings are so cliche). Notice that we don't get a play by play of every moment of Miles's day; we get a montage, which in novels, is the equivalent of summary.

Orphan State

At the beginning of the story, the protagonist is often in an "orphan" state. This may be literal (Harry Potter, A Series of Unfortunate Events, Peter Parker (both his parents are dead), Frodo (lives with his uncle), or a zillion other protags with no mom and/or dad), or it may be figurative--they may be removed from their parents, isolated from friends, or emotionally distant in some way.

In Spider-verse

While Miles has both parents, he is an "orphan" in the sense that he has become somewhat emotionally distant from his dad and literally distant by attending a new boarding school. He's been disconnected from his past friends, and he feels like he doesn't fit in.

Plot Point 1

This is often called the "inciting incident." But like other terms, there is some disagreement on what and when the "inciting incident" is, though putting it here with plot point one is most common. However, there are others who argue they are two different things, on a more micro-level. (Curse you ambiguous writing terms in the community!! 😡👎) But like I said in the beginning of this article, what matters is not so much what you call it, but that you understand it.

This is the moment where something enters the story and critically changes the protagonist's direction; it's when the story moves from setting up to reaction, from "exposition" to "rising action" if you like Freytag's pyramid, from beginning to middle, from intro to significant conflict. In a Hero's Journey story, this is the "call to action." However you want to think of it, it is the moment that disrupts the established normalcy and sends the protagonist in a new direction.

The inciting incident/plot point one may happen in an instant or it may take place over several scenes.

In Spider-verse

This is the moment where Miles gets bit by the spider. It changes everything. We leave the setup and enter the rising action. He can't go back to the "established normal." And he's going to have to react to all the changes.

In other words, we are leaving the beginning, and starting the middle. . . which I'll cover next time!

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timeagainreviews · 5 years

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Classic Baddies for the Thirteenth Doctor!

As a fan of classic Doctor Who, one of my favourite elements of the new series has been the anticipation as to which classic villains will make an appearance. Not only is it cool to see more of these older monsters, but it’s also exciting to see how they update their look. Some really nail it too. Keeping the classic design of the Daleks while making them look more tank-like and utilitarian in 2005 was a masterstroke. I liked that they embraced the Ice Warriors’ original look as well. While I may not be as hot on the updated Silurians, or Autons, it’s always fun to see classic villains regardless.

When Chris Chibnall mentioned that there would be no classic villains in series 11, my heart sank a little. Are they necessary for Doctor Who to be successful? Not hardly. But it’s fun dammit. Even if they were cameos like the Macra or the Movellans, these were moments I looked forward to. I have a sort of checklist I like to go through with each series of new Who. Are there classic villains? Check. Does the Doctor meet a figure from history? Check. Series 11 has one of those.

It’s been no secret that a major criticism of series 11 has been its lack of compelling villains. I myself have been vocal about this disappointment. So I thought I would make up a list of 10 classic villains I would like to see the Thirteenth Doctor go up against. I’m basing these off a few factors. Personal favourites, Jodie’s vibe, the era, etc. Enjoy! And feel free to add your own!

1. Autons

First Appearance: "Spearhead from Space" (1970)

I know they have already returned. I know I said I didn’t like their update. That’s exactly why they’re on this list now. I didn’t exactly hate the updated Autons when I first watched them. At the time, I didn’t have any classic villains to compare them to, as they were new to me. I thought they were pretty corny and not very scary, even as they did openly murder people in the streets of London. But when seeing "Spearhead from Space," for the first time, I was supremely creeped out. The newer Autons remind me of the movie theatre scene in “Human Traffic.” Just a bunch of dancers doing the robot. Not very scary. And turning the Nestine consciousness into a big vat of CGI goo, as compared to a giant plastic space squid seems like a crime. They’re due an update.

2. Voord

First Appearance: "The Keys of Marinus" (1964)

These guys creep me out. Their costumes are really stupid, and I still find them creepy. They’re like spiky fish men mixed with Egyptian gods. Ignoring the weird "Voord became Cybermen," storyline, and focusing on the fishman aspect would be the way to go. Could you imagine their costume if updated correctly? I picture a mix between Edward Scissorhands and a scuba diver. I’ve wanted to see Jodie encounter these guys ever since "The Ghost Monument," reminded me of "The Keys of Marinus." Something about First Doctor villains with the first female Doctor kinda works for me too. Speaking of First Doctor villains…

3. Zarbi

First Appearance: "The Web Planet" (1965)

Ok, so this one is a bit of a cheat. I know the Zarbi aren’t really a villain by their own doing. In many ways, these oversized ants are just dumb animals. But the biggest way this is a cheat is because I just want them so we can have the Menoptera! I love those stupid moth cuties. I think an updated one of them could look really fun. Think the aliens from the queue scene in the "Hitchhiker’s Guide to the Galaxy," movie. Something between realistic, and fantastical. They would also add a much-needed sense of levity to the Chibnall era.

4. The Dominators

First Appearance: "The Dominators" (1968)

The Dominators are a race of men whose name pretty much describes their modus operandi. Having long ago developed beyond the need for women, these guys seem an obvious choice to go up against a female Doctor. Their look is simple enough to update. They need only to look armoured and militaristic. Their robot drones, the Quarks, would be the real challenge to update, but I’m sure they’d nail it. I would be interested in seeing a more bureaucratic ruling class of Dominators as well. Perhaps instead of having a male and female population, they have the soldiers and the suits. Could be a really interesting way to talk about the insular nature of toxic masculinity. This would fit in well with Thirteen’s villains being chauvinistic shitbirds that don’t like women much.

5. Axons

First Appearance: "The Claws of Axos" (1971)

I’ve heard the Axons get a bit of flack in the past, which is bananas to me. There’s so much potential there. They have a rather psychedelic look, and then they get super gross. I’ve always seen them as very retro style monsters. Jodie’s costume has a real 1970’s "Godspell," look about it, so I always picture her going up against monsters that look the part. They wouldn’t be hard to update either. I would make the golden lines on their humanoid forms slightly raised, like a system of fibres across their skin. And of course, their squidgy red form could be a tangled mass of CGI that kinda bubbles up from the gold lines. The transformation scenes could get very visceral. They’ve got a sneaky nature about them. Like anglerfish, their beautiful golden appearance conceals a horrific monster. They’re known for making Faustian deals with people fool enough to believe their lies. How could we resist?

6. The Mara

First Appearance: "Kinda" (1982)

Many people love the Kinda/Snakedance storyline. I wasn’t sure what to make of either serial, as the quality of both waivers. Over time, though, I’ve come to really appreciate them as stories. I have a love for characters that exist as a sort of gestalt. There’s something very unsettling about a hive mind. As The Doctor has three companions this time around. There’s lots of room for one of them to go off and become possessed by an evil snake god for a while. Either Graham or Ryan becoming hosts for the Mara could be an interesting way to explore their relationship. While the DVD release saw an updated version of the Mara’s snake form, I’m sure the modern show can do one better. They’ve already done giant spiders, now let's see them do a giant snake!

7. The Rani

First Appearance: "The Mark of the Rani" (1985)

While I am aware many people dislike the Rani, and the idea of Chris Chibnall choosing a character created by Pip and Jan Baker is unlikely, I still don’t care. Any character can be made good in the hands of a competent writer. All it takes is one good idea. Personally, I’ve never really gotten the guff she’s been given. As a woman capable of cruel scientific experiments, the Rani is a ruthless Time Lady with more guile than the Master. People want to see Thirteen with Missy because they’re both women now, but we’ve had an evil Time Lady for years, and I’d be interested to see what regeneration might bring for her… or him?

8. Rutans

First Appearance: "The Horror of Fang Rock" (1977)

First Mentioned: “The Time Warrior” (1973)

The Rutans are long enemies of the Sontaran race. I would love to see them amp up the danger by getting stuck in the middle of a skirmish between the two races. I would like to see the Sontarans presented as formidable once again. The Doctor Who video game "The Gunpowder Plot," did update their look, to a decent degree. Either way, modern Who could make a Rutan look much more imposing with CGI, or even practical effects. I’d imagine something like a green man o’ war. Jodie’s Doctor’s tendency to mediate during conflict could land her trying to broker peace between the two races. Could she be successful or would she have to count her losses?

9. Drashigs

First Appearance: "Carnival of Monsters" (1973)

Here we have yet another Robert Holmes creation! (The other two being the Autons and the Rutans) While mostly just mindless monsters that can eat through anything, I’ve always loved these horrific beasts. With heads the size of a Volkswagen bug, and an appetite for anything in their way, these guys could really add in a danger element. I doubt they could really carry an episode by themselves, but they’d make a great threat! They may be alien snake monsters, but you may have a creeping familiarity when looking at them. This is because the puppets used were constructed around the skulls of real dogs! While I’m sure these pups died of natural causes, the information has always given them an air of creepiness and realism. As Third Doctor era baddies go, these toothy terrors were some of the more believable creatures yet! They wouldn’t need much of an update, looks wise. Part of me would still want them to be puppets. I’d imagine Thirteen’s compassion for misunderstood creatures would send her on a danger defying attempt to save their lives!

10. The Scorchies

First Appearance: "The Scorchies" (2013)

Ok, so this one is another cheat. Technically these aren’t "classic Who" villains. They come from the audios, but I’m counting them because they’re from a Third Doctor era storyline! If you count the mention of the Rutans in "The Time Warrior," this marks the fifth baddie from the Third Doctor era. What is it about that period that is so mineable? Originally a species with bodies, they lost their corporeal form when their planet was invaded and they were transported to safety via television broadcast waves! In their new puppet bodies, they go from planet to planet hypnotising their inhabitants and burning them! Why? Because they’re salty. So why them? Well, for starters, look at these guys! Jodie’s Doctor has always reminded me as a bit of mad kids’ show presenter, with her bright colours and friendly appearance. Seeing her with puppets almost feels natural. I love the idea so much that I photoshopped it! It would also make Doctor Who history. While the Eighth Doctor mentioned his audio companions in "The Night of the Doctor," no audio characters have ever made an appearance in the show (at least to my knowledge). Appearance wise, they’d be easy to create. If they wanted to go the extra mile, they could partner with the Jim Henson Creature Shop for an added distinction. I feel like no matter what you do, these little critters could draw a crowd. People would watch just to see if Doctor Who has lost its damn mind! If done right, it could be a fun romp! Who says Doctor Who villains always have to be serious?

Well, that’s it for my list! Did you agree? Do you think poor Natalie needs to get her head checked out? Feel free to reblog with your own additions! I’d love to read what you think! Expect the review of this weekend’s Doctor Who either Sunday or Monday. I’ve not yet re-watched Marco Polo, which I might actually do today, but it’s on my list to write it next week! It’s going to be the first reconstruction I’m doing, so it should be interesting! I’m not sure if I will supplement any of it with the Target novelisation, but I am thinking not. We’ll see! It’s still early into the series!

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yurionsurveys · 6 years

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Yuri on Ice: Ice Adolescence Movie News Survey Results - Part 2

Part 1 can be found here.

Method: We conducted a survey via tumblr asking fans of Yuri on Ice what they thought about the recent news regarding Ice Adolescence - the upcoming Yuri on Ice movie, and their hopes on what it might feature.

Number of participants: 415

Limitations: Likely reached only the most active fans in the fandom and may not be representative of the entire community (especially of more casual fans), mostly based on the follower-bases of the bloggers @thatshamelessyaoishipper and @nikiforoov. Around 5% margin of error.

Raw data can be found here.

Findings:

In the question “What do you hope to see in the movie ‘Ice Adolescence’?”, the responses were the following.

*Please note that the answers which were listed by us were more likely to be selected than answers in the “other” section, where the participants had to come up with their own answers.*

87% of participants said they want to see Yuuri in some shape or form.

86,3% stated they want to see Victor’s family or a reason he doesn’t have one.

83,9% said they want to see some scenes from the present day or some form of continuation of the events from season 1.

77,6% stated they would like to see Victor’s old skating programs.

76,1% said they want to see Victor receiving Makkachin.

74,9% stated they would like to see Victor cutting his hair.

65,5% said they want to see other skaters in their younger forms.

62,4% stated they want to see Yakov being a father figure to Victor.

57,6% said they would like to see the Russian figure skating team (Georgi, Mila, etc.)

And 57,1% stated they want to see Victor becoming friends with Chris.

Meanwhile, in the “other” section:

2% wrote that they are open to anything and everything.

2% answered that they want to see Yuuri and Victor get married.

1,2% want to see Yakov and Lilia back when they were married.

1% wrote that they want to see Victuuri being domestic.

0,7% answered that they want to see Victor’s past relationships.

0,7% want to see what got Victor into skating.

0,5% wrote that they want to see present scenes of Victuuri and other characters.

0,5% answered that they want to see an uncensored kiss between Victor and Yuuri.

0,5% want to see small Yurio.

0,5% wrote that they want to see Yuuri in his junior years.

0,5% answered that they want to see Victor tell Yuuri about his past.

(Any answers that had only one vote are not included.)

Below the cut, you can find some of the longer responses we got re:what people hope to see in the movie:

“The reason why Victor neglected his Love and Life, his struggles as well as his succes, how was the journey to become the Living Legend? How did he feel when he landed his first Quad Flip? When he received his first gold medal?”

“Please the movie can be 5 hours of teen Viktor brushing his beautiful long hair and l'll watch it“

“victor's childhood and teenage years and how those years helped him grow to where he is right now”

“Yuri Plisetsky prior to S1; any first experiences Viktor may have had for relationships, how he got into skating and what it’s influence has been on him”

“I know people want a continuations, and I want that too, but a movie about Victor? YES PLEASE! We know next to nothing about his past, what we see of him in the series is mostly in the context of Yuuri, and he's such a big figure as a character and a person in their world but his inner world isn't as explored except for broad strokes -- I am ALL for spotlight on him this time around. I say this not only as a Victor fan, but as a Victuri shipper: it'll be good to have both characters strongly established as individuals, it'll only make my enjoyment of this ship deeper. Besides Vitya ten years ago is the most beautiful creature I have ever seen? (BTW, while I didn't check the options for other people in this poll... I actually want to see them too! But in some way I am fully invested in this being a Victor film. I really hope this ends up giving the fandom a greater appreciation of Victor in himself and with other characters, rather than just in relation to a romance with Yuuri. IDK how invested other people are in this, I heard there was some negativity, but it's a hill I would gladly camp on.)”

“everything kubo and sayo decide to show us, i'm good with everything”

“How Viktor got into figure skating (or what got him into it) , his training regime (how hard he trained, if he did ballet, etc.) and/or possible times he wanted to quit, his love for figure skating/for the ice (b/c let’s be real, everyone’s been focusing on the fact that Viktor was lonely therefore miserable but they forget that he chose to be alone until Yuuri showed him “a new world”), I want to know everything about his programs, what inspired him to create them, see his (bad lmao) relationship with the Russian Figure Skating Federation (Kubo mentioned that during an interview) and Yakov pulling his hair in frustration! Viktor’s education (he speaks English and French) so maybe he had a private tutor/was homeschooled, ir went to a private school, I want to know more about his character in general and how he developed. Like, to me, Viktor is old fashioned (but not in a bad way) the way he dresses, scarfs and long coats, bicycles instead of motorcycles, his costumes, the music for his programs, even the BluRay version of his apartment (wood and books). Damn I want to see so much in this movie but I’ll stop here because it’s going to be so long..”

“I would like the movie to be 300% happier than the trailer makes it seem”

“How his past experiences shaped the way he is today”

“Young Victor being EXTRA™”

“Victor's struggles with loneliness, etc”

“Yuuri's skating life before Sochi! We know he's "Japan's ace" and that he trained under Celestino, but how were his Junior years? Or his Senior debut? I'm super excited for Victor's backstory (it's necessary), but I still have a few questions about Yuuri that I'd like to see addressed in the movie”

“Lilia! I'd love to see if/how she interacted with the younger Russian team, and if she was as hard on Victor as she was on Yuri P”

“Ideally, some sort of framing device including the wedding/Victor and Yuuri's life in St. Petersburg.”

“a younger Chris trying to get Yuri to talk to Victor (bc I have a feeling Chris and Yuri have been knowing each other for a while. (idk if it's true though)”

“how viktor found out about yuuri for the first time bcos i think kubo confirmed he knew about yuuri before the banquet and knew he was a fan based on his skating, but /when/ did he first find out about him”

“Seeing Victor win his first gold or compete in his first major international competition”

“Yuuri featured prominently, not just in a cameo or as a background character”

“Something about yuuri's relationship with his parents and especially his sister when he was smaller”

“Sth like present day Victor reminiscing and/or talking about his past”

“The reason why Victor began figure skating and what was his state of mind beacuse in Yuri!!! on Ice, the past scenes were very vague and sad toned. :(”

This concludes the results of this survey.

Thank you for reading and to those who participated! Any and all feedback is appreciated!

#yuri on ice #yuri!!! on ice #yoi #ice adolescence #yoi movie #yoi news #victor nikiforov #viktor nikiforov #victuri #victuuri #vikturi #viktuuri #yuri on surveys

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one-of-us-blog · 6 years

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Die Another Day (2002)

Today Drew is forced to watch and recap 2002’s Die Another Day, the twentieth James Bond adventure. Bond is captured and tortured by some bad guys, and now 007 is out for revenge! Can Bond handle going rogue, or will MI6 shut down his quest for vengeance before it can even begin? Will Bond find those responsible for his imprisonment? Why is it so sunny in here?

Keep reading to find out…

Eli, I loved your last two recaps so much! I know there was a stretch of less-than-stellar episodes for you to wade through, but I’m so glad you enjoyed these last two romps! I still can’t believe how close you are to the end of the show, but, speaking of, I’m close to the end of an era myself. This is the final Bond film before the big reboot, and it’s crazy to think of how far we’ve come over the course of this blog! I can’t stand it anymore, the anticipation has me way too excited to lay out any other preamble!

Buttocks tight!

Screenplay by Neal Purvis & Robert Wade, film directed by Lee Tamahori

We start with a shockingly three-dimensional gun barrel sequence, and then we jump to the coast of Pukch’ŏng County, North Korea. Bond, alongside two of his fellow MI6 agents, surf into North Korea and attract the attention of a helicopter, which they quickly commandeer. This helicopter was bound for the headquarters of Colonel Tan-Sun Moon (Will Yun Lee), located in the Korean demilitarized zone, and Bond soon arrives after placing some explosives in a suitcase full of diamonds that the helicopter’s original passenger was transporting. Just to give you an idea of how comically evil a villain Moon is going to be, the first time we see him he’s beating up his anger management therapist for lecturing him. Bond is greeted at Moon’s HQ by the surly Zao, who surreptitiously snaps a pic of 007 when he arrives. Bond and Moon meet, and it’s really driven home that Moon is a rude, crude dude with a bad attitude when it’s revealed he’s trading weapons for African blood diamonds. Moon shows off the weapons Bond’s supposed to get for the blood diamonds, but turns out Zao wasn’t taking Bond’s picture just so he could add it to his scrapbook. He’s done a background check on 007, and since Bond is the worst secret agent in the world it doesn’t take any time at all for Zao to inform Moon of Bond’s true identity. Moon blows up Bond’s helicopter, but he’s distracted by a call from his daddy, General Moon (Kenneth Tsang). He leaves the killing of Bond to Zao while he scrambles to hide all the illegal weapons he’s got in the demilitarized zone before his dad finds them and he gets grounded. Thinking, “Why the hell not?” Bond triggers the explosive in the suitcase full of diamonds, causing and explosion that allows him to escape and results in Zao getting a high-velocity diamond facial. Bond escapes on one of Moon’s hovercrafts (why not) and blows up most of his headquarters before chasing after Moon as he races across the mine-laced demilitarized zone. There’s a lot of shooting, some mines get blown up and Moon fires off a flamethrower for no good reason before Bond and Moon end up on the same hovercraft and Bond kills Moon by driving the hovercraft off a waterfall. Moon’s zaddy arrives, and he’s none too pleased about his dumb kid getting killed.

General Moon has Bond waterboarded while we finally head to the opening credits. This credits sequence is… troubling. Madonna sings out the mediocre techno ballad “Die Another Day” while we’re treated to scenes of Bond being brutally tortured interspersed with CGI ladies comprised of ice, fire and electricity dance around and some scorpions just kind of crawl around and mind their own business. Also diamonds. It’s a mess, and honestly the dime-store techno bassline makes it a little hard for me to get too invested in the vignettes of Bond being beaten and sodomoized with a hot poker by a sexy Korean woman in jackboots.

After what feels like a lifetime this bit is finally over, and a bearded, bedraggled Bond is brought before General Moon. Bond has managed not to break in all the time he’s been held here, and Moon lets him know it’s time for him to go. Bond is taken to a bridge where it seems he’s going to be shot, but then Moon’s goons lower their weapons and we find out this is all actually a prisoner exchange. Bond is being traded for the bedazzled Zao, and the two share pleasantries while they make their way back to their respective governments. On the British side, Bond is greeted by Damian Falco (Michael Madsen) from the NSA and…oh, my stars and garters, could it really be? Dare I dream?

That’s right, folks, Charles Robinson is back, babey!!! And not a moment too soon! I have no doubt he singlehandedly wrestled Zao into custody after Bond was done bonering everything up. Charles Robinson didn’t become the most valuable man in MI6 by being reckless, and he leaves nothing to chance. He has Bond sedated so that he can be checked for any kind of biological weapons. M, no doubt having met with Charles Robinson to mine his formidable intellect, goes to meet with Bond through a sheet of glass. M doesn’t mince words and lets Bond know that if she’d had her druthers he’d still be getting dicked by scorpions back in North Korea. She thinks they paid too high a price for Bond’s freedom by letting Zao go, but Bond didn’t ask to be traded and couldn’t kill himself because he… I don’t know, cut out? ripped out? his cyanide capsule years ago.

M explains that an American prisoner was killed in Bond’s prison a week ago, and they think Bond broke under torture and was mined for intel by the North Koreans. M gives him a vote of confidence by entering his glass prison to let him know she doesn’t think he’ll kill her, but she tells him he’s going for an evaluation and won’t be sent into the field any time soon. Bond… Okay, listen, Bond, like, meditates or something and lowers his heartrate to the point that the monitors he’s hooked up to think he’s dead. Some medical staff rush in to save them, he jolts them with an EKG machine and makes a break for it. Just go with me here.

Bond, now officially gone rogue, heads to a hotel he’s known at and gets a shave, haircut and new suit. The hotel manager, Mr. Chang (Ho Yi), sends up a masseuse to entertain 007, but Bond knows she’s packin’ heat and Chang, who’s actually with Chinese Intelligence (maybe he and Wai Lin have worked together?), is filming him from behind a half-silvered mirror. Bond tells Chang he won’t hold a grudge over all this if Chang can get him into North Korea so he can get his hands on Zao. Chang finds out Zao isn’t in North Korea anymore, though, he’s in Havana. Bond heads to Cuba and meets up with a British sleeper agent/cigar factory owner, Raoul (Emilio Echevarría). Raoul lets Bond know he can find Zao on an island which sports and unusual gene therapy clinic. Bond heads to a hotel which sports a view of the strange island, and there he catches sight of Giacinta “Jinx” Johnson (Halle Berry), who emerges from the ocean like the second coming of Honey Ryder.

Bond and Johnson seem to really hit it off, by which I mean they immediately hit the sheets, but the next morning Bond is left alone as Johnson sets sail for the clinic on Isla Los Organos. Bond knocks out another hotel guest and uses his ticket to get a ride to the island as well. He loads his new unconscious friend into a wheelchair and brings him along to the island, where he causes a distraction by hurling the man and his chair into a wall. He then finds a secret, mirror-lined passage and slinks his way through. Johnson, meanwhile, is apparently getting a consultation for gene therapy. Just kidding, though, she immediately kills the doctor, burns the evidence of her being there and lets us know she’s definitely a spy.

Bond finds Zao in the middle of a procedure that’s meant to rewrite his DNA to make him look like a white dude right as Johnson finds Zao’s file an stops the procedure right in the middle of things and leaves Zao looking like a naked mole rat of a man. Zao wakes up and he and Bond fight, but Zao gets away while Johnson sets off a bomb to shut down the whole facility. Bond and Johnson both chase after Zao, but he gets away in a helicopter. Johnson is almost killed by some guards, who don’t seem to notice Bond, but she avoids death by disrobing and then cliff diving down to an awaiting speedboat. Bond examines a bullet which Zao was wearing as a fun, festive necklace until Bond yoinked it off during their fight. Inside the bullet are some diamonds, which Bond has Raoul examine. The diamonds are being sold by Gustav Graves, who alleges to have found them in Iceland a year ago despite Raoul being able to definitively identify them (somehow) as African blood diamonds. Hey, that sounds familiar!

Who cares about all of that, though, because the most important man in MI6, Charles Robinson, arrives at work just in time to catch Miss Moneypenny spying on a conversation between M and Falco from the NSA. Falco thinks M played a part in Bond’s escape, and Charles Robinson sagely watches on as M shoulders the weight of Falco’s threats to make things right at MI6. Bond, meanwhile looks some stuff on Gustav Graves (Toby Stephens), who makes an interest by parachuting down to meet up with his publicist Miranda Frost (Rosamund Pike) in front of a bunch of reporters (and Bond). Bond tracks Graves and Frost to a fencing… club? academy? class? I don’t know. It’s hosted by Verity (Madonna in the cameo no one asked for), who introduces Bond to Graves. Bond, despite being on the run from MI6 and, like, a secret agent, uses his real name because why not.

Bond and Graves immediately get into a cock measuring contest via proxy in the form of a fencing match, during which Bond lets Graves know he’s figured out that Graves is selling blood diamonds. Graves challenges Bond to up the stakes and the two start fighting with real swords and completely wrecking Verity’s swordfight clubhouse. Frost eventually breaks up the fight and Graves invites Bonds to a science demonstration. A bellboy gives Bond a mysterious envelope with a key in it, and he goes to an abandoned subway station to meet up with M. M’s not here to capture Bond, though, she just wants to compare notes on Graves. M warns Bond about Graves’ political connections and agrees to give him some unsanctioned help.

Bond arrives at MI6, only to find Moneypenny dead from a gunshot to the head. He takes out several attackers and is joined by Charles Robinson himself, so you just know everything’s going to be alright. But then the unthinkable, the impossible, the inconceivable happens and Charles Robinson, the unshakable foundation upon which the stability of the British government rests, is gunned down. No, I can’t accept it! I won’t! And I don’t have to, because this is all a training session taking place in the VR Zone. C’mon, you know a Q-Branch simulation is the only place a facsimile of Charles Robinson could ever be bested! Q (née R) brings Bond safely out of the VR Zone and takes him to his workshop in the subway, where Bond proceeds to touch everything like a five-year-old at a toy store. Bond is outfitted with a sonic ring that can smash unbreakable glass and, get ready for this, a car that turn invisible.

We’re due for a twist, so we get to sit in on a meeting with M and Frost, who, it turns out, is an MI6 agent spying on Graves. Frost things Graves will blow her cover, but M says that in all her time spying on Graves Frost has turned up dick all and M wants Bond to go in and shake some shit up a bit. Bond heads to Graves’ ice palace in Iceland where he’s greeted by the imaginatively named Mr. Kil (Lawrence Makoare) before Graves scoots up in his super speedy sled car thing. We get another mention of Graves never sleeping, which is a thing that just keeps getting brought up. The famous Jinx Johnson arrives while Bond heads to the bar before his DTs can get too out of hand. Bond and Johnson meet up while Zao arrives at the ice palace. He pulls Graves out of a crazy dream machine which he has to use to stay sane due to his permanent insomnia, and it turns out Graves is actually Moon post-gene alteration.

The shindig finally gets underway and Graves unveils Icarus, a satellite which can reflect Sol’s light toward Earth and function as a second sun. Bond hides out in his magical invisible car so he can snoop around in Graves’ private business, but immediately gets caught because he’s just no good at stealth. Frost saves Bond from being discovered by Mr. Kil by making out with him while Johnson Mission Impossibles her way into Graves’ inner sanctum. While Frost and Bond are busy getting busy, Johnson is doing some actual work. Unfortunately she finds Zao waiting in Graves’ dream machine instead of Graves himself, who sneaks up behind her and electrocutes her with a souped-up Power Glove.

Zao and Mr. Kil interrogate Johnson, but she ain’t a canary and she ain’t in the mood to sing, so Zao leaves Mr. Kil to slice her up with a mining laser (paging Dr. Goldfinger). Bond finally arrives at Graves’ greenhouse lair in time to save Johnson, but first he has to deal with Mr. Kil. Bond gets his ass handed to him, but the still-restrained Johnson manages to kill Mr. Kil with the mining laser. Bond sends Johnson off to find Frost and get in touch with MI6 while Bond confronts Graves and reveal he finally knows the dude is actually Moon. Frost arrives, only to turn her gun on Bond. Turns out Frost set Bond up in North Korea and she’s been a double agent the whole time. Frost is about to execute Bond, but luckily he’s got his glass-shattering ring which allows him to… well, shatter some glass. Specifically the glass floor of the green house. You get it.

Bond escapes in Graves’ super sled, but Graves brings in some North Korean generals so he can demonstrate the destructive capability of Icarus to them. Icarus hyper-focuses the sun’s like way beyond what could be useful for a farmer trying to get that sweet wheat all year ‘round, and Bond barely out maneuvers the solar death beam by driving the sled off the side of an ice shelf and using the sled’s anchor (?) to keep himself from falling into the frigid sea. Graves solves this problem by just carving off the whole chunk of ice and making a prophetically topical joke about global warming. Bond survives, though, by jumping into a Nintendo 64 surfing game and shredding away to safety.

Johnson is discovered by Frost and Zao, who inform her she’s going to die… eventually. Bond steals a Ski-Doo and makes it back to the ice palace where he retrieves his inviso-mobile, which is useful for about a minute until another Ski-Doo crashes into it. Zao uses the thermal vision of his own car to spot Bond, and the two set off on a merry chase while the now-abandoned ice castle begins to rumble around Johnson. Graves fires up Icarus and begins to melt the ice palace, but not before Bond crashes into it (the car chase is still going on, BTW). Bond tricks Zao into driving into a pool formed out of melted ice and then shoots a chandelier down onto him instead of just shooting him in the head.

Bond retrieves the almost-drowned Johnson and gets her into the warmth of the greenhouse in time to save her. The two head to a US bunker on the South Korean side of the demilitarized zone where they’re greeted by the one, the only, the legend, the icon, Charles Robinson. With a mind to rival Watson, Charles Robinson lays down the skinny in no time flat. Graves and Frost are in North Korea, and neither the American nor the British governments can go get him before Icarus is used to destroy any of North Korea’s enemies (i.e. everypony). M’s sending in Bond anyway, and Falco decides he needs a reason to be in this movie so he sends Johnson in too. The two are airdropped in, and Charles Robinson, with the sage, cautious wisdom of an old barn owl, worries that they’ll be detected. Falco’s dumbass has the nerve, the gal, the audacity to tell Charles Robinson to “relax”, so you know that sonofabitch has some comeuppance headed his way.

The missiles Falco has sent to destroy Icarus are instantly destroyed by the mirror’s solar laser, because of course they are you dumb stupid idiot. Bond and Johnson, meanwhile, have landed and stowaway on Graves’ plane. Graves calls for his zaddy to be brought down, where he reveals himself in his new white face and shows off a plastic mech suit that allows him to control Icarus via a computer mouse trackball installed in his Power Glove. He fires up Icarus to show off and make his papa proud, but General Moon tells him the other countries will nuke the hell out of North Korea to shut this shit down. Graves doesn’t take paternal rejection well and 86es his dear old dad. Bond tries to shoot Graves but his shot is deflected, resulting in a window getting blown out and the plane violently depressurizing.

Johnson manages to stop the plane from crashing, but then Frost is there to hold her at swordpoint and of course she’s wearing an ornate bra and elbow-length gloves for no damn reason. Who even cares at this point. Icarus’ death beam is still going, by the by, and Charles Robinson, with the time-keeping prowess of the White Rabbit, lets everyone know it’s headed right their way. Johnson flies the plane right into the beam’s path, giving her time to get the better of Frost. Johnson and Frost fight with blades while Bond and Graves just ineffectually punch each other. Johnson eventually gets the better of Frost and kills her (with a very saucy, “Bitch!” thrown in for good measure) while Graves gets the better of Bond and prepares to escape the falling plane. Bond prematurely triggers Graves’ parachute, which results in Graves being sucked into the plane’s engines and most definitely dying.

Bond and Johnson find a helicopter hidden in the plane, Inception style, and manage to ride it out of the exploding plane in time to avoid death by ground. Bond makes what I think has to be a weird 69 joke before the two fly off into the sky with a crate of diamonds in the back of the helicopter.

Moneypenny uses Q’s VR shades to live out a fantasy involving Bond banging her at MI6, because that’s all this movie has to say about her character, but Q interrupts her before she can rub one out. Glad everyone thought this scene definitely needed to be in this already-over-two-hours movie.

Bond and Johnson have sex on top of the stolen diamonds (imagine how uncomfortable that would be) and we’re finally done here.

The End

~~~~~

Woof! I know way back in my introductory post I mentioned that I’d seen this movie (or at least parts of it) at some point in my checkered past, but, lemme tell ya, there was a whole lot that I’d forgotten/suppressed about Die Another Day. Just to start out with some positives, I actually really liked the design of Zao’s diamond-encrusted face, and I really liked seeing Halle Berry here. She didn’t get anything worthy of her talents to work with, but still. Then there were things that started out neat, but didn’t work in the end. I liked Frost a lot when she was introduced, but then she got reduced to a sword-wielding lunatic in a bra for the final conflict with Jinx. Icarus seemed fun, but then I remembered that this is not the first, not the second but the third Brosnan Bond film with a satellite at the heart of its narrative. We had GoldenEye, then Carver’s dumb satellite news network and now Icarus. That’s three out of four Brosnan films with satellites as key players. I love space as much as the next gay, but, I mean, get a new shtick already! Then there’s stuff that was just silly. Bond stopping his heartbeat? The Power Glove? The ice palace? The invisible car? That Madonna song? C’mon. I know you have to suspend disbelief for any of these movies, but jeez louise. And while I know I don’t normally dwell on the technical side of things during my recaps, but the special effects in this movie were very bad. If we weren’t getting some unnecessary slow-mo, we were having shots like the one of Jinx cliff diving or the truly horrendous kiteboarding scene that legitimately made me gasp when it first started. While there were definitely some fun moments and some little touches I liked, on the whole this flick is a mess and a far, far fall from the glory days of GoldenEye.

I feel I can only give Die Another Day QQ on the Five Q Scale.

We’ll see you again in a hot minute as Eli serves up a couple of fresh recaps of the next two episodes of The Golden Palace, “Say Goodbye, Rose” and “You’ve Lost That Livin’ Feeling”, and after that it’ll be time for me to move onto a brand new Bond as I tackle the next James Bond adventure, Casino Royale (and maybe you can look forward to a few special treats before then, who can say?).

Until then, as always, thank you for reading, thank you for analyzing this (Sigmund Freud) and thank you for being One of Us!

#one of us #007 #james bond

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brynwrites · 6 years

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Ask Compilation.

Topics covered:

Chapter Titles

Nonbinary character shenanigans

These Treacherous Tides, the series

Marketing yourself as an author via blog

Starting back up with writing

Writing children

Writing fighting woman with big hearts

Differentiating casts who feel similar

Writing in your native language vs English

And a few notes from my lovely followers.

All other questions should be listed on the ask queue page. (Except the last two WIP related questions I haven’t gotten around to answering…)

Chapter Titles

@aithlynfreyeaesthetic asked: Hello, I hope you're doing well. Are chapter title absolutely necessary? I've been avoiding chapter titles purely because I'm horrible at titles, but I've just always wondered.

Not at all! The majority of fiction books don’t use chapter titles. They can be fun, especially in certain genres, but they’re in no way necessary.

Nonbinary character shenanigans

@thebravetinsoldier asked: Hi! I’m writing a steampunk story were the main character is being hunted because they’ve cheated death and become immortal by changing their “deceased” parts with robotics and magic. I really want this character to be nonbinary, but part of the explanation is that they’ve changed parts of themselves so much that they no longer remember if they were a boy or a girl. Is this a bad thing? Sorry for the bad formulation, English is not my first language.

First up, I want to clarify that there’s nothing inherently wrong with most concepts in which nonbinary people are robots or mythical creatures, but it does paint an uncomfortable picture simply because there are so few nonbinary character in existence who are actually human, creating a implication that nonbinary people are not-quite-human because humans are the ones who have binary genders.

You fix that particular issue with a small adjustment: Let there be fully human/non-magical nonbinary characters in the world, even if they’re just a side characters who only appears in one scene.

The main problem here though, is the idea that physical appearance determines identity. Rather than presenting the main character as not being able to identify whether they’re a binary gender, it’s far better to present it as them knowing they don’t (and have probably never) felt like a binary gender, and feeling happy with the way their body is androgynous, because they don’t feel the need to present as a specific gender*.

Let me illustrate it this way: A girl who losses her physical, female body (or is born in a male body) will be no less a girl, even if society tries to tell her that she could or should be a boy. With time, she’ll still decide she is in fact a girl, no matter what her body says. The same is true with nonbinary people. If a person composed of robotics and magic decides they’re nonbinary, then it’s because they’ve always been nonbinary; they might have just taken a while to figure it out, especially if they original had a body their society told them had to assign them a binary identity.

(*this is not a qualification of being nonbinary by the way, though it is a common feeling among many nonbinary people.)

These Treacherous Tides, the series

@kiarazuri asked: You’ve mentioned before that Pearl is set in a mermaid series called These Treacherous Tides (awesome title, btw) and I was wondering how many books you’ve got planned? Also whether or not any of the books will interact with each other or just be set in the same world?

The These Treacherous Tides series is going to be a more or less unconnected series of romance/family-oriented books about different species of merfolk (and humans), though I’m not opposed in any way to cameos, especially of side characters.

I don’t officially have a second book planned yet, but merpeople are one of my favorite things in existence, and the moment I finished Our Bloody Pearl I knew I wanted to write more books about them. I do have two concepts I want to play with in future books, so I’ll be fleshing them out further and picking a direction for them once I’m finished with We Are, We Are Monsters.

Marketing yourself as an author via blog

Anon asked: hi! i'm getting into the final stretch of writing my first novel (i have a few drafts left to complete and then i'll begin the self-publishing process!) and i was looking into how to market myself. among other things, i've been told to create a separate tumblr blog to post about my writing. obviously, yours is working very well! i was wondering if you would suggest doing this and if you have any tips to get it started/gain a following? thanks!

I would definitely suggest creating some kind of blog for writing, and in my experience the writeblr community here is very encouraging and one of the most interactive writing communities on the web. The one thing I will mention though, is that every follower you talk to (i.e. are acquaintances or friends with) are worth a hundred followers you don’t know. I owe all my success to having a ton of writeblr friends who have (and continue to) reblog my posts like they’re gold.

Check out my marketing tag for a ton of posts I’ve written about this! (Make sure you scroll down to the article on building an audience.)

Starting back up with writing

Anon asked: So I've just had exams so I had to stop writing for a while, but now I want to get back into writing my novel but I'm really struggling. I feel like I've forgotten everything ugh. Do you have any advice on how to jump back in?

My key tips:

Start small. Write 50 words. Take a break. Write another 50 words.

Remove distractions. If you’re on tumblr you’re not writing.

Don’t worry if your writing doesn’t sound good! (Follow the link for a full post!)

Writing children

@bloodybutterfly222 asked: Hey! I really love your tips, and I thought maybe you could help me with a problem I've been stumbling in. I have a story that partially revolves around parenting (bonding with a 2-year-old, more specifically) but I realized I don't know how to write children speech/dialogue. Since I've never had much contact with children myself, I'm even more at a lost about how to portray it significantly and yet accurately. Do you happen to have any tips on the matter?

I would love to help you, but I have little current experience in this area too. (Which I’m kicking myself over, because I did nanny through all of college, but I didn’t actually think about the way children speak while I was doing it and so when I write my own child characters they tend to be really stiff and generic.)

The one piece of advice I will impart is this: Children are a lot smarter and braver and more creative than they’re given credit for, and they really do say the darnedest things. Some of my most memorable experiences with kiddos:

An eight year old asked me where evil and sin came from if god didn’t create it and then had a theological conversation with me that most adults couldn’t match.

He and his younger bother decided the heroes of our story would win by buying the villain a million ketchup covered pancakes.

Same younger bother spent ten minutes jumping on his bed shouting chocolate chips at the top of his lungs because he didn’t want to sleep.

Also same young brother would tell everyone he was moving across the country for exactly seven years whenever he was angry.

Multiple instances of really polite 4-6 year old kids coming up to me while I worked retail at the Zoo, asking some variation of “Excuse me, miss, but would be okay if I could buy one of those cups, thank you” and then conducting the entire purchase on their own.

Writing fighting woman with big hearts

@tokinokagura asked: Hello Sir, Regarding your answer about strong female characters. In your opinion, where do females who are strong and independent yet have a very very kind side (like a fighting mom or big sis type, or a type who got something to be strong for) and also how do I approach this scenario of a strong independent fighting strong mother/big sis figure? Thanks in advance

There’s no trick to writing this sort of character; you just write them. Show her being both strong and nurturing, independent and compassionate. Explore the way these traits interact and enhance each other. Does she love her own freedom and want to provide others who are oppressed the same independence she’s found? Does she see compassion as something the strong are required to give? Does she believe true heroes are the ones who fight for others? Look deeper into how she became who she is and why she fights for those she fights for, and then carry that throughout the story in every scene, every choice she makes.

Differentiating casts who feel similar

@katekarl asked: Alright, I could use some help with this WIP. I have a heavy cast of female characters, and I need a way to keep them from sounding too similar. Some of them ARE similar, and the differences in worldview/personality/dialogue might be a little too nuanced. What are some ways that I can try and keep them from looking like they were copy-pasted into their different roles?

Bullet points!

Unless your world is heavy on the sexism and holds to very constricting gender norms, it shouldn’t make any difference that they’re all women; they should have just as diverse a range of personalities, hobbies, strengths, etc as if they were a group of any mix of genders, so long as the class and cultural diversity doesn’t change.

If your characters are too similar to differentiate between them, then you probably don’t actually need all of them. Any two characters who consistently make very similar choices should almost always be combined. If two characters are in fact making very different choices despite being similar in personality and background, then it might be time to sit down and figure out where those choices are coming from and adjust one of the characters to make the origin of their choices obvious.

In my opinion, quirkier characters are always more fun than un-quirky characters, and there are a million different crazy and eccentric traits you can give your characters to make them stand out. (I have a post about developing side characters here which has a few more, similar concepts.)

Writing in your native language vs English

Hi, I can speak English on a B2/C1 level but it's not my native language. I want to write a novel but idk what language I should write in. I have a poetry blog in English and I used to write stories in English but I feel like something more serious requires wider vocabulary and better language skills in general. I have nowhere to post/publish it in my native language though, so it would probably end up forgotten if I were to write it in my native language:/ what do you think I should do?

I don’t have any advice other than this: You’ll get better at a language the longer to try to write more complicated things in it. If you want to write something more serious in English someday, the only way you’ll get there is by writing something serious is English now, even if you do a poor job of it at first.

Kind words

Anon said: I just wanted to say thank you for that fanfic answer and letting us in on what inspired you. I have an original novel in the works basically inspired by Steve and Bucky and wanting them to eventually build a definite relationship. But I didn’t want to write a fanfic, even though I love fanfic. It turned into a space opera thing

You’re very welcome! That sounds like an awesome space opera, and I wish you the best of luck with it! <3

Anon said: Hi I just saw what you said about writing through mental illness and I just had to tell you that it helped me so much! There is so much power in the advice and motivation you put there, thank you.

I’m glad it could help! I’ve been struggling as a writer (and human) with depression and anxiety for year now, and I’m just happy to share what I’ve learned <3 I’ll admit that some days I don’t... well I almost said I don’t win this battle, but that’s not a mentally healthy way of looking at it. Some days I have to give myself time to recoop. Some days, taking proactive steps towards tomorrow is the best course of action, even if that doesn’t include writing. (And the taking to best course of action is always a successful day, even if you didn’t get to any of the things you wanted to.)

Anyhow, I’m proud of myself for coming this far and I’m proud of you all for growing alongside me!

Anon said: Not an ask, rather a message. Sorry if it's in the wrong place--I'm kinda new. So, yes, I'm a newbie and I found your blog, and I love it! Keep on writing. I'll be looking forward your works. Cheers!

Thank you my friend! (This is exactly the write place. You’re so sweet to take the time to say this <3)

#writeblr #writing asks #ask compilation

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survivorgalaxysedge · 3 years

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Episode 5 | Forgive Me Cowtown For I Have Sinned - Ari

ohhhhh i found something JUICY tonight!!! so yesterday the hosts got tired of me constantly asking how many fuel i have and gave me the command to view it, and i knew i was outta points so i was like ok cool we'll check it out tomorrow. TURNS OUT the scorekeeper bot shows you not just your personal points.... but the points of everyone in the game.... and WHOM is number two on that list with 36 entire points? that's right. my best friend keegan. my first thought was wtf ew how did he already recover from my sabotage, i feel zero percent guilty about doing that now! and then my second thought was WAIT...... this is PERFECT. so you can bet i ran right to all three of my allies to be like "hey omg i found something shady :0 didn't keegan say all his fuel got blown up the other day? well i pulled some receipts and it turns out he still has all of it! why would he lie about that??? so sus!" and now i'm laughing because there could not be a more perfect excuse to get him gone!!! i'm not gonna push it any more than that right now - for all i know, we'll prob win the next challenge again - but i've tucked the ammo away in my pocket, planted the ari seed in jonathan and zoe's heads, and i'll let it sit pretty there until i need it. also, i ended up telling ali what i did to keegan simply because he is 100% not going against me and i needed someone to tell me i'm funny, so i also let him know about this plan o mine and that we could use this against sir keegan, which he's so down for. god. i cannot wait to tell mj about all this shit.

Jacob being voted out of NuTrian is the second best thing that could have happened. Preferably Nathan but my OG Andro and Jessie are safe so that’s very good. Now we’ve got a Guess Who challenge which is okay. I don’t care if we get first or second, I just really really don’t want to get last. Let’s keep the good vibes going and be safe for a fifth straight tribal council. Ali told me he scored 11 points, I scored 10. I hope Zoe can whip out her survivor magic with a score of 8 or 9. And then hopefully Jonathan can pull out a good score as well. Nathan and Zach have both scored 12 on this challenge before, so I can only hope they keep up with that and score high again. Gotta make sure those other tribes flop. I’m still incredibly uncertain about how to play this steal a player advantage. It’s possible we ride this 3 tribe split all the way to merge. My guess is merge at 11 or 10. That would be quite a few tribals to go without another swap but it’s certainly possible. Though I could absolutely see a swap now at 12. Two tribes of six, and then merge at 10. A final 3 with 7 jurors perhaps? Either way, I think I’ll hold on to this advantage until it seems likely that I’ll need it. No sense in causing some chaos if it isn’t necessary.

ok so i'm doing well in challenges rn, as best as i can at least, and i feel like that's the only thing keeping me alive bc.... nobody talks to me. i feel like i'm starting every one on one conversation and desperately trying to keep it alive and not be left on read. idk if they're like this with each other or if its just me but !!!!!! it doesnt make me feel good abt potentially losing a challenge. so i will just keep carrying my weight and keeping my cute little head down and pray im just being paranoid<3

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WELL We lost the immunity challenge which is the first loss after four straight immunity wins. That was a nice little break while it lasted. The obvious choice right off the bat is to vote for Ali. Keeps the OG Andro tribe fully intact, and avoids the most possible drama. However, I worry he might have found the Circi idol from his original tribe. Plus whatever advantage he may have gotten from the first challenge of the season. So the alternate thought is to maybe vote for Jonathan or Zoe. I adore Ari would not want to vote them out. It's tempting to throw a vote on one of them in the event of Ali playing an idol, just to keep myself safe. But if Ali doesn't have an idol, that could cause a whole world of issues. On the flip side, I wouldn't be entirely surprised if some or any of my tribe mates decided to throw my name under the bus. I haven't been the most social person and while I have definitely pulled my weight in the challenges, I could see them having their own little group that's willing to throw my under the bus and make things as painless as possible for the rest of them, especially considering they've all said they like Ali a lot. Ahhh this is all so much worse considering I have the hidden immunity idol. I don't want to waste it, but I also don't want to pull a Kellee Kim and go home with it in my pocket.

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it's kind of ridiculous how well this is all going???? why havent they voted me out yet i am running this shit -talked to ali, told him he's gonna be fine we just need to get people to vote for keegan -talked to jonathan, convinced him keegan is the most logical vote "because he's shady" and because it also means we can vote ali easily next time (versus going down to andro 4 and having it get much more messy) -jonathan was like "should we tell ali right before the vote?" and i was like i think you should call him and see where his head is at and we can go from there, jonathan said ok good point, if he says he wants to vote keegan and he also tells you that without any prompting from either of us we know he's real about it -yeeted myself into ali's dms the very second jonathan hung up like OK LISTEN HERE IS EXACTLY WHAT YOU HAVE TO SAY WHEN HE CALLS YOU, HE CANT KNOW I TOLD YOU ANY OF THIS -ali called me half an hour later like "omg we had such a good talk i love jonathan now deadass, i told him exactly what you said to say and he's so down" -presumably in the morning jonathan will call me and say "wow had a great talk with ali he seems cool and great and he said he'd vote keegan, what did he tell you?" and i can say "yeah same he mentioned keegan so i think we're good!" and jonathan will feel like we Did This Together and ali will feel like i Did This For Him and everyone will be in love with me -all i have to do tomorrow is make sure zoe is on board & that she doesn't feel pushed, and prob call keegan and make him some vague promises about working together long term, and then cross my fingers that i don't get blindsided during my editorial meeting at 9pm est i am having so much fun

i just keep thinking about how funny it’s gonna be when we get to merge and mj tells me to vote out all these people i’ve been making f2s with and i’ll be like “okay!!!!<3”

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Not to go back to INV this round, but not much has been going on. I've been keeping up socializing but since we're not going to tribal it's been more quiet than it has been last round. I'm really glad we won though bc I feel vulnerable if we go to tribal again. Cindi seems close to Nathan, and Nathan and Jessie seem closer to each other than they will be to me so I'm worried I'd be an easy vote. So I'm really hoping for a swap or merge tonight, or at least a challenge we can excel in. Don't want it to come down to one point again.

^_^ Okay, so no important updates with this tribe! It's freaking QUIET. I haven't talked to Zach or Silver at ALL since being with this tribe. I've talked to Jules a lot and Asya some, though. I'd like to work with the two of them if possible and if we ever go to tribal here, which I don't want to do because uhhh it's worrisome! Anyway, the only actual update I have is that I found the legacy advantage!!! Randomly at like 2AM I found it. I don't remember what I was doing exactly... I think I just went to watch the Circi round 3 tribal and then the Trian round 4 tribal... and then I think I went to watch the Tribe Swap video to see if there was some sort of announcement made regarded the Oxygen Tank amounts because I was confused why that number was changed more than double. I guess I was also thinking that since the hosts didn't make an announcement that the adventure was resetting at the swap then MAYBE there would be a new twist/advantage inserted elsewhere for this next phase of the game? Now, being the crackhead that I am, of course back on original tribes, I SEARCHED everywhere on the blog that I could think of. Extenders URLs, the source code, hidden hyperlinks - everything. Nothing was there. But in this case, my brain said, hmm, let's just scroll down and see if there's anything in the description of the Tribe Swap Youtube video...and... there was!! I didn't really know what it was at first but when I opened it everything CLICKED! Finally the Reem Cameo from launch night serving a bigger purpose made total sense. After seeing this link in the description though and realizing it was calling back to something we were told about night one, I went back and checked to see if this had been hidden all along, and of course it's literally in the description of the Cast Reveal video!!! and every other video after that!!! Keeping in mind that I found this 11 days into the game, I was like, oh there's definitely some nerd that found this instantly on night 1 so I'm probably just gonna get a message saying nothing here or something like that. Obviously that wasn't the case though. I think nobody found this because I lot of people operate via mobile in these, and Youtube descriptions require an addition click to reveal what's there. Alternatively, for desktop users, who the hell is scrolling down for any reason while you're watching videos from your ORG?? It's nothing something anyone does naturally. So that explains that. Anyway, I'm happy I found it even though it has absolutely no use until Day 39. I will say though that having this and knowing that, it has really motivated me to get to the end of this game. Coincidentally, HOURS before I found this, I had a conversation with Jules about how quiet this tribe has been and that I'd like to start working towards bettering our positions moving forward seeing as there are people here with more/stronger connections than either of us. I just love that I found an advantage that motivates me to start playing this game, exactly how I'd voiced to Jules about feeling a desire to start doing SOMETHING. We love a live narrative!!!! Anyway, I'm not gonna tell Jules about the legacy advantage because it's an advantage that incentivizes people to vote out the owner and have it passed on. I trust Jules, we go YEARS back and have to successful runs as allies under our belts, but this is just something I'd like to keep to myself. Earlier today I also decided that I'm probably never gonna tell Ari about it either if our paths ever (hopefully) cross in this game. I wanna surprise my bestie! At any rate, Jules did tell me that Zach and Asya seem like the type of players that only play on tribal days (at least in this case of this game) which is fine, but I've played a few super intense, intimate, and high-stakes ORGs in the past couple of years which has made me prioritize personal relationships with people over barebones game relationships. This makes dealing with people who aren't that interested in getting to know me or revealing themselves to me a SUPER off-putting experience and a drastic change of pace from what I've become accustomed to. But I'm totally capable of adapting to this environment... I just don't necessarily prefer it. I feel like I have room to connect with Asya on a personal level if given the chance. Zach and Silver I don't know. Although, I do think that if we ever lose immunity here I could for sure spit some game to Silver that would make him believe I want to work with him. I already have an idea of how that conversation goes, and the potential negative consequence of it is practically non-existent on this swap tribe, whereas it could have backfired on me if original Trian lost that third challenge. Anyway, I'll get into that whenever we lose or if I get bored and initiate that chat just to feel something lol

No tribal ever again until merge or swap please. Jessie would be the one I'd want out and I assume Jay would as well but she has Nathan's shard so, like, he'd lose that and then I lose my hope of getting both their shards and misplaying my first idol because I'm not good at survivor

Yayyyy we won immunity. Idk what much else to say except that I got 40 fuel tanks

today i am mad and sad. lost the challenge, was my fault bc purple not pink. no i will not elaborate. now ari jonathan and i have decided to save ali and vote out keegan. i hope it goes well. i am filled with anxiety. i don’t even want keegan to go, we just have to make the decision based on the fact that we don’t want to be seen as a tight alliance going into merge, and keegan can make it look like there was a crack therefore not making us look strong. but he is just sacrificial unfortunately. but we’ll see how it goes. i’m still anxious

Wow we won what a concept See what happens when we don’t throw comps ? Anyways yeah that’s it I guess lol

Honestly I I'm done with these hoes I'm ready to vote off Keegan

This is definitely a very stressful and emotional tribal. I hate that we’re voting for Ali because he is a genuinely fantastic person and under different circumstances I think we could have worked really well together in this game. But when there’s a 4-1 tribe swap and the four of us have absolutely no beef with each other, there’s not a whole lot that can be done. None of my other 3 OG Andro players come across as big move players either. So unless I’m being straight up lied to and am about to get completely blindsided, it’s looking like a unanimous Ali boot. Which is incredibly sad. I really wanted us to win out until merge so we wouldn’t have to vote him out. But such is the game. Keegan signing off (hopefully not for the last time)

#toinfinityandsurvive

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christopherwatsonbooks · 3 years

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Covenant Spring, Chapter One

I’ve never been good at self-promotion. I’m terrific at touting someone else’s work -- it’s something I’ve done for decades to pay the bills. But when it comes to my own writing, my inherent aversion to calling attention to myself gets in the way. It just feels unseemly to boast. I’m also sensitive that others, like you, might find it off-putting.

Unfortunately, no one’s going to discover my writing unless I keep talking about it. And unless I also do something else I find quite difficult, which is to ask for help.

I need lots of people -- like you -- to read Covenant Spring and then write a review for it on Amazon, as well as spread the word via social media, word of mouth, book-loving friends and clandestine dalliances. As I said before, I just want to get the damn thing read. I really would give it away for free, if I could, but Amazon wants money for doing their part to help. Which seems fair.

But that doesn't mean I can't share some of it here. Maybe all of it. So let's give that a go.

Below, you’ll find the first chapter to Covenant Spring, which you can purchase on Amazon in ebook and softcover formats.

I'd really appreciate your help getting the word out about Covenant Spring. It’s about love and God and murder and sex and truth and lies and finding one good thing in your life to believe in, something to make weathering the rest of the s**t worthwhile. There’s also some excellent inside scoop about car sales. Really.

Check out the first chapter below and let me know what you think.

Chris

***

Covenant Spring

Foreword

All of the places in this story are real but I've changed their names and where they are, so if you try to follow the directions I give to Covenant Spring you’ll wind up someplace else entirely, past the New Covenant Presbyterian Church and Miz Dori's neat white house, past the dirt road into the woods by the swamp where Mister Silas lives, over and beyond the little cement bridge, where I held Aaron's hand and faced down Pastor Lamm, with the storm black and howling over our heads and the world a tick from ruin.

Some of the events I have changed for certain reasons that ought to be clear by the end. I've also changed the names of everyone involved, except my own, for the same reasons. So if you think you see yourself in here it’s not intentional but you can’t say it's all that surprising, the world being what it is.

. . .

Chapter One

My name is Daniel Ivy and I live in New Jersey. I’ve lived in Jersey all my life. I was born and raised in a typical Jersey town, which I know won't mean a thing to you if you haven't been here. There are worse places to grow up, and any place is fine when you’re a kid and don’t know any better.

My hometown is small. You might find it on a good state map. It's about an hour west of New York City, identical to the towns that surround it, like interlocking amoebas in a petri dish. Millions of squirming souls captured in a drop of dirty water, fighting over parking spaces. It’s home because it’s where I was born and grew up, and that’s the end of it. It’s difficult to get sentimental about asphalt and strip malls.

When I was younger I liked to search maps for my hometown. Big paper maps, atlases, the kind that showed the entire world. My town was never more than the smallest dot if it was listed at all, but I was always glad to find it. It meant we were real.

Our existence, officially confirmed.

. . .

There's a place one town over from where I was raised. It’s called Washington's Rock. During the Revolutionary War, General Washington is said to have stood there on the high ridge and observed troop movements in the valley below. It's also said he often went there to meditate, whether he would win or be hanged, I suppose. People drink there now and get stoned, and scrawl obscenities and the names of who they’re hooking up with at the moment on the tall granite marker erected where a ghost once stood and contemplated death, hope and honor. The limbs of the trees at the bottom of the ridge drip with sun-faded trash and used condoms, like tinsel.

I spent a lot of time on Washington's Rock as a kid. The road to the top is long and narrow, and it plunges at the shoulder into trees and rock. Trucks are banned from it. It’s alpine steep, and laid in serpentine turns around which it's impossible to see a chubby kid on a bicycle until the last moment.

It is a dangerous road, my parents warned me, back when I was the age when dangerous was intoxicating. The feel of a dangerous thing, a forbidden thing, was sexual in its allure. To brave the slender bending limbs at the crest of a tall tree, or to dash across the teeming interstate with my friends. These are the trials of early manhood for suburban boys. We would dance nervous on the highway shoulder and then dive into the diesel avalanche, through doppler-shifting horn blasts, knowing even then, even that young with our legs shaking and gulping breaths coming precious and hard on the other side, that we’d done something. You weren’t quite the same person you had been moments before. You had done a dangerous thing, a stupid thing, and had been changed.

But it wasn’t stupid. It built me by small degrees like daubs of clay pressed on a frame. It gave me weight in the world, an earned power that was mine alone, and was important.

It took everything I had to pump the pedals and make it to the top of Washington’s Rock. The passing cars kicked their grit in my face, their horns blasted hurled curses. But I dared not stop. The road was so steep that if I stopped, I knew my legs wouldn’t find the power to push the pedals anew, and I would think about giving up. And if I gave up, I would be that much smaller, diminished by it forever, and I might never try again.

So I did not allow myself to quit. The trial made me real. There was nothing else I had then that possessed the power and magic to make me much of anything.

. . .

I knew a girl in middle school named Shelly. I saw her one day in class pressing the point of a nail file into her arm under her desk until she bled. Her face was as composed as a cameo the whole time. She saw me watching her and she put the file back in her purse and returned her attention to the blackboard like nothing at all had happened.

I read years later that a lot of young women hurt themselves like that, mostly women, but nothing I ever read explained why. It was a disease. It was a disorder, a warning sign. A warning of what, no one seemed to know. But if you saw it, you were supposed to tell someone. You were supposed to take action.

Shelly was beautiful. She was pale and doe-eyed and slender. She wore nice clothes and got excellent grades. She waited every day after school out front, her books embraced against her chest like body armor, waiting for her mother to come in their giant SUV and pick her up.

They found Shelly that summer in her bedroom. She had found some pills and washed them down with liquor from her parents’ wet bar. The local paper wrote about it on the front page, how Shelly might never wake up and how it was such a senseless tragedy, as if there was such a thing as sensible tragedy. How it was such a shame that it had happened to so beautiful a young woman, as if good skin should have been enough for her.

“She was so beautiful,” everyone said. As if that was all they could see.

Kids visited Shelly for a while in the hospital. They took turns caring for her, talking to her, playing her favorite music for her, brushing her hair. The nurses showed them how to turn Shelly every few hours and position pillows under her so she wouldn’t get bedsores, and how to clean the site where her feeding tube punched a hole into her stomach, and how to empty her urine and colostomy bags. Shelly’s friends at school set up an online crowdfunding site for her and held fundraisers for the family to offset medical bills when insurance ran out, “We Heart Shelly” dances and 10K walks and bake sales. A local car dealership held a raffle for a new vehicle. Save Shelly, win a Toyota.

Then after a while, no one talked about it anymore. Everyone forgot about Shelly until she died two years later, a wax doll skeleton in pink sweat clothes, resembling her former beautiful self as much as a paper sack resembles a tree.

It would have been better if Shelly had been shot in the head, or had died in a car crash. I’ve heard others say it, families and friends of people injured like Shelly, the ones who have to live with the unromanticized pain, who can’t go home and leave it behind. The ones who have to wear the rubber gloves and clean the fluids and feces, and exhausted wrestle tormented with their love against the slow expiration of hope, and the guilt of wishing more each day for death’s blessed mercy.

If the crease from living Shelly to dead Shelly had been sharper, it might have cut us more than it did. A knife to awaken us. Useful pain, instructive pain, stopping our lives, making us ponder more than it did.

Remember Shelly? What a shame. Her poor family. Gee, how long ago was that?

The newspaper ran a story: Local Girl Dies After Two-Year Battle.

It wasn’t a battle. It was decomposition. The battle ended when Shelly said so.

Two years for the edge to dull, until it drew no blood at all. Maybe if it had, we wouldn’t have so easily forgotten her. But Shelly Christ did not give her life with the intention of making us see. It was about us, but it was never for us.

. . .

I’ve never told anyone about what I’d seen Shelly do, until now. Maybe if I had said something, I sometimes think, she might be alive now. But I think that’s arrogant. I don’t have that power. I don’t know what I would have said or done. I didn’t know her.

Maybe if I’d tried, maybe she would have let me be her friend. I don’t know if it would have made a difference. Maybe I only would’ve gotten in her way.

I think I should have tried, though. I still feel that I missed something big by not trying. And I didn’t understand power, not then.

. . .

I wondered why I was drawn to Washington’s Rock. Sometimes I would just find myself there, having set out on my bike with no conscious intention of going. I’d find myself at the bottom of the hill, waiting for the silent something that moved me from stillness — some hunger shown food, some decision I never was conscious of making, an impetus like a whisper, the only evidence of which is the echo I hear after I’ve begun.

Washington's Rock was my trial, my very own. Making it to the top gave me power, and freedom.

I walk around the trees, hot and panting and sweat-soaked and then, there is the entire world, spread out below me.

I stand on the marker and extend my arms, I outstretch my hands over it all. I can feel the press of the tiny houses and the billows of green against my palms. I spread my will over them and hold it suspended, like the sky. How lucky they all are to be ignorant of me, those tiny, stupid people. So ignorant of my power, for all I have to do is lower my hands and crush them all. And in their last moments, only then would they finally understand. Then they would know how stupid they were, how they had until that last terrible moment, when it was utterly too late, understood absolutely nothing.

But other times, I would fly. I would raise my hands with my palms upward and feel myself becoming light and I would rise like a flock of birds set loose from my heart, so high above the dull world and the stupid people in it. Soaring through the clean, cold air, my blood and breath transformed to joy, knowing at last that I was free.

I didn’t think of it then as prayer.

Maybe that’s what Shelly felt. Maybe that’s why I can’t forget her. Maybe I could have taken her with me and shown her another way, given her a trial that she could weather. Maybe she would have come out on the other side born anew, even if only for a little while, with a defining something other than pain that was completely hers, that was earned. And maybe she would have kissed me in thanks, the one person who understood, and we would both have had another thing to make us real.

But then always, I would feel my weight again, and I would open my eyes and be standing on the rock. But maybe just before, just moments before, I truly had been free. Maybe the world returned only because I opened my eyes expecting to see it.

The world is strong, but one day I would be strong enough to remove myself from it completely, I vowed. One day, I would ascend into the real and become my true self, forever, with no hope or desire of returning. I would be awesome and terrible to behold, and everyone then would know how deadly stupid had been their decision to dismiss me.

I carried this with me as a comfort. It is the closest thing I had to religion then. That, and searching for myself on maps.

. . .

My mother and I argued. I screamed at her but my voice was never strong enough. If only it had been, I could have blasted her with my power and then she, too, would know. That she had better stop and ponder, and wonder if what she was doing would one day prove dangerous.

I did not like my mother. I felt no obligation to. Any animal can give birth. Ten seconds after that’s done, you have to earn the rest.

My mother didn't understand. She would tell me to stop shouting. It didn't matter what we were shouting about or whether she had shouted first. "Stop shouting!" she would hiss, as if we were creating a scene in a restaurant. She would repeat it over and over, never looking at me until I went away, and she would make another drink.

I learned to give my mother my silence. I made myself easy for her to ignore. I gave her nothing, other than what was necessary to pass through her space. I learned to turn my mind from the wet crawl of her eyes on me, the slurp of her taking a drink. Sometimes she would say things but they were just rocks. I was too far away, and she didn't have the reach. I think she was grateful.

That silence was all we had in common. Except for blood, which can't be denied but is easy to ignore, once you make up your mind to do it.

. . .

There was a time when Dad tried to play peacemaker. I would stop arguing when he did, for him.

I love my dad. When I was still at home, I would hear my mother shouting at him downstairs, sometimes in fury, other times with words that cut but held no truth. She only wanted to hurt him. Usually dad would speak so low I couldn't hear him, so it sounded as if my mother was cursing a ghost.

Many times the front door would slam hard enough to rattle the windows in my bedroom. Then I would hear the fridge door open, and the cabinet where she kept the bottle, which was right beneath my room. And sometimes I would hear her cry, and I would turn up my music, just enough so I couldn't hear her but not so loud that she could hear me do it. It made me feel something that I had enough left to give her that, at least.

"Your mother is having a tough time," Dad would explain, though he never said with what. I don't think he knew. If he had, I don’t know how he could have explained it to me then so I would understand. I was in their world, and what bound them together was to me like a monster swimming in a dark swamp, a great merciless shape obscured in the murk whose silent approach I felt like a wave as it neared.

I would make myself small then, I would press myself against the walls in fear and pray it did not crush me as it passed because whatever it was, it did not see me at all.

It terrified me worse than dying.

Dad rescued me. His familiar footsteps on the carpeted stairs, the squat shadows of his feet against the crack of hallway light below my closed bedroom door. Three light taps. I never played my music so loud that I wouldn't be able to hear them.

Sometimes we talked for hours in the dark, with long silences between clumps of sentences like the highway between towns. Sometimes he drove and sometimes I did. And then, there would come a stretch of highway and I would feel his weight rise from the end of the bed, and his warm hand would squeeze my arm, and the door would close softly behind him, leaving the faint odor of after shave and cigarettes.

Dad always goes outside when he smokes. I would hear the screen door creak and close, and I would rise from my bed and go to the window and see him on the back patio. Sometimes he would just stand there, and sometimes he would walk slowly around the little yard that I mowed every weekend. He would move in and out of the next-door neighbor's yellow porchlight spill, in and out of the shadows cast by the high forsythia bushes along the fence. His hand would come up to his mouth, and I would see the little orange dot flare bright in the dark as he inhaled. His hand would swing down by his side and I knew he was exhaling but I would watch the cigarette cherry as it faded, seeing how long I could make it out before it went away completely, counting the seconds.

Sometimes he would be like that for an hour, smoking one cigarette after another, like he knew he had to smoke them all right then before he went back inside for the last time that night. Back on duty, back to my mother who with her vodka breath had ordered him and his cigarettes out of his house.

I always made sure there were no lights on in my room when I watched him. I didn't want him to look up and see my silhouette in the window. I wasn't afraid he would be angry. I didn't want to rob him of his religion.

Dad amazes me, what he tolerates. I don't know what my mother once was that made him fall in love with her, but it's gone now. Maybe there's just enough of it left that only he can see that keeps him there.

I think it's more that he feels sorry for her. If she can't love him, then he will protect her. That at least he can still do. He will be dutiful. It is the only way he has left to show her his love. The only way she will accept, even as she curses him for it.

If I think about it too long, the sadness of it breaks my heart.

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